The certain thing is that I'm gonna watch the movie 3> by God's willing.Ĭan't say I had fun, but I must confess, I felt humane. This version is super simplified, maybe some day in the future I'll reread it. We are human beings dealing all the time with the same creatures, what hurts us ,amazingly :/, hurts them as well, maybe in a much deeper way for some "creatures". He tried to sleep on his back that night, but his heavy head came off the bed, and he broke his neck. He could sleep well like this.īut he wanted to sleep on his back like you and me. His enormous head was very heavy, so he usually sat up in bed with his arms around his legs, and his head on his knees. For him, the men and women in these books were alive, like you and me. He read them again and again, and talked about them often. But I gave him some books of love stories, and he liked them very much. At first he did not know many books: the Bible, and one or two newspapers, that's all. His enormous head was very heavy, so he usually sat up in bed with his arms around his legs, and his head on He loved reading and talking about books.
This chapter then considers the wider implications of the case of Merrick for nineteenth-century studies and the neo-Victorian.He loved reading and talking about books.
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However, Poore argues that there is a series of tensions between the lip-service paid to the condemnation of Victorian freak shows and the increasingly diverse uses, from comedy sketches to comic books, to which Merrick’s image and story are put. Since the early 1980s, Merrick’s story in its various iterations has become a popular way to view nineteenth-century mores and to speculate on how far ‘we’ have come. The film, originally adapted in part from the surgeon Frederick Treves’s The Elephant Man and Other Reminiscences (1923) was subsequently adapted back into a film novelization by Christine Sparks. After outlining the way that a neo-Victorian stage culture has been developed Poore argues that Bernard Pomerance’s play The Elephant Man (1977) and David Lynch’s 1980 film The Elephant Man can be regarded as twin foundational texts in the modern-day repurposing of the story of Joseph Merrick. In this chapter Benjamin Poore takes the example of ‘The Elephant Man’ as a test case for how Victorian narratives have been developed in a neo-Victorian theatrical context.
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