domstat.net

Website loading time

during the test: 3.75 s

cable connection (average): 5.46 s

DSL connection (average): 7.16 s

modem (average): 97.38 s

HTTP headers

HTTP/1.0 200 OK

Content-Type: text/html; charset=UTF-8

Expires: Sat, 15 Oct 2011 09:38:17 GMT

Date: Sat, 15 Oct 2011 09:38:17 GMT

Cache-Control: private, max-age=0

Last-Modified: Sat, 15 Oct 2011 08:07:20 GMT

ETag: "8be4ff78-303f-4376-9038-f9f314d54123"

X-Content-Type-Options: nosniff

X-XSS-Protection: 1; mode=block

Server: GSE

Information about DNS servers

Received from the first DNS server

Received from the second DNS server

Subdomains (the first 50)

Typos (misspells)

Location

IP: 209.85.175.132

continent: NA, country: United States (USA), city: Mountain View

Website value

rank in the traffic statistics:

There is not enough data to estimate website value.

Basic information

website build using CSS

code weight: 655.39 KB

text per all code ratio: 16 %

title: DC's

description:

keywords:

encoding: UTF-8

language: en

Website code analysis

one word phrases repeated minimum three times

two word phrases repeated minimum three times

three word phrases repeated minimum three times

B tags

'It was because of Boris Karloff that I became, when I did, a picture director. Boris owed producer Roger Corman two days work, and Roger offered me the job of taking those two days and, along with some other elements and days, create a brand new Karloff movie. This was in late 1966, and Boris had been a star since 1931, thus after 35 years, his name by itself could still carry a picture. So we wrote Targets (1968) for Karloff, wrote him the part of Byron Orlok, a famous horror movie star who wanted to retire because his kind of Victorian horror could not compete with the modern horror of a sniper killing randomly (as a young Texan did in Austin in 1966).'The script was sent to Karloff and he liked it, though his role was written with a number of self-deprecating lines and moments of self- debasement, so in our first phone conversation from LA to London, Boris said, "Since I'm playing a character very like myself, do I have to say such terrible things about myself?" I argued that he was so well liked as an actor and as a person that the more bad things he said about himself as an actor or person, the more the audience would say it wasn't true. Karloff never brought it up again, and said all the self-abusing remarks in the script just as they were written. And superbly.'He had a great speaking voice, and the brilliance of a born storyteller. When I heard him on TV doing his memorable narration for Chuck Jones' classic cartoon feature of Dr. Seuss' How the Grinch Stole Christmas, I determined that I could not make a Boris Karloff picture and not have him tell a story somewhere in it. Which gave birth to one of the best scenes in the film. Boris---in one continuous shot---tells a riveting two or three minute "scary story" about a merchant from Baghdad who thinks Death is looking for him in Baghdad and so flees to Samarra, which turns out to be exactly where Death has " an appointment with him tonight-in Samarra."'The text was borrowed from a little-known play by Somerset Maugham, and Boris nailed it with consummate skill on the first take. It was 1:30 in the morning on a little sound stage on Santa Monica Blvd. in West Hollywood, and we'd been shooting with Karloff since 8:00 that morning. Right after Boris finished, and I yelled, "Great! Cut! Print! That was terrific," the entire weary crew burst into spontaneous applause. You could tell Boris was touched and gratified by their reaction, and Evie Karloff, his wife, had tears in her eyes. Karloff was 79 at the time, with steel braces on both his legs, suffering from a bad case of Emphysema, and had less than two years left to live. He never complained at the long hours, he was always the ultimate trouper.'When I asked him once how he really felt about being typed from Frankenstein (l931) onward, he looked at me curiously. "The Monster? How do I feel about the Monster?" He smiled distantly. "He gave me a niche. For which I am ever grateful. He gave me a career." And what a unique career it was--- for this kind, soft- spoken, polite English gentleman, born William Henry Pratt---but known with as shiver throughout the world by just one word---Karloff. Long live Boris!' -- Peter Bogdanovich____Stills

______Further

The Official Boris Karloff HomepageThe Pit!: the Boris Karloff Fan PageBoris Karloff News, a fan pagePATHOS: The Boris Karloff FanlistingBooks about Boris KarloffBoris Karloff Biography @ The Thunder ChildBoris Karloff's 'Thriller' TV series, an episode guideBoris Karloff's work in radioThe Boris Karloff Gift ShopWatch Boris Karloff movies @ RetrovisionThe Boris Karloff Collection @ Executive ReplicasBoris Karloff presents 'Mondo Balordo''Dear Old Pals? Boris Karloff & Bela Lugosi'______General

Boris Karloff Interview (1957)Boris Karloff as the Grinch 1/3Karloff?_______Interview

_____________________

19 of Boris Karloff's 156 films

___________________

Peter Bogdanovich Targets

'The story concerns a quiet insurance agent / Vietnam veteran, played by Tim O'Kelly, who murders his young wife, his mother and a grocery delivery boy at home and then initiates an afternoon shooting rampage from atop a Los Angeles area oil refinery. The character and actions of the killer are patterned after Charles Whitman, the University of Texas sniper. The character of actor Byron Orlok, named after Max Schreck's vampire Count Orlok in 1922's Nosferatu, is patterned after Boris Karloff himself, who in fact plays the part in his last appearance in a major American film (although Bogdanovich states that, unlike Orlok, Karloff was not embittered with the movie business and did not wish to retire). In the film's finale, which takes place at a drive-in theater, Karloff — the old-fashioned, traditional screen monster who always obeyed the rules — confronts the new, realistic, nihilistic late-1960s monster in the shape of a clean-cut, unassuming multiple murderer. He slaps the murderer into submission and the police arrive and affect an arrest.' -- Pop MattersTrailerExcerpt_______________________

Daniel Haller Die, Monster, Die!

'An early film to be adapted from the work of H.P. Lovecraft. This time it's The Colour Out of Space reworked as a last gasp of creaky old-school gothic, made just before George Romero's living dead breathed new life into the horror genre. It's relatively dated for a 1960's horror film, but suitably gothic enough to compliment the Lovecraft mythos. Plotwise it's a linear and creaky 'old dark house' formula with the requisite unscary spiders and rubber bats. But the atmosphere of the house pervades and the various creatures mean there's never a dull moment. Boris Karloff proves he's still got it, giving an earnest performance. Even though his character is bound in a wheelchair, it amusingly doesn't stop him from creeping up on people. Without him, there would be no film.' -- Black HoleTrailerExcerpts______________________

Robert Day Corridors of Blood

'In various genre studies, commentators have often called Corridors of Blood a Sadean film and linked it with other films that came out around the same such as Horrors from the Black Museum (1959), Circus of Horrors (1960) and Peeping Tom (1960). All things said, Corridors of Blood is a fair and reasonable film, whether considered either as horror or historical drama or some peculiar melange of the two. While clearly operating on a low budget (there is only a single painted backdrop of the city of London beyond the slum area, for instance), the art director has exerted some effort in making the sets and dressings look authentic for the period. Director Robert Day does a fair job and the story is reasonably absorbing. Boris Karloff plays well in the mad scientist role he perfected – a scientist whose endeavours seem highly sympathetic and not at all mad, really. Christopher Lee adds a sinister undercurrent as the murderous blackguard, while Francis De Wolff shines as the burly blackmailing innkeeper.' -- MoriaTrailerExcerpt_________________________

Robert Day The Haunted Strangler

'The first half of The Haunted Strangler is a civilized look at Victorian London, with socially minded novelist Boris Karloff investigating a 20-year-old murder case. Still, it's Karloff, right? So when the elegant, snow-haired king of horror movies finally wanders into a graveyard in the middle of the night, shovel in hand, intent on digging up the bones of a serial killer, the viewer can breath a sigh of relief: we're back on familiar turf. Freshly dug turf, that is. This is not the last surprise in this neatly turned picture, which has some genuinely disturbing moments mixed into the cut-rate atmosphere. The plot borrows from the legends of Dr. Jekyll and Jack the Ripper, and the presence of Karloff specifically invokes his earlier horrors in Val Lewton's moody shockers, Bedlam and The Body Snatcher. The horror maestro, 70 years old, is exceptionally agile; stripped to the waist and fighting a straitjacket, he looks as though he's about to outwrestle his two burly attendants down at the local insane asylum.' -- Robert HortonTrailer_______________________

Joseph Pevney The Strange Door

'This Universal Studios production has the tone and feel of the gothic horror flicks that Hammer Films would start doing so well throughout the late 1950s and throughout the 1960s. It compares favorably to Hammer's lesser efforts, but it is pales in comparison to Hammer's greatest gothic chillers. Boris Karloff makes his usual solid contribution to the film, but he doesn't have much to do except to serve as a dark comic relief and the guy who may or may not save the day in the end.' -- The Boris Karloff CollectionExcerpt_____________________________

John Rawlins Dick Tracy Meets Gruesome

'Boris Karloff plays "Gruesome" an evil criminal who robs banks using a gas that freezes unsuspecting witnesses. Dick Tracy (Ralph Byrd) and the team try to foil his plans. The film itself is hokum, of course, with a plot about crooks who can 'freeze' time and rob banks, straight out of its comic-book origins, but Karloff, probably desperate for work at this time (1947), elevates the proceedings by his presence and it all makes for an entertaining 65 minutes.' -- The Video CellarExcerpt 1/6______________

Douglas Sirk Lured

'Before becoming associated with melodrama Douglas Sirk (Hitler's Madmen/ All I Desire/ Written on the Wind) made this decent thriller about a hunt for a serial killer. London is plagued with a serial killer preying on young women. After the eighth victim is reported missing and the usual poetry letter waxing poetic about death and beauty being synonymous, "A beauty that only death can embrace," that's been lifted from Charles Baudelaire, is sent to the police by the madman to mark his conquest, Inspector Harvey Temple (Charles Coburn) of Scotland Yard talks American taxi-dancer Sandra Carpenter (Lucille Ball) to act as a decoy to get the culprit out in the open. Sandra has to deal with an insane dress designer Charles Van Dreuten (Boris Karloff), who has her modeling his creation and suddenly goes violently berserk when he thinks she's a designer spy.' -- Dennis SchwartzExcerpt_______________

Mark Robson Bedlam

'In 1946, producer Val Lewton made Bedlam, with Boris Karloff and Anna Lee, his most expensive and probably his least successful picture at RKO, in spite of the real horrors it showed of London's truly infamous Bedlam. The studio was completely unappreciative of the picture's very fine film qualities and almost sloughed it off after its release. Much of Bedlam is rather high-handed, its script often too literate and affected (m'lord this and m'lord that) for its own good. The lively dialogue is eminently quotable, but there is little of the visual flair that once proved a Lewton trademark. Too many of Bedlam's horrific passages, especially once Nel is locked away, are offset by ponderous exposition.' -- Lewtonsite.comExcerpt______________________

Robert Wise The Body Snatcher

'One thing The Body Snatcher clearly isn’t, however, is another great Karloff/Lugosi collaboration. Ever since Ed Wood, it’s been hard to look at any of their collaborations without hearing Martin Landau roar, “Karloff does not deserve to smell my shit! That limey cocksucker can rot in hell!” On this evidence, it’s not hard to see why Lugosi might have wound up feeling that way. Karloff is in most scenes and has all the best lines, whilst Lugosi is lumbered with an utterly thankless role as MacFarlane’s handyman, popping up only a few times with very little of consequence to say or do. That this wound up being their last collaboration makes it all the more bittersweet. Given that today we tend to hold both men on an equal pedestal, it’s pretty sad to see that Hollywood at the time did not treat them with equivilant respect.' -- Brutal as HellExcerpt___________________________

Erle C. Kenton House of Frankenstein

'By 1944, the Universal monsters had become too familiar to be truly frightening. The Frankenstein monster alone had already appeared in five films. Universal's solution was to treat their gaggle of ghouls as old friends. The Frankenstein series evolved into an elaborate excuse to paste as many recognizable faces into a single film as possible. The trend began in Frankenstein Meets the Wolf Man, but really blossomed into a cornucopia of creatures with House of Frankenstein. Boris Karloff triumphantly returns to the series that made his name, albeit in a vastly different role. He plays Dr. Niemann with a kind of gentleman malevolence, turning to the sinister at all the right moments. We've come to expect great performances from Karloff, and he gives us no less.' -- Classic-horror.comTrailerThe best of 'House of Frankenstein'__________________

Arthur Lubin Black Friday

'Told in flashback as Dr. Ernest Sovac (Boris Karloff) is marched into the gas chamber, Black Friday concerns kindly college professor George Kingsley (Stanley Ridges), who is seriously injured when he is caught in the middle of a gangster shootout. Kingsley's best friend Sovac performs an emergency "brain-ectomy", replacing Kingsley's gray matter with that of dying gangster Red Cannon. Though the operation is successful, the mild-mannered Kingsley occasionally lapses into Cannon's more brutal personality, and it is during one of these spells that he reveals the existence of a cache of stolen money.' -- AllroviTrailer________________________

Michael Curtiz The Walking Dead

'The Walking Dead is a unique blend of cinematic horror and the classic Warner Bros. gangster stylings. This long-admired cult favorite stars Boris Karloff, who gives an outstanding performance as John Ellman, an ex-con framed for murder who's sentenced to the electric chair. When Ellman is brought back to life through the miracles of science, his only task is to seek revenge against those responsible for his death. Karloff's innocent, cruelly victimized character of John Ellman was initially meant to be dramatically transforemed into a huge, hairy, mindless killing machine in the wake of his execution by electric chair. This vengeance-crazed creature was then supposed to wander around the city by cover of nightfall, scale the outsides of towering highrise buildings, corner its intended victims, and physically hoisted them off their feet to break their backs in a murderous rage. Karloff scoffed at the level of senseless violence, and lobbied strongly to have the Ellman character presented as more of a tragically sympathitic man caught up in extraordinary circumstances.' -- DVDBeaverExcerpt_________________

Lew Landers The Raven

'The film only utilises Poe's The Raven as a creepy minor narrative device at most, or as it says during the credits "Suggested by Edgar Allan Poe's immortal classic." It could well have not mentioned Poe at all and you'd never have known differently. With all due respect to Karloff, the unequalled highlight of this is without doubt Bela Lugosi's performance as Dr. Vollin. He gives a performance straight out of the Creepy Bastard School of Acting with his stares and his pauses and his Count Dracula voice. And the stares... oh how he stares! The looks he gives people. Hell, the looks he gives the walls, the doors, anything which falls in site of his gaze was the unwilling recipient of his Lugosi Brand "Stare of Ultimate Doom".' -- DVD.au.netExcerpt_________________________

James Whale Bride of Frankenstein

'Frankenstein (1931) was a huge success, one that resonates and casts a huge shadow over the horror film even today. A sequel was fairly much mandated and so Universal returned to Frankenstein director James Whale who went away and cooked up Bride of Frankenstein. The result has been called by some the greatest of all horror films and is agreed on by most as being superior to the first outing. It is certainly one of the most oddball of all Frankenstein films. Whale has a far greater sense of mise en scene here than in the original. His treatment of the monster is a strange blend of pathos and humour. Out of Boris Karloff’s primitive mime there comes a genuine, albeit simplistic, emotion – it is quite something to watch the tear roll down his face when the bride rejects him, or the dull grave-stone voiced intonation “I love dead, hate living.”' -- MoriaTrailerExcerpt_____________________

Edgar G. Ulmer The Black Cat

'Economical in its telling, and fairly typical in its depiction of bitter and evil men, Lugosi and Karloff once again team up and compete in a contest of stares. Karloff stares at the woman, Lugosi stares at the door, Karloff stares at the man, Lugosi stares at Karloff, Karloff stares at Lugosi, the man stares at the woman, the woman stares at a tree. There’s a cat. Lugosi flings a knife at it for a three point killshot. That’s the Poe reference taken care of. If anything, this movie is just more fodder to prove that the two stars were deadset nuts. It didn’t make a lick of difference what the lines were, they look so damn menacing most of the time, they could have been reciting their addresses and it would have sounded evil.' -- DVD.net.auExcerpt__________________

Karl Freund The Mummy

'Make-up artist Jack Pierce began transforming Karloff at 11:00 am, applying cotton, collodion and spirit gum to his face; clay to his hair; and wrapping him in linen bandages treated with acid and burnt in an oven, finishing the job at 7:00 pm. Karloff finished his scenes at 2:00 am, and another two hours were spent removing the make-up. Karloff found the removal of gum from his face painful, and overall found the day "the most trying ordeal I [had] ever endured".' -- AllroviTrailerExcerpt_________________________

James Whale The Old Dark House

'Like other obscure films, The Old Dark House didn't do well at the box office... in fact, this one bombed so badly both on its initial release and re-release that it left craters. The film was considered so worthless that it was believed to have been destroyed until it was rediscovered and restored in the late 1960s. At that time, Boris Karloff is reported to have seemed bemused when the man who saved the film from oblivion told him of the restoration effort; I imagine Karloff couldn't conceive of why anyone would spend money and time to preserve a failed movie. Truth is, The Dark Old House was only a failure in a commercial sense. Anyone with a taste for classic movies who watches it now will recognize it as a film that should be held in equal regard to the other landmark Karloff features like Frankenstein and The Mummy.' -- The Boris Karloff Collectionthe film in total_________________

Howard Hawks Scarface

'The Boris-Karloff-bowling scene in Scarface is a masterpiece of storytelling, just in terms of the shots chosen for this short scene. There are about 15 shots all told. That’s all you need. You don’t need to do too much else as a director – at least not if you are confident of the EVENT you are trying to portray. It’s a wonderful sequence, spare and violent, ominous and yet elegant – not one shot too many, a perfect mix of mess (the sound of the bowling alley mixed with the crowd with the strange eerie whistling going on over it – the whistle that we now know means some bad shit is going to go down) and clarity. You don’t need to say too much or do too much to create an entire event.' -- The Sheila VariationsExcerpt___________________

James Whale Frankenstein

Self-Portrait Day: My Halloween Costume

Thursday, October 20th

dcooperweb @gmail.com

November 9 - 10: Leipzig, Euro-scene, Jerk

November 15: Brooklyn, The Powerhouse Arena, DC reads from The Marbled Swarm followed by a Q&A with writer/Pitchfork Editor Brandon Stosuy

November 16, 7 pm:

November 30 - December 1:

January/February 2012:

January 11 - 13, 2012:

February 2 - 3, 2012:

February 7, 2012:

February 9 - 10, 2012,

February 13, 2012:

February 16 - 17, 2012:

February 22 - March 10:

March 27, 2012:

April 2012, dates tba:

May 2012, dates tba:

Upcoming releases:November 1st:

The Marbled Swarm

February 2012:

40 Portraits

U tags

I tags

'It was because of Boris Karloff that I became, when I did, a picture director. Boris owed producer Roger Corman two days work, and Roger offered me the job of taking those two days and, along with some other elements and days, create a brand new Karloff movie. This was in late 1966, and Boris had been a star since 1931, thus after 35 years, his name by itself could still carry a picture. So we wrote Targets

How the Grinch Stole Christmas

Frankenstein

______FurtherThe Official Boris Karloff HomepageThe Pit!: the Boris Karloff Fan PageBoris Karloff News, a fan pagePATHOS: The Boris Karloff FanlistingBooks about Boris KarloffBoris Karloff Biography @ The Thunder ChildBoris Karloff's 'Thriller' TV series, an episode guideBoris Karloff's work in radioThe Boris Karloff Gift ShopWatch Boris Karloff movies @ RetrovisionThe Boris Karloff Collection @ Executive ReplicasBoris Karloff presents 'Mondo Balordo''Dear Old Pals? Boris Karloff & Bela Lugosi'______GeneralBoris Karloff Interview (1957)Boris Karloff as the Grinch 1/3Karloff?_______Interview_____________________19 of Boris Karloff's 156 films___________________Peter Bogdanovich Targets (1968)'The story concerns a quiet insurance agent / Vietnam veteran, played by Tim O'Kelly, who murders his young wife, his mother and a grocery delivery boy at home and then initiates an afternoon shooting rampage from atop a Los Angeles area oil refinery. The character and actions of the killer are patterned after Charles Whitman, the University of Texas sniper. The character of actor Byron Orlok, named after Max Schreck's vampire Count Orlok in 1922's Nosferatu

TrailerExcerpt_______________________Daniel Haller Die, Monster, Die! (1965)'An early film to be adapted from the work of H.P. Lovecraft. This time it's The Colour Out of Space

TrailerExcerpts______________________Robert Day Corridors of Blood (1958)'In various genre studies, commentators have often called Corridors of Blood

Horrors from the Black Museum

Circus of Horrors

Peeping Tom

Corridors of Blood

TrailerExcerpt_________________________Robert Day The Haunted Strangler (1958)'The first half of The Haunted Strangler

Bedlam

The Body Snatcher

Trailer_______________________Joseph Pevney The Strange Door (1951)'This Universal Studios production has the tone and feel of the gothic horror flicks that Hammer Films would start doing so well throughout the late 1950s and throughout the 1960s. It compares favorably to Hammer's lesser efforts, but it is pales in comparison to Hammer's greatest gothic chillers. Boris Karloff makes his usual solid contribution to the film, but he doesn't have much to do except to serve as a dark comic relief and the guy who may or may not save the day in the end.' -- The Boris Karloff CollectionExcerpt_____________________________John Rawlins Dick Tracy Meets Gruesome (1947)'Boris Karloff plays "Gruesome" an evil criminal who robs banks using a gas that freezes unsuspecting witnesses. Dick Tracy (Ralph Byrd) and the team try to foil his plans. The film itself is hokum, of course, with a plot about crooks who can 'freeze' time and rob banks, straight out of its comic-book origins, but Karloff, probably desperate for work at this time (1947), elevates the proceedings by his presence and it all makes for an entertaining 65 minutes.' -- The Video CellarExcerpt 1/6______________Douglas Sirk Lured (1947)'Before becoming associated with melodrama Douglas Sirk (Hitler's Madmen

All I Desire

Written on the Wind

Excerpt_______________Mark Robson Bedlam (1946)'In 1946, producer Val Lewton made Bedlam

Bedlam's

Excerpt______________________Robert Wise The Body Snatcher (1945)'One thing The Body Snatcher

Excerpt___________________________Erle C. Kenton House of Frankenstein (1944)'By 1944, the Universal monsters had become too familiar to be truly frightening. The Frankenstein monster alone had already appeared in five films. Universal's solution was to treat their gaggle of ghouls as old friends. The Frankenstein series evolved into an elaborate excuse to paste as many recognizable faces into a single film as possible. The trend began in Frankenstein Meets the Wolf Man

TrailerThe best of 'House of Frankenstein'__________________Arthur Lubin Black Friday (1940)'Told in flashback as Dr. Ernest Sovac (Boris Karloff) is marched into the gas chamber, Black Friday

Trailer________________________Michael Curtiz The Walking Dead (1936)'The Walking Dead

Excerpt_________________Lew Landers The Raven (1935)'The film only utilises Poe's The Raven

Excerpt_________________________James Whale Bride of Frankenstein (1935)'Frankenstein

Bride of Frankenstein

TrailerExcerpt_____________________Edgar G. Ulmer The Black Cat (1934)'Economical in its telling, and fairly typical in its depiction of bitter and evil men, Lugosi and Karloff once again team up and compete in a contest of stares. Karloff stares at the woman, Lugosi stares at the door, Karloff stares at the man, Lugosi stares at Karloff, Karloff stares at Lugosi, the man stares at the woman, the woman stares at a tree. There’s a cat. Lugosi flings a knife at it for a three point killshot. That’s the Poe reference taken care of. If anything, this movie is just more fodder to prove that the two stars were deadset nuts. It didn’t make a lick of difference what the lines were, they look so damn menacing most of the time, they could have been reciting their addresses and it would have sounded evil.' -- DVD.net.auExcerpt__________________Karl Freund The Mummy (1932)'Make-up artist Jack Pierce began transforming Karloff at 11:00 am, applying cotton, collodion and spirit gum to his face; clay to his hair; and wrapping him in linen bandages treated with acid and burnt in an oven, finishing the job at 7:00 pm. Karloff finished his scenes at 2:00 am, and another two hours were spent removing the make-up. Karloff found the removal of gum from his face painful, and overall found the day "the most trying ordeal I [had] ever endured".' -- AllroviTrailerExcerpt_________________________James Whale The Old Dark House (1932)'Like other obscure films, The Old Dark House

The Dark Old House

The Mummy

the film in total_________________Howard Hawks Scarface (1932)'The Boris-Karloff-bowling scene in Scarface

Excerpt___________________James Whale Frankenstein (1931)'The most well-known image of Frankenstein's monster in popular culture derives from Boris Karloff's portrayal in the 1931 movie Frankenstein

Euro-scene,

Le Poisson Rouge

,

Them

McNally Jackson Books,

Vice Magazine

The Marbled Swarm

Inferno: A Poet's Novel

The Powerhouse Arena,

Pitchfork

City Lights Bookstore,

the buddhist

Skylight Books,

Festival Spielart,

Centre d'Art, Le Parvis, Last Spring, a Sequel

Le Parvis,

Centre Dramatique National d'Orleans,

Beursschouwburg,

Kaaitheater,

C

ultuurcentrum Brugge,

Vooruit,

Centre Pompidou,

Festival TRAFIK Centre Culturel Bergerac,

Koergietery,

Goteborgs Dans & Teater Festival,

November 1st:

(Harper Perennial)

February 2012:

(P.O.L., France),

images

headers

H1

H2

Saturday, October 15, 2011

Attention: readers, sporadic commenters, and d.l.s

Out now. Order with a click.

The news and extras area

Comrades

Relevant places

Out now. Available. Reborn. Clickable.

Now available

Available now from Little House on the Bowery

Click it to order it

Order Paul Hegarty and Danny Kennedy's 'Dennis Cooper: Writing at the Edge' (Sussex Academic Press)

Blog Archive

'Writers Day': extended engagement

H3

Saturday, October 15, 2011

Attention: readers, sporadic commenters, and d.l.s

Out now. Order with a click.

The news and extras area

Comrades

Relevant places

Out now. Available. Reborn. Clickable.

Now available

Available now from Little House on the Bowery

Click it to order it

Order Paul Hegarty and Danny Kennedy's 'Dennis Cooper: Writing at the Edge' (Sussex Academic Press)

Blog Archive

'Writers Day': extended engagement

H4

H5

H6

internal links

external links