By goods either imported from France or copied from French standards.”2 But, she observes, well before then the denizens of both Saint Sulpice and Barclay Street had come under sustained attack for the alleged vulgarity and false piety (evident in the term “plaster saint”) of the styles they purveyed—for their dissemination of what would come to be known as Catholic kitsch. The controversy between alleged sentimentalists and avowed modernists raged on for over half a century, until the Vatican.
Out a virtual existence replete with both the intense excitement and the lively sociability that seems so conspicuously missing from his allegedly real life. Although the bare outlines of Darger’s situation may look almost like a parody of the Romantic idea of the solitary, isolated, tragically misunderstood artist, his work, when one studies it, reveals itself as having been highly relational and even in some ways collaborative. One thing about which almost everyone who has reflected on.
The corpse after death—were circulated in Darger’s childhood and youth in the United States in the opening decades of the twentieth century. Torture, strangling, and the mutilation of corpses were not merely gothic fantasies in Darger’s America, they were events of which probably few children could have been entirely unaware. White-supremacist violence against African Americans reached an all-time high at the end of the First World War, and by no means was this violence confined to the South:.
Devoured the corpses of—children all over the country. Despite testimony by expert witnesses for the defense that Fish was insane, he was found guilty by a jury, condemned to death by the presiding judge, and executed by electrocution at Sing Sing in January 1936. One of the defense’s witnesses was Fredric Wertham, known at the time as an expert on child development and forensic psychiatry. He testified that Fish was the most deranged human being he had ever encountered in his wide professional.
‘Never- Ending Story.’” elh 65, no. 2 (1998): 395–421. Bunn, Geoffrey C. “The Lie Detector, Wonder Woman and Liberty: The Life and Work of William Moulton Marston.” History of the Human Sciences 10, no. 1 (1997): 91–119. Castañeda, Claudia. Figurations: Child, Bodies, Worlds. Durham: Duke University Press, 2002. Derrida, Jacques. Archive Fever. Translated by Eric Prenowitz. Chicago: University of Chicago Press, 1996. ———. “The Violence of the Letter.” In Of Grammatology, 111–12. Corrected ed.