The following essay by John Senior was handed down and circulated by students of the Intergrated Humanities Program (or Pearson College), The University of Kansas, over many years. A version is placed at the end of Senior’s book, The Death of Christian Culture , which was published by IHS Press in 2008.
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Hope died in the opening lines of “In the Wrong Rain,” and optimism succumbed a few pages later. Duty ground stubbornly ahead for a chapter or two before collapsing as well. Curiosity thumbed randomly through the book and then tossed it aside with a sigh of regret. It is often said -- at least by me -- that failure is sometimes more interesting than success, rather like reassembling the wreckage of a jetliner to determine why it crashed, killing everyone on board.
This is not one of those times.
“In the Wrong Rain” is dismal union of two musty themes of the 1950s. Think of it as “The Man in the Gray Flannel Suit Meets Lolita.” If this were to be made into a film, it would star Jeff Chandler, Laurence Harvey or some other wooden leading man of the era as the inwardly tortured postwar executive; June Allyson or Donna Reed as his two-dimensional, cardboard wife; and Sandra Dee as the teenage jailbait daughter of an old college friend who comes to town.
Robert R. Kirsch on Raymond Chandler
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Richard III is believed to be one of Shakespeare's earlier plays , preceded only by the three parts of Henry VI and perhaps Titus Andronicus and a handful of comedies. It is believed to have been written c. 1591. Although Richard III was entered into the Register of the Stationers Company on 20 October 1597 by the bookseller Andrew Wise , who published the first Quarto (Q1) later that year (with printing done by Valentine Simmes ),  Christopher Marlowe 's Edward II , which cannot have been written much later than 1592 (Marlowe died in 1593) is thought to have been influenced by it. A second Quarto (Q2) followed in 1598, printed by Thomas Creede for Andrew Wise, containing an attribution to Shakespeare on its title page.  Q3 appeared in 1602, Q4 in 1605, Q5 in 1612, and Q6 in 1622, the frequency attesting to its popularity. The First Folio version followed in 1623.
Death and Romantic horror obsessed Wiertz. He was particularly attracted to these themes in Romantic literature, and a number of his works are based on novels and stories. The Premature Burial of 1854 is clearly inspired by Edgar Allan Poe. Wiertz also painted images of Quasimodo and Esmerelda from The Hunchback of Notre Dame by Victor Hugo.