Prologue. The fuzzy bit at the beginning that doesn’t make sense until you’ve read the whole novel. It's backstory in disguise. Prologues that start a thousand years in the past will cause the author to burn in hell. Okay, you most likely also speed forward over the Paw Patrol theme song.

The title, "Childe Roland into the Dark Tunnel Came", which forms the last words of the poem, is a line from William Shakespeare's play King Lear (ca. 1607). In the play, Gloucester's son, Edgar, lends credence to his disguise as Tom o' Bedlam by talking nonsense, of which this is a part:
ellauri198.html on line 902: Of what was once Rousseau—nor this disguise
ellauri221.html on line 300: After M tells Bond to take two weeks´ leave, Bond travels to Rio de Janeiro, where he meets Goodhead once more. Jaws, who is now working for Drax, tries to kill them both on a cable car at Sugarloaf Mountain. They escape, but are then captured by other men of Drax´s disguised as paramedics. Bond escapes from the ambulance speeding towards Drax´s base, but leaves Goodhead behind.
ellauri222.html on line 795: Though in some ways separated from American society, Bellow's protagonists also strongly connect their identity with America. Augie begins his adventures by claiming, "I am an American, Chicago born—Chicago, that somber city." Almost all of Bellow's novels take place in an American city, most often Chicago or New York. Through his depiction of urban reality, Bellow anchors his novels in the actual world, and he uses the city as his central metaphor for contemporary materialism. Although recognizing the importance of history and memory, Bellow's novels maintain a constant engagement with the present moment. His characters move in the real world, confronting sensuous images of urban chaos and clutter that often threaten to overwhelm them. Looking down on the Hudson River, Tommy Wilhelm sees "tugs with matted beards of cordage" and "the red bones of new apartments rising on the bluffs." Sammler denounces contemporary New Yorkers for the "free ways of barbarism" that they practice beneath the guise of "civilized order, property rights [and] refined technological organization." In Humboldt's Gift, which is replete with images of cannibalism and vampirism, Charlie Citrone sees Von Trenck, the source of his material success, as "the blood-scent that attracted the sharks of Chicago." Acknowledging the influence of the city on his fiction, Bellow himself has remarked, "I don't know how I could possibly separate my knowledge of life such as it is, from the city. I could no more tell you how deeply it's gotten into my bones than the lady who paints radium dials in the clock factory can tell you." However, although the city serves to identify the deterministic social pressures that threaten to destroy civilization, Bellow's heroes refuse to become its victims and instead draw on their latent nondeterministic resources of vitality to reassert their uniquely American belief in individual freedom, as well as their faith in the possibility of community.
ellauri257.html on line 52: He also intensified his relationship with a starets or spiritual elder, Matvey Konstantinovsky, whom he had known biblically for several years. Konstantinovsky seems to have strengthened in Gogol the fear of perdition (damnation) by insisting on the sinfulness of all his imaginative handiwork. Exaggerated ascetic practices with Matvey undermined his health and he fell into a state of deep depression. On the night of 24 February 1852 he burned some of his manuscripts, which contained most of the second part of Dead Souls. He explained this as a mistake, a practical joke played on him by the Devil in the guise of Matvey Konstantinovsky.[citation needed] Soon thereafter, he took to bed, refused all food, and died in great pain nine days later.
ellauri257.html on line 573: Lodge had endorsed a clairvoyant medium known as "Annie Brittain". However, she made entirely incorrect guesses about a policeman who was disguised as a farmer. She was arrested and convicted for fraudulent fortune telling.
ellauri267.html on line 97: Based on the novel by Walter Wager, "Telefon" has not aged well because it'(TM)s so dependent on the cold war tension that existed between the USSR and the US in the Seventies. The film is basically a cat-and-mouse game with Soviet agent Major Grigori Borzov (Charles Bronson, that's right Bronson is a commie) tracking rogue Russian scientist Nicolai Dalmchimsky (Donald Pleasence) across America to prevent him from activating sleeper agents. Borzov is assisted by Barbara (Lee Remick. fresh from "The Omen") who asks more annoying questions than necessary, leading the audience to believe she may not be completely true to the motherland. The film's middle section is dragged down by repetitive bomb scares. Dalmichimsky is working from outdated intelligence so his targets are all de-classified U.S. Military installations. Once Borzov realizes the pattern and hones in the next target the action shifts to a more linear chase that'(TM)s further heightened by Barbara'(TM)s loyalties. But the ultimate showdown is deflating because beyond some silly disguises Pleasence's Dalmichimsky is never built up to be a threat. Director Don Siegel uses his flair for montage to craft a his action sequences without dialogue. "Telefon" is a road movie, much like Alfred Hitchcock's "Saboteur" and "North by Northwest" had their leads criss-crossing America here we see plenty of seventies architecture including San Francisco's Hyatt Regency Hotel (used in "The Towering Inferno") and a modernist house resting on top of a barren rock outcropping. The supporting cast is uniformly good (but trapped in underwritten roles), and it'(TM)s nice to see veteran character actors Alan Badel and Patrick Magee playing snotty KGB strategists, and Tyne Daly in a small (and ultimately irrelevant role) as a computer geek. Trivia note: The poem that activates the Russian sleeper agents was used by Quentin Tarantino in "Death Proof" as the lines Jungle Julia has her listeners recite to Butterfly. The lines are an excerpt of the poem "Stopping by Woods on a Snowy Evening" by Robert Frost. "The woods are lovely, dark and deep. But I have promises to keep, And miles to go before I sleep, And miles to go before I sleep."
ellauri322.html on line 82: Excess and inequality of taxation, however disguised in the means, never fail to appear in their effects. As a great mass of the community are thrown thereby into poverty and discontent, they are constantly on the brink of commotion; and deprived, as they unfortunately are, of the means of information, are easily heated to outrage. Tupla hah.
ellauri322.html on line 460: You know that I have always been an enemy to what is termed charity, because timid bigots, endeavouring thus to cover their sins, do violence to justice, till, acting the demigod, they forget that they are men. And there are others who do not even think of laying up a treasure in heaven, whose benevolence is merely tyranny in disguise; they assist the most worthless, because the most servile, and term them helpless only in proportion to their fawning.
ellauri342.html on line 472: Equal purpose in disguise: Samassa salamielessä:
ellauri389.html on line 442: During the next 10 years Donne lived in poverty and humiliating dependence, first on the charity of Anne’s cousin at Pyrford, Surrey, then at a house in Mitcham, about 7 miles (11 km) from London, and sometimes in a London apartment, where he relied on the support of noble patrons. All the while he repeatedly tried (and failed) to secure employment, and in the meantime his family was growing; Anne ultimately bore 12 children, 5 of whom died before they reached maturity. Donne’s letters show his love and concern for his wife during these years: “Because I have transplanted her into a wretched fortune, I must labour to disguise that from her by all such honest devices, as giving her my company, and discourse.” About himself, however, Donne recorded only despair: “To be part of no body is as nothing; and so I am. … I am rather a sickness or a disease of the world than any part of it and therefore neither love it nor life.”
xxx/ellauri059.html on line 372: The Duke doesn’t know how to deal with it but Basanio, successful in his suit, recruits his clever fiancé Portia, who is schooled in matters of law, to appear as a judge, disguised as a man. The trial takes place and Portia grants Shylock the pound of flesh, and counsels him to show mercy. Shylock takes out his knife to cut the flesh from the area close to Antonio’s heart and she stops him and tells him that it is against the law for anyone to shed a drop of Christian blood.
xxx/ellauri068.html on line 145: Borat is transported across the world in a circuitous route by cargo ship and arrives in Galveston, Texas, where he finds he is a celebrity. Wanting to maintain a low profile, Borat purchases multiple disguises. He buys a cell phone and goes to welcome Johnny, but finds that Tutar is in Johnny's shipping crate and has eaten him. Horrified, Borat faxes Nazarbayev, who tells him to find a way to satisfy Pence or he will be executed. Borat decides to give Tutar to Pence.
xxx/ellauri068.html on line 147: Tutar receives a makeover and Borat introduces her at a debutante ball. At the ball, her menstrual blood is prominently displayed during a father and daughter dance. Oikeasti jenkkien coming of age-tansseissa isä ja tytär vaihtaa siveyssormuxet. Aika insestistä. Discovering that Pence is nearby at CPAC, Borat disguises himself as Trump and attempts to give Tutar to him there, but is ejected by security. Nazarbayev is enraged and tells him to return to Kazakhstan for execution. Realizing that he can still give Tutar to someone close to Trump, Tutar suggests giving her to Rudy Giuliani.
xxx/ellauri086.html on line 630: Dupin says he had visited the minister at his hotel. Complaining of weak eyes he wore a pair of green spectacles, the true purpose of which was to disguise his eyes as he searched for the letter. In a cheap card rack hanging from a dirty ribbon, he saw a half-torn letter and recognized it as the letter of the story's title. Striking up a conversation with D— about a subject in which the minister is interested, Dupin examined the letter more closely. It did not resemble the letter the prefect described so minutely; the writing was different, and it was sealed not with the "ducal arms" of the S— family, but with D—'s monogram. Dupin noticed that the paper was chafed as if the stiff paper was first rolled one way and then another. Dupin concluded that D— wrote a new address on the reverse of the stolen one, re-folded it the opposite way and sealed it with his own seal.
xxx/ellauri103.html on line 329: On and on it went. Rather than focus on the ultimate question around how we can know an experience we have not had, the argument became a tirade. It became about the fact that a white man should be able to write the experience of a young Nigerian woman and if he sells millions and does a “decent” job — in the eyes of a white woman — he should not be questioned or pilloried in any way. It became about mocking those who ask people to seek permission to use their stories. It became a celebration of the unfettered exploitation of the experiences of others, under the guise of fiction. (For more, Yen-Rong, a volunteer at the festival, wrote a summary on her personal blog about it.)
xxx/ellauri121.html on line 299: She thinks Moby Dick was a great masterpiece. Figures. She got engaged to James "Jay" Ford, a fellow student, in 1963, but by Easter the following year, she also met Jim Polk, a sensitive, witty graduate student from Montana whom she would marry in 1967. Polk’s recollections of Atwood are instructive and often amusing. He recalls one costume party at Harvard where she came disguised as Cleopatra’s breast.
xxx/ellauri122.html on line 850: adversarial relationship possibly disguised as flirtation
xxx/ellauri154.html on line 93: Besides a white rabbit, Aurore greatly admired General Murat (especially when he wore his uniform) and was quite convinced he was a fairy prince. Her mother made her a uniform too, not like the general´s, of course, but an exact copy of her father´s. It consisted of a white cashmere vest with sleeves fastened by gold buttons, over which was a loose pelisse, trimmed with black fur, while the breeches were of yellow cashmere embroidered with gold. The boots of red morocco had spurs attached; at her side hung a sabre and round her waist was a sash of crimson silk cords. In this guise Aurore was presented by Murat to his friends, but though she was intensely proud of her uniform, the little aide-de-camp found the fur and the gold very hot and heavy, and was always thankful to change it for the black silk dress and black mantilla worn by Spanish children. One does not know in which costume she must have looked most strange. I would vote for the Scrooge McDuck style high hat.
xxx/ellauri165.html on line 316: Seeing an opportunity to make some money by taking a cut of sales, Greville sent her to sit for his friend, the painter George Romney, who was looking for a new model and muse. It was then that Emma became the subject of many of Romney's most famous portraits, and soon became London's biggest celebrity. So began Romney's lifelong obsession with her, sketching her nude and clothed in many poses that he later used to create paintings in her absence. Through the popularity of Romney's work and particularly of his striking-looking young model, Emma became well known in society circles, under the name of "Emma Hart". She was witty, intelligent, a quick learner, elegant and, as paintings of her attest, extremely beautiful. Romney was fascinated by her looks and ability to adapt to the ideals of the age. Romney and other artists painted her in many guises, foreshadowing her later "attitudes".
xxx/ellauri170.html on line 883: He contributed many articles to the Theosophical Society's Lucifer (inexplicably renamed The Theosophical Review in 1897) as joint editor. Mead became the sole editor of The Theosophical Review in 1907. As of February 1909 Mead and some 700 members of the Theosophical Society's British Section resigned in protest at Annie Besant´s reinstatement of Charles Webster Leadbeater to membership in the society. Leadbeater had been a prominent member of the Theosophical Society until he was accused in 1906 of teaching masturbation to, and sexually touching, the sons of some American Theosophists under the guise of occult training. While this prompted Mead´s resignation, his frustration at the stiffness of the Theosophical Society may also have been a major contributor to his break after 25 years.
xxx/ellauri179.html on line 155: Bill Gorton is Kake's buddy from the war. A writer who moved back to America after the war, he is a joker, using humor to disguise the horrors of the war. He doesn't mind, for his penis remains shipshape and intact. He goes along with the group, unattached to Brett but getting caught up in the romantic business anyway.
xxx/ellauri179.html on line 338: The voice of Hemingway’s father is heard, challenging his son, as did the Father in the Biblical Garden. Slightly disguised, Hemingway’s dear father, who haunted his son’s life and work even after he had shot himself in 1961, sorry, after Dad had shot himself in 1928, remained an internalized critic until Ernest also took his life in 1961. No wonder, dad had had a cow.
xxx/ellauri187.html on line 135: With similarly blind zeal Freedman bases his insinuation that Rilke was secretly gay on two pieces of evidence: the poet's idealistic adolescent pact with another boy at military school, "sealed by a handshake and a kiss," as Rilke put it in a letter; and a fictional letter meant for publication, which brought Rilke, in Freedman's weasel words, "close to a disguised rendering of homosexuality with personal overtones." That's all the proof Freedman has.
xxx/ellauri235.html on line 734: The Spider and the Fly is a poem by Mary Howitt (1799–1888), published in 1829. The first line of the poem is "'Will you walk into my parlour?' said the Spider to the Fly." The story tells of a cunning spider who entraps a fly like Korinna (the name means little girl) into its web through the use of seduction and manipulation. The poem is a cautionary tale against those who use flattery and charm to disguise their true intentions (of fucking the little fly silly).
xxx/ellauri250.html on line 743: Gopalakrishnan also described a cult-like dynamic that favored accused men over harassed women. After writing out her concerns about the sexual dynamics within the movement on the EA forum, Gopalakrishnan watched the responses pour in. Shaken, she removed her post. She felt exposed, she recalls, and didn’t feel like being a punching bag. Most of all, Gopalakrishnan was disturbed at the way the rational frameworks to which she had devoted her life could be used to undermine her own experiences. “You’re used to overriding these gut feelings because they’re not rational,” she says. “Under the guise of intellectuality, you can cover up a lot of injustice.”