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“Everything Is Evil”: Why Life Is Necessarily Flawed

August 22, 2022

Unlike what you might think, the expression “everything is evil” is not an ethical assessment. Rather, it’s an existential one. This becomes apparent if we incorporate a bit more of the context: “Everything is evil. That is to say everything that is, is evil”.

These words belong to Giacomo Leopardi, an Italian poet of the 19th century – a literary giant with whom English-speaking audiences are not too familiar. One reason is that translating his poetry is considered notoriously difficult. Indeed, nobody dared to even attempt it until almost a century after his death.

At this point, I should make it clear: I’m not, by any stretch of the imagination, an authority on Leopardi’s poetry. Not even remotely. What I’m doing in this post is literally taking one of Leopardi’s most (in)famous passages out of context, to discuss why “everything is evil”. That is, why life is necessarily flawed.

“There is no other good except nonbeing”, wrote Giacomo Leopardi. If everything is evil, life is **necessarily** flawed.

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Reality in Frankenstein: Dreams and Temporal Distortion

November 9, 2020

Criticism

academia, frankenstein, reality, sublime, time

3 comments

Note: the following article on reality in Frankenstein is a modified excerpt (pp. 150-152) from my doctoral dissertation, “Time is Everything with Him”: The Concept of the Eternal Now in Nineteenth-Century Gothic, which is available for free from the repository of the Tampere University Press. For a list of my other academic publications, presentations, etc. feel free to visit the relevant page on the main Home for Fiction website.

Reality in Frankenstein is a matter of temporal perception. On more than one occasion Victor Frankenstein alludes to a distorted sense of time, which effectively precludes the possibility of defining reality. As the grieving scientist admits, “[s]ix years had elapsed, passed as a dream” (F 61).

However, the most powerful sense of loss of reality for Frankenstein comes after his friend, Henry Clerval, is found dead. The hapless man mentions how everything “passed like a dream from [his] memory” (F 135), and a little later, while in prison, he insists saying “if it all be true, if indeed I did not dream” (F 136).

Furthermore, he confesses that his entire life passed before his eyes like a dream, causing him to doubt whether any of it was real, “for it never presented itself to [his] mind with the force of reality” (F 136).

reality in Frankenstein — Reality in *Frankenstein* is directly related to the perception of time

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The Modernity of Dracula: Dialectics of Past and Future

June 12, 2020

Criticism

academia, criticism, Dracula, Gothic, modernity, time

2 comments

Note: the following article on the modernity of Dracula is a modified excerpt (pp. 66-67, 145-147) from my doctoral dissertation, “Time is Everything with Him”: The Concept of the Eternal Now in Nineteenth-Century Gothic, which is available for free from the repository of the Tampere University Press. For a list of my other academic publications, presentations, etc. feel free to visit the relevant page on the main Home for Fiction website.

Perhaps one of the most interesting utterances in Dracula is Jonathan Harker’s “old centuries had, and have, powers of their own which mere ‘modernity’ cannot kill” (D 43). However, what Jonathan fails to realize is that the joke is on him:

Dracula awes because he is old, but within the vampire tradition, his very antiquity makes him new, detaching him from the progressive characters who track him… Jonathan Harker looks in his shaving mirror and sees no one beside him. In Jonathan’s mirror, the vampire has no more face than does Dickens’s Spirit of Christmas Future. In his blankness, his impersonality, his emphasis on sweeping new orders rather than insinuating intimacy, Dracula is the twentieth century he still haunts … [He is] less of a specter of an undead past than a harbinger of a world to come, a world that is our own. (Auerbach 1995, 63; emphasis in the original)

And so, several scholars connect Count Dracula with modernity, through the concept of the eternal now. Dracula, like other Gothic texts, presents a temporal model in which “[c]hronological time is … exploded, with time past, present and future losing their historical sequence and tending towards a suspension, an eternal present” (Jackson 1981, 47).

The modernity of Dracula often passes unnoticed, *precisely* because of his very antiquity

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