Letters from Amherst
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Samuel R. Delany. Letters from Amherst
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LETTERS FROM AMHERST
The Jewels of Aptor (1962)
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The chandelier the Phantom brings crashing down mid-story on the audience, murdering one unfortunate woman in the stalls, is doubtless an old-fashioned gas or candle-lit affair, which burned under the ceiling of the theater throughout the performance. The new one that goes up to replace it (and which the new theater managers are so proud of) is certainly an electric one, which is extinguished during performances—rendering the theater dark (and modern!), à la Bayreuth, but which—problematically and allegorically—allows the Phantom an even easier time in wreaking his murderous mischief on all and sundry.
Note that more than half the Phantom’s actual energy is directed toward the two new Paris Opera managers on “how his theater is to be run” and securing his 20-thousand-francs-per-quarter salary! I mean, how Wagnerian could you get? The Webber show, incidentally, takes it out of the Paris Opera and replaces it in an imaginary theater called The Opéra Populaire.
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