Aprender español LXXI: Carnada 070-072

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PAGE 70 (Four panels)

Panel 1: Claudia sitting on the rail of the RV Seagoon, staring pensively out to see for a moment.

Panel 2: Claudia in the act of taking off her glasses.

Panel 3: Close-up of Claudia’s hand having just set her glasses on the rail, in a position where they are staring back at the men on deck.

Panel 4: Turpentine with his arms crossed, looking out, expectantly.

PAGE 71 (Four panels)

Panel 1: Close-up of Claudia’s glasses, “looking back” at Turpentine.

Panel 2: View from the deck of Claudia leaping into the sea. Note that she is still fully clothed as she does this.

Panel 3: A splash from the same P.O.V. as Panel 3 where Claudia has gone into the sea.

Panel 4: View, from behind and beneath of Claudia, still fully clothed, swimming through the ocean water.

SUBTITLE (1): Recovered drone footage.

Translation (1): Imágenes recuperadas del dron.

PAGE 72 (Four panels)

Panel 1: Claudia floating upright underwater, still in her clothes, here eyes closed.

SUBTITLE (1): Recovered drone footage.

Translation (1): Imágenes recuperadas del dron.

Panel 2: Almost exactly the same panel as before, except that here Claudia has opened her eyes.

CAPTION – FUZZY BOX INDICATING RECOVERED SPEECH (2): This is ridiculous zzzt…fwww!

Translation (2): ¡Esto es ridículo zzzt… fvvv!

SUBTITLE (3): Recovered drone footage.

Translation (3): Imágenes recuperadas del dron.

Panel 3: Claudia kicking off her shoes. One should be shown sinking away from her.

SUBTITLE (4): Recovered drone footage.

Translation (4): Imágenes recuperadas del dron.

Panel 4: Claudia in the act of taking off her blouse, which she has unbuttoned.

SUBTITLE (5): Recovered drone footage.

Translation (5): Imágenes recuperadas del dron.

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A bit more on Hugh Rankin

(N.B. that I am indebted for this post to David Saunders’s post on Hugh Rankin at The Field Guide to Wild American Pulp Artists. The article contains its own small trove of Hugh Rankin’s art (see the links on the left-hand side of the page, and for both that and the article I recommend your visiting.)

Our boy Hugh (officially named Hugh Dearborn Copp) did his share of sexy covers for Weird Tales, many of them somewhat earlier than Margaret Brundage’s run. This one, for example, from August 1929:

As noted in yesterday’s post, Hugh’s mother Ellen Rankin Copp was a distinguished American sculptor, and herself the granddaughter prominent abolitionists and Underground Railroad “conductors” Jean (1795-1877) and John Rankin (1793-1886). Quite the American family! Mrs. Copp designed a 25-foot tall sculpture of the Hawaiian fire goddess Pele for the Hawaii pavilion at the 1893 Chicago Columbian Exposition.

Though only fourteen himself, Hugh ” sculpted a charming panel of Pixies and Brownies in a hurdle race, which was accepted by the Board of Lady Managers of the World’s Fair and exhibited in the Childrens’ Pavilion.” Mother and son were, in their way, nationally celebrated figures.

Dig even a little and history becomes more fascinating than we have a right to.

Aprender español LXX: Carnada 069

Claudia sale malhumorada.

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PAGE 69 (Four pages)

Panel 1: Claudia sitting back in her cabin writing a letter at a tiny desk.

CAPTION – PSEUDO-NARRATION (1): Within a few hours, the arrangements are made.

Translation (1): En pocas horas, todo estaba arreglado.

CAPTION – PSEUDO-NARRATION (2): Claudia writes one last letter to her academic advisor, thanking her for her support.

Translation (2): Claudia le escribe una última carta a su consejero académico, agradeciéndole por su apoyo.

Panel 2: Claudia taking a capsule from Hiram in his shipboard lab.

Hiram (3): It has been recalibrated…

Translation (3): La recalibramos…

Claudia (4): And if you got it wrong this time, I swear I will return from my watery grave and drag you back down with me.

Translation (4): Y si te equivocas esta vez, te juro que regresaré de mi tumba acuática y te arrastraré conmigo.

Panel 3: Claudia walking down a narrow ship’s corridor, with Turpentine behind her.

Turpentine (5): We cannot emphasize enough how much your sacrifice is appreciated, Dr. Honeywood…

Translation (5): Me sobran las palabras para expresar cuánto agradecemos tu sacrificio, Dra. Honeywood…

Claudia (6): Kindly go fuck yourself, Eustace.

Translation (6): Hazme el favor de irte a la mierda, Eustace.

Panel 4: Claudia walking out on deck. She’s fully clothed, wearing the same skirt and button-down blouse combination she was wearing when she came aboard the RV Seagoon. A few sailors with hang-dog expressions look on.

Claudia (7): You all are going to have to get your peep-show somewhere else today.

Translation (7): Tendrán que conseguir su espectáculo erótico en otro lugar hoy.

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That unfortunate trope again

A white woman somehow menaced by a sinister-looking Oriental is one of the more unfortunate tropes common in the pulp era, but Margaret Brundage did make use of it in an early Weird Tales cover (December 1933). I suppose I’m fair game for reproducing it here, but I hold to the view that we don’t make ourselves wiser in the present by blotting out parts of our past.

(I confess to be unusually pleased at seeing the little blue NRA eagle in the upper left-hand corner of the cover. We do our part!

In the interior, Hugh Rankin (1878-1956) provides a little tasty cheesecake to go along with Frank Owen’s story “The Ox-Cart.”

“Her glowing silver body was a gem of rarest worth.”

A biographical detail which caught my eye and which I’ll probably post more on tomorrow is that Hugh Rankin was the son of Ellen Rankin Copp (1853-1901), a pioneering American woman sculptor.

This issue of Weird Tales is available to read and download at the Internet Archive.

Aprender español LXIX: Carnada 068

Las carreras profesionales son solo para gente cooperativa.

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PAGE 68 (Four panels)

Panel 1: An imagined future panel showing Claudia carrying a cardboard box of her possessions out of an office building, escorted by a pair of security guards.

CAPTION – CLAUDIA NARRATING (1): I’ll be blackballed everywhere. My hard-earned career in science will be over.

Translation (1): Me rechazarán en todas partes. Mi carrera como científica, que tanto esfuerzo me ha costado, habrá terminado.

CAPTION – CLAUDIA NARRATING (2): That’s how things work, especially since the advent of the latest…administration.

Comment (2): “Administration” here is a way of suggesting “presidential administration,” which is that the government of the United States is culturally retrograde, probably biased against the interests of professional women and in favor of those of the very rich.

Translation (2): Así es como funcionan las cosas, especialmente desde la llegada de la última… administración.

Panel 2: Claudia back in the galley, brushing a strand of hair our of her eyes.

Claudia (3): And while I might not have Daphne Bosselseg’s heroic attitude about such matters, just like her, I am sure I’d rather be dead than spend a lifetime eking out a living in the twenty first-century service economy.

Translation (3): Y aunque no tenga la actitud heroica de Daphne Bosselseg para con estos asuntos, al igual que ella, estoy segura de que preferiría estar muerta antes que pasar el resto de mis días ganándome la vida en la economía de servicio del siglo veintiuno.

Panel 3: Claudia taking a sip of coffee.

Unseen interviewer (out-of-panel balloon) (4): You’re not seriously thinking of giving in to them, are you?

Translation (4): No estarás pensando seriamente en rendirte ante ellos, ¿o sí?

Claudia (5): Well, why not?

Translation (5): Bueno, ¿por qué no?

Panel 4: Claudia making a forced smile.

Claudia (6): Feed lots of hungry children, buy lots of mosquito nets, get my name on an eldritch horror…

Translation (6): Podría alimentar a muchos niños hambrientos, comprar un montón de mosquiteros, darle mi nombre a un monstruo famoso…

Claudia (7): And go out with a real bang.

Translation (7): Y cerrar con broche de oro.

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Death makes the maiden

This Margaret Brundage cover is from the March 1938 issue. Is our unclad cutie being evoked or dissolved by death? Either way, she looks surprised. She illustrates a Seabury Quinn story in another star-studded (as future generations would reckon it) cast of authors in Weird Tales. Virgil Finlay has an interior illustration to the cover story which, somewhat unusually for Finlay’s art in this period, presents exposed female nipples — Finlay would usually artfully conceal them.

“She cannot quit the earth, but must wander among the scenes of her misspent life.”

(Sorry about the severe yellowing of the page, but the medium was called “pulp” for a reason.)

This issue of Weird Tales is available to read or download from the Internet Archive.

Aprender español LXVIII: Carnada 067

Cuando todo lo demás fracasa, acude a la televisión.

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PAGE 67 (Four panels)

Panel 1: Claudia sitting alone in the ship’s galley with a cup of coffee, which she is staring at pensively.

CAPTION – PSEUDO-NARRATION (1): After a few days’ standoff, Claudia agrees to speak with us, but not with the ship’s crew.

Translation (1): Después de unos días de estancamiento, Claudia acepta hablar con nosotros, pero no con la tripulación del barco.

Panel 2: Closer-in on Claudia.

Claudia (2): The problem is that they’re right. Aside from their two volunteers, I’m the only one they can access in time. There are other women, but they don’t know the right protocols.

Translation (2): El problema es que tienen razón. Aparte de sus dos voluntarias, soy la única con la que pueden contar a tiempo. Hay otras mujeres, pero no conocen los protocolos correctos.

Panel 3: Claudia looking to one side, holding her cup of coffee between her two hands.

Claudia (3): It won’t be other people’s fuckups that anyone will remember. What everyone will remember will be that bitch who wouldn’t play ball and disappointed a very rich man.

Translation (3): Nadie no recordará el fracaso de otras personas. Todos recordarán a una perra que no quiso cooperar y decepcionó a un hombre muy rico.

Panel 4: Claudia looking down into her coffee cup.

Claudia (4): Like it or not, that’s how people will see it.

Translation (4): Nos guste o no, así es como lo verá la gente.

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