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#6 | Ethel Cain | Preacher’s Daughter
Daughters of Cain
A very specific yet eclectic aesthetic emerges, one that borrows from Christina’s World, horror movies on VHS, Gummo on dusty DVD, the creepy wood-paneled world of ’70s rec rooms, ghost-filled lithographs, mulleted heavy-metal seediness, and, of course, countless images of pious Christian femininity. And so the wound appears to be not only personal, but sociopolitical in the sense that Ethel Cain is addressing, like all creators of the Southern Gothic, the long-festering intergenerational wound that is the American South. [Read Erika Wolf’s Review]
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