A Woggle of Witches is a picture book written and illustrated by American storyteller Adrienne (“Dean”) Adams in 1971. In total, Adams wrote six of her own books; mostly they illustrated for other writers.
Adrienne Adams was a prolific illustrator through the 1960s and beyond, and a two-time winner of a Caldecott Medal (1960 and 1962). Adams was born in Arkansas in 1906 and grew up in Oklahoma. They studied in Missouri.
The Tricksters is a young adult novel by New Zealand author Margaret Mahy, first published in 1986. Mahy wrote many stories for children, but The Tricksters seems to be one frequently talked about in scholarship circles, alongside The Changeover and The Haunting, which both won The Carnegie Medal. The Tricksters is a rare example of the new female mythic form, in which a main character (often femme, sometimes not) thinks and feels their way through a problem rather than leaving home to go on a journey and fight a bunch of opponents.
A large number of stories deal with the concept of ‘many selves’, often by creating some kind of mask (a false way of presenting to the world) and then having it ripped off (happily) at the end. Only once we live our authentic selves can we be happy… That’s the general message in such stories. The tricksters in this book are three corporeal representations of a single person — they all share the same memories, for instance. This is another way of dealing in fiction with the concept of the many selves.
Ovid: head, a master of metamorphoses. (The mind usually believes he is the leader of the group, and he usually isn’t.) Felix: heart, submerged in life but striving toward dominance in the course of the story. Felix and Harry fall in love. Hadfield: gut/instinct—at one point he tries to rape Harry.
American MIT philosopher Irving Singer (1925-2015) divided sex into three separate aspects:
Eros: The aesthetic joy we take in others. ‘The affective glue that binds us to other persons, things or ideals and to ourselves’. Humans are visual creatures but it’s not necessarily about the visual. In The Beauty Myth, Naomi Wolf writes at length about all the different forms of eros. We can be attracted to someone’s intelligence. The eros aspect of sex best equates to the ‘head’. As philosopher Damon Young says in his book Getting Off, “Eros need not be libidinal”. Referring to Shulamith Firestone’s book The Dialectic of Sex, Young writes “we can respond erotically to various and varied others — from lovers to friends. It is not just a genital swelling, but a ‘spark’, as she puts it, which fires over ‘the spectrum of our lives’. Because of this, we can have a broadly erotic response to objects other than human beings.”
Romance: The ‘heart’. Romance is notoriously difficult to describe as it differs across time and across culture.
Libido: ‘a somewhat automatic trigger for generating behavioral and physiological processes related to reproduction’. This is about biological urges (though is rarely about making babies, in fact). Libido is to humans as rutting is to animals. This is all about instinct and equates to ‘gut’.
The Tricksters is a coming-of-age novel about a young woman who is coming to terms with the various aspects of sex. Some aspects are thrilling; other aspects terrifying. When she conjures up three different manifestations of the same lover, she is imaginatively exploring and codifying these conflicting aspects. Unlike many young adult authors of the 1980s, Mahy does not punish her young women for exploring sex. She celebrates it. Though we are used to celebrations of sexuality in contemporary young adult literature, Mahy was ahead of her time.
In A Dark, Dark Room and Other Scary Stories written by Alvin Schwartz was first published in 1971 for emergent readers ready for scary… but not too scary. I recently looked closely at a modern picture book called Creepy Carrots, another excellent example of a ‘scary’ story perfectly pitched at 4-6 year olds. This collection is for emergent readers and is a bit more creepy than that. The adult reader is unlikely to be scared by any of these, but many adults today have wonderful memories of A Dark, Dark Room and Other Scary Stories.
How To Make Friends With A Ghost is a 2017 picture book written and illustrated by Rebecca Green. This cosy supernatural story is written as a non-fictional how-to guide and because this book deals with supernatural subject matter, covertly teaches how to be a good friend.
40 days — Some vampires only live for 40 days. Others are immortal.
Aristocracy — Vampires tend to be of the aristocracy, though every now and then you’ll find one from an uncouth/peasant background e.g. the vampire in “The Vampire” by Basil Tozer (1902).
Bats — Bats are the only mammals that can fly, but vampire bats are the only mammals that feed entirely on blood. sleep during the day in total darkness, suspended upside down from the roofs of caves. They typically gather in colonies of about 100 animals, but sometimes live in groups of 1,000 or more. The supernatural horror character clearly takes details from this animal. In some cases, vampire bats feature in the stories as bats e.g. “The Vampire Nemesis” by someone called Dolly (1905) is about a suicide victim reincarnated as a vampire bat. (It’s not a good story.) Vampire bats are indirectly terrifying to human communities because they suck the blood out of precious horses and livestock.
Baudelaire, Charles-Pierre-A French poet who wrote a notorious book of poems called Flowers of Evil. These poems inspired many literary works for years after. They were flamboyant and depraved. He was ordered to remove six of the most offensive poems from his book. Two of these were about vampires: “The Vampire” and “Metamorphoses of the Vampire”.
Bloodlust — An obsessive desire for blood (probably human). Blood drinking is not just a vampire thing. In classic chivalric romance, when the young man in the woods is captured by a fairy queen and taken away to a dangerous fairy land, the fairies may drink blood. Blood drinking is connected historically to ancestors as well as to fairies — it has been believed in the past that if ancestors are not fed carefully they will take revenge by drinking the blood of living members of the family.
Body parts — Severed body parts are a horror trope, used equally in vampire horror. “The Blood Fetish” by Morley Roberts (1909) features a severed hand which takes on a life of its own, absorbing blood. “A Dead Finger” by S. Baring Gould is about a man haunted by an animated finger. He is attacked vampirically after the rest of the finger’s body materialises.
Body snatching — Body snatching is the secret removal of corpses from burial sites, though bodies usually weren’t dug up out of graves. In Britain, bodies used to be kept in mort houses until the ground warmed up and could be more easily dug up. (They had no back hoes back then.) A common purpose of body snatching, especially in the 19th century, was to sell the corpses to medical schools. This crime fed vampire mythology of the day and was clearly on everyone’s mind. People worried about their bodies being dug up could order an iron structure in the shape of a coffin. This was called a mortsafe. The family might also hire guards, though guards could be bribed.
Bram Stoker — Stoker wrote Dracula as well as several other crappier stories. He was stage manager for famous Shakespearean actor Henry Irving in the 1870s.
Byronic vampire — He is tall and gaunt, bordering on emaciated. He has a pale, spectral face. His demoniac eyes show he understands sin and passion. Those eyes seem to penetrate into the heart of his victim. He can read her thoughts. He has a wide mouth with thin, cruel lips. The lips are a brilliant red because he’s been sucking blood. They curl back in anger to reveal long, sharp teeth. He wears funereal black. His long black coat flaps about him like bat wings. In other words, he is irresistible. He has a magnetic personality and is sexually fascinating. He approaches his victims as a lover rather than as a predator. He lulls her into a false sense of security.
Camp — Some vampires are camp, which basically means a preference for reversal and a preference for artifice over nature.
Cannibalism — Vampires (and also zombies) are supernatural creatures with cannibalistic tendencies, though as Anne Rice’s vampire points out, at least vampires only take your blood (and, okay, maybe your ‘vitality’). They don’t butcher you dead for your meat and leather.
Carmilla — Considered the greatest vampire story prior to Bram Stoker’s Dracula. This novella was written by Joseph Sheridan Le Fanu, published 1871. Carmilla revolves around a beautiful female vampire’s attempts to seduce a frail young girl. It’s a lesbian love story. The vampire part only comes in at the end. Psychologically, the story was ahead of its time. (Historically there are very few gay vampire stories featuring two male characters.)
Chupacabra — Spanish for ‘goat sucker’, a mythological creature which kills livestock. The legend went viral in the 1990s after hundreds of dead farm animals were found in Puerto Rico, drained of their blood. Chupacabra tales soon spread around the world. People think they’ve seen the chupacabra but they’re probably seeing mangy dogs or coyotes.
Cloak — Modern vampires often wear normal clothes but last century vampires were associated with a cloak. That cloak with the high collar was a workaround by playwright Hamilton Dean whose stage adaptation of Dracula meant he had to create some way of making it looked like the count vanished into thin air in front of a live audience.
Cryptobotany — Long before Day of the Triffids, carnivorous plants existed in Gothic horror, including in vampire stories. This subgenre was pioneered by Phil Robinson who wrote “The Man Eating Tree” (1881). In “The Story of the Grey House” guests stay at a secluded country mansion but are strangled and drained of blood by a demoniacal creeper growing among the shrubbery. Another is “The Purple Terror” (1899) by Fred M. White.
Curse — Some vampires became this way because of a supernatural curse. Others became vampires via a disease route, perhaps inherited. Sometimes they become a vampire because they’ve been bitten by another vampire (similar to an infectious disease).
Dawn — Some vampires must return to their graves at dawn. This is why the Twilight series makes use of times of day.
Daylight — Noserferatu was the first vampire to be killed by daylight.
Dead wizards — Dead wizards are vampires.
Decadent Movement — This movement was an influential force in European literature in the late 1850s. Its heyday was the 1880s. Vampire stories escaped straight Gothicism but became more sadist. Horror stories of this movement are obsessed with death and corruption and exploring abnormalities of sexuality. If Victorian society considered something taboo, you could probably read all about it in Decadent horror. The Decadents were morally influenced by Sade. They were thematically influenced by Poe.
Disease — In some vampire stories they spread disease. Vampire mythology is itself sometimes an allegory for the spread of disease. Diseases spread by blood are especially prone to this treatment.
Dracula — A classic novel by Bram Stoker, epitomal vampire story and a best seller since it was first published in 1897. Associates an undead lord with a harem of female vampires. Count Dracula is a homicidal lunatic and human bloodsucker. This is the story that systematised the rules for vampire stories. This book is out of copyright and can be read freely online.
Embrace — Sometimes this verb is used to mean the process of transformation into a vampire.
Erotic symbolism — In the repressive Victorian era censorship and strict moral codes prevented authors from writing erotic vampires (as the Romantics had done previously) so writers had to rely on a complex set of symbols to convey the same ideas.
Fangs — Blood-sucking vampires need to somehow puncture the skin so often have fangs. Fangs are the sexiest kind of teeth. Sometimes those are retractable or extend when feeding. Less attractive vampires might have shark or rodent teeth, or teeth like the inside of a leech’s mouth. The vampires in Twilight don’t have fangs but their teeth are sharp and coated in venom.
Fatal Man — The Fatal Man is a male anti-hero archetype created by the founders of the Romantic school of literature.
Fatal Woman — The Fatal Woman is a female antihero archetype created by the founders of the Romantic school of literature. She is more of a stock character than her male counterpart, because she’s the female equivalent of the Byronic vampire. She is an insatiable nymphomaniac even after she’s dead. She can be described in absolutes: absolutely beautiful, absolutely perverse, absolutely seductive. She is the quintessence of glamour. Like the male Byronic vampire her mouth is slightly too large. She loves the smell of rot. She inhales it like it’s an expensive perfume. She’ll have long red hair, either groomed in an irredescent coiffure or worn loose, in curls like snakes. When she drops her mask she is revealed to have the hungry visage of a praying mantis. Of all the Fatal Woman characters, the female vampire is the most deadly. After Baudelaire wrote his infamous vampire poems, the Fatal Woman dominated the scene. In one of the poems, the narrator imagines himself surrendering masochistically to the kisses of a fierce female vampire. The Fatal Woman dominated vampire stories until Bram Stoker came along.
Female vampires-At first, female vampires were rare. But as vampires became sexualised female vampires became popular. (All female monsters are at some point sexualised because sexualising a female monster is one way to subdue her. It happened to sirens, witches and so on.)
Femme fatale — The female Byronic vampire is your classic femme fatale, but femmes fatales go back way further than that. Cruel, sensuous women who like to destroy their lovers can be found in the literature of Antiquity and the Renaissance. But it was the Decadents (and later the Symbolists) who made her into an established archetype. By 1900, the ‘vamp’ had become a cliche.
Fledgling — a newly spawned vampire (a word from Anne Rice novels)
Free will — Unlike zombies, modern vampires have free will. They get to choose whether they are good or evil, depending on their individual choices. Some vampires are able to achieve a mutually symbiotic relationship with regular humans.
Ghoul — in vampire subculture, a ghoul is a servant under a vampire’s supernatural influence or control
Glamour — The female Byronic vampire is the quintessence of glamour.
Golden Age of Supernatural Fiction — By the start of the 1910s the golden age of supernatural fiction was drawing to a close. This subgenre of fantasy had been going strong since 1887. During this period: the first volumes of M. R. James’s ghost stories, Algernon Blackwood masterpieces like “The Wendigo”, Stoker’s Dracula, Arthur Machen’s “White People” and Henry James’s novella The Turn of the Screw. This period has been hugely influential on later cosmic horror e.g. Lovecraft said he was influenced by James, Machen and Blackwood.
Gothic — Against what we might think, the vampire was almost entirely absent from fiction written in the high Gothic style. An exception is “Wake Not the Dead” by Johann Ludwig Tieck (c. 1800).
Grave robbing — The crime of stealing valuables which have been buried with the dead. This fed vampire mythology. Grave robbery is far more common than we might expect. Archeologists have been regularly disappointed to find historically significant graves which have been previously done over by robbers.
Jubokko — The Jubokko is a vampire tree in Japanese folklore. It appears in battlefields where people have died and sucks up the blood from the dead. When a human being happens to pass by, it captures the victim and sucks the blood out of them.
Knots — Vampires are supposed to be able to unravel any knot they come across.
Horla, The — “The Horla” is a short story by Guy de Maupassant about an invisible vampire (1887).
Incarnate —Embodied in human form, especially when it refers to a deity or spirit.
Insects — Vampires aren’t always human. “The Feather Pillow” by Horacio Quiroga (1907) is about a young woman whose blood is gradually sucked out of her body by a monstrous insect hiding in her pillow. “The Electric Vampire” by H. Power (1910) is about a mad scientist who creates a giant electrically charged insect who feeds vampirically on human blood.
Jiangshi — A Chinese vampire, also known as a Chinese hopping vampire or hopping zombie. It is a stiff corpse dressed in traditional clothing. It moves by hopping about with its arms outstretched. Unlike Dracula inspired vampires they can see their own reflections but are terrified of them.
La Morte Amoureuse — The most famous vampire tale of its era (published 1836) written by Theophile Gautier.
Leech — More animals than you think might suck on your blood, though the leech is one of the best known. And like vampires leeches have a ‘dual nature’ in relation to humans — enough leeches could kills us, but they’ve also been used medically. Today they are still used in many parts of the world to help heal wounds and restore circulation in blocked blood veins. Fleas, female mosquitoes, ticks and lice also consume blood from living beings — less commonly known is a bird known as the vampire finch. There’s also a vampire squid. Mosquitoes kill the most people worldwide but the candirú is perhaps the scariest. It swims up your urethra. Then there’s the lamprey. Lampreys latch onto a host with hook-like teeth and gulp down its blood as it swims. Fish don’t have arms and have no way of getting a lamprey off.
Life force — In some stories, vampires drain life-force. Commonly this is by drinking blood, but they might take some other bodily fluid or by frightening victims to death.
Lord Ruthven — The prototypal vampire, based on a real-life nobleman Lord Byron, created by Dr. John William Polidori, 1819, in a story called The Vampyre. Polidori was Lord Byron’s secretary and traveling companion. Lord Byron was flamboyant. The fictional creation Lord Ruthven was considered shocking in its day because writers didn’t normally write noblemen as monsters.
Naturalist — In the 1700 and 1800s vampire stories got the high Gothic treatment. But in the early 1900s, on the European Continent, Gothic stories were looking outdated. Vampire stories were getting a more naturalistic treatment. A good example of this shift is “A Vampire” by Luigi Capuana (Italy, 1907). This story doesn’t feel at all like a tale of terror — it is more like a case study.
Nosferatu — A 1922 German silent film, which first brought Count Dracula to the big screen. (It was followed in 1931 by another Dracula film, this time starring Béla Lugosi.
Pallor — Vampires are often portrayed as pale in an unhealthy kind of way. But in European folktales vampires had dark or ruddy skin. Parodies of vampires can be any colour (lavender if you’re on Sesame Street, green if you’re Count Duckula). Ordinary to pale skin is more common. Stephenie Meyer came up with the invention of skin that sparkles under sunlight.
Plot — A traditional Gothic thriller vampire plot goes like this: Guests stay overnight at an abbey, formerly the bedchamber of notorious X (e.g. a knight). They wake in the morning exhausted with red marks on their skin. The hero discovers a secret entrance to an underground burial vault containing the coffin of the undead X. “The Stone Chamber” (1899) is a good example of this.
Poe — Edgar Allen Poe explored the darker side of the human psyche with his subtle vampire tales. Meanwhile, other vampire writers were relying heavily on Gothic effects which were becoming outdated (thanks to Poe).
Pontaniak — A female vampiric ghost in Malaysian and Indonesian mythology, said to be the spirit of a woman who died while pregnant. Also spelt pontaniac.
Pregnancy — As if pregnant people don’t have enough rules to worry about, if a vampire looks at you in your sixth month, the baby inside will turn into one as well.
Psychic vampire — Psychic characters are common in vampire stories — either the vampires themselves or the detectives might have psychic abilities.
Psycho sexual vampire — Psycho sexual stories are about the psychological aspects of sex. A Nazi sympathiser was one of the first writers to create the vampire as a symbol of the psycho sexual impulse (Hanns Heinz Ewers). Partly for this reason, his work isn’t very popular today. Check out Alraune (1911) if you’d like to go there. For a less confronting insight into this archetype, check out the character of Raoul Duquette from “Je ne parle pas francais” by Katherine Mansfield.
Reflection — In many older stories, e.g. Dracula, vampires have no reflection (nor cast any shadow). This trait is still sometimes used by modern storytellers e.g. Being Human, The Lost Boys, Van Helsing, but perhaps more often in vampire parodies e.g. Sesame Street, Count Duckula. Traditionally, vampires are transparent. Light passes through them. (They’re related to the concept of a ghost.) Vampires can magically make themselves visible to humans, but this ability doesn’t extend to reflections. In modern stories, the ancient trait can be modified for modern technology — the vampire does not appear on film.
Romantics — The Romantics were interested in the connection between love and death, and the way pain is sometimes linked with pleasure. They portrayed the vampire as an irresistible seducer. The vampire personified darkness and forbidden pleasures. He was a man and chose innocent young women as victims. He takes delight in corrupting them. He robbed them of their blood and their virtue.
Seed scattering — If your vampire has to return to their grave before dawn, you can trap them above ground by scattering seeds. The vampire will feel compelled to count them and forget that the sun is coming up. This trait dropped out of fashion when vampires became sexy. This is not a very sexy thing to do.
Sekhmet — Blood sucking creatures exist in ancient myth. Sekhmet from Egyptian myth might one of earliest known vampires. She is a god with the face of a cat/lion who drank a lot of blood. In most depictions she is colored red. She was also a sun deity and had a dual nature — both good and bad. Apart from drinking blood she was also the goddess of healing. This is in line with much more modern vampiric creation in which a man doesn’t know if a femme fatale is going to seduce him or kill him.
Seventh son — Seventh sons are vampires.
Shapeshifter — The vampire is the ultimate shapeshifter. Versions of vampires are found in folklore from all over the world, making the vampire ‘the monster with 1000 faces’.
Silver — Silver was traditionally seen as a ‘pure’ metal. Purity is abhorrent to supernatural creatures. Originally mirrors were made by laying a sheet of glass over silver. This perhaps accounts for why vampires are unable to magically make themselves visible in mirrors, even though they do have the magical ability to appear to humans ‘in person’, despite the fact that light passes right through them.
Sire — In common vampire usage, the sire is the the vampire who transforms another person into one of the undead.
Soul — Vampires are members of the undead so they have no souls. Back in the day, it was thought that mirrors reflected souls. Creatures without souls can’t be reflected in a mirror, which accounts for why vampires can’t see themselves in a mirror.
Submission — Decadent vampire novels are full of effeminate, submissive male heroes who enjoy being the plaything of a cruel, dominant woman.
Tolerance — Children’s authors tend to use vampires in stories to promote tolerance towards people from other cultures, or anyone different from the norm.
Topographical vampire — When the setting behaves like a human-shaped vampire, sucking the life out of the human characters in some way e.g. the “Forbidden Corner” in “The Transfer” (1912) or the nature spirit of a snow-clad mountain/river/forest e.g. “A Descent Into Egypt” (1914), both by Algernon Blackwood.
Transubstantiation — Transubstantiation is a Christian concept. Eucharistic elements become the body and blood of Christ while keeping only the appearances of bread and wine. Vampire lore uses this symbolism.
Transgression — Vampire stories are transgressive. They are about pushing boundaries.
Transylvania — Vampires became associated with Transylvania because of Count Dracula. Vlad the Impaler (Stoker’s inspiration) was born in Sighisoara, a Transylvanian town. Today the region makes use of this association in its tourism. Visitors can visit Bran Castle, which is kind of ‘Dracular-y’ but doesn’t have any direct connection to the book.
Twilight — Twilight is a young adult series of novels by Stephenie Meyer, later adapted for film. This series was the beginning of a new resurgence in vampire enthusiasts in the early 2000s. Commentators draw parallels between Twilight and Pride and Prejudice.
Vampire — The word ‘vampire’ has French, Hungarian and Turkish origins, perhaps starting with Turkish ‘uber’, meaning ‘witch’. These days we associate the look and feel of a vampire with Count Dracula. Bram Stoker cemented the vampire’s details with his super popular book. But in earlier times, ‘vampire’ meant pretty much any form of non-ethereal (corporeal) undead. For instance, Balkan werewolves were considered a subcategory of vampire.
Vampire anime — Japanese vampire animation as developed a large fan base among English speaking audiences. e.g. Vampire Hunter D (1985).
Vampire poetry — The first vampire literature was poetry e.g. A Vampyre of the Fens (beginning of the 1000s) then Le Morte D’Arthur in the 1400s. (A lot of literature got lost in between)
Vampire romance — A subgenre of romance which is about intimacy rather than a disconnection between human and nonhuman. Obsession by Lori Herter in 1991 was the first vampire novel to be marketed as a romance rather than shelved with horror or fantasy.
Vitality — If you go to the doctor today she’s unlikely to ask you about your vitality, though medicine does talk about ‘vital statistics’ and so on. ‘Vitality’ once meant ‘life spirit’, ‘energy’, ‘general health levels’. Vitality is the mysterious life force that separated the living from the dead. Vitality could be sucked out of you by a supernatural creature. A malevolent elemental might become palpable after absorbing an invalid’s ‘vitality’ e.g. “The Story of the Moor Road“. The Light of the Eye (1897) by H. Chaytor is about a man whose eyes have the power to suck out other people’s vitality, so the magic isn’t necessarily blood related..
Vlad the Impaler — Cinema vampires tend towards good-looking these days but ‘good-looking’ wasn’t always the aim. Here is Stoker’s original description of Count Dracula, which is based on the story of Vlad the Impaler: ‘His face was a strong—a very strong—aquiline, with high bridge of the thin nose and peculiarly arched nostrils; with lofty domed forehead, and hair growing scantily round the temples but profusely elsewhere. His eyebrows were very massive, almost meeting over the nose, and with bushy hair that seemed to curl in its own profusion. The mouth, so far as I could see it under the heavy moustache, was fixed and rather cruel-looking, with peculiarly sharp white teeth; these protruded over the lips, whose remarkable ruddiness showed astonishing vitality in a man of his years. For the rest, his ears were pale, and at the tops extremely pointed; the chin was broad and strong, and the cheeks firm though thin. The general effect was one of extraordinary pallor.’
Vrykolakas — This is the undead vampire equivalent from Greek mythology. Drinking blood isn’t one of its main features. They don’t decay after death. If you ate the meat of a werewolf you might become a vampire. You wouldn’t have wanted to have red hair and grey eyes at this point in history either, because people would’ve assumed you were a vrykolakas. (In the West, red hair was more associated with witches.)
Weird Tales: The unique magazine —Weird Tales was an American pulp magazine with higher than usual production values. The publication lasted 30 years from 1923. It was hugely influential and pioneered the development of the weird-fantasy story as a specialised form of popular fiction. It was the first all-fantasy magazine in the world. Vampires were a popular theme. The author most closely associated with Weird Tales was H. P. Lovecraft.
In the second part of this two-part examination of vampire from lore from around the world, Folklore Podcast creator and host Mark Norman moves on to discuss ways of ensuring that the recently deceased do not rise again as vampires and, if these measures fail, what differing methods are available to destroy a creature. What are the differences between pinning and staking? Which wood should you use for your stake? Why were some bodies buried with farm implements?
Header painting: Jules Adler – Transfusion of Goat Blood 1892
‘Eyrbyggja Saga’ (‘Story of the People of Eyrr’) was written. This story is full of the walking dead, e.g. Thorodd and his men. In this story, the living aren’t especially worried about the walking dead. Thorodd and his men have been drowned, and the living believed that drowned people had been well received by the sea-goddess, Ran, if they attended their own funeral feast. It was only later that the walking dead became unwelcome. They loiter around the first every night and the living become unnerved. So the hero of the story sues them. They leave. These walking-dead stories are to do with the beliefs of pre-Northern Europeans — that the dead could still see, hear and feel.
The word ‘zombi’ first appeared in Le Zombi du grand Perou by Corneille Blessebois. A woman is tricked into thinking she’s an invisible spirit called a zombi. Back then, zombis were spirits or ghosts, not the walking dead as we know them today.
The word ‘zumbi’ appears with a meaning closer to how we use it today in A History of the Voyages and Travels of Capt. Nathaniel Uring. The word ‘zumbi’ refers to the apparition of the dead person, but they walk around and torment the living, much like contemporary zombies.
Robert Southey publishes History of Brazil, in which ‘zombi’ refers to the elected chief of the maroons in Pernambuco. Southey means the guy behaves like he doesn’t have any free will.
The word zombie first appeared in print in an American newspaper in a reprinted short story called “The Unknown Painter” in 1838.
The word zombie became mainstream in English after W. B. Seabrook published The Magic Island.
28 Days Later
Danny Boyle’s modern version of Romero’s films. But these zombies are neither bewitched nor reanimated dead. Instead, they’re infected with a virus known as ‘rage’. Docile humans transform into terrifying red-eyed shells of their former selves. The virus has a magical quality.
Astral zombies are individuals who still walk among the living but have either sold their souls or had them stolen by a houngan. Astral zombies derive from Haitian folklore. But as you can probaly see, they also share similarities with Deal With The Devil stories. Young adult novel The Boy Who Couldn’t Die by William Sleator (2004) is an astral zombie story.
Similar to zombies in that they have no free will, but unlike zombies they didn’t start from a living being.
Many people who follow the voodoo religion today believe zombies are myths, but some believe zombies are people revived by a voodoo practitioner known as a bokor.
A cannibal eats other humans. Throughout human history, cannibalism has sometimes been acceptable practice, involving ceremonial consumption of flesh from diseased relatives or, more often, from captives of war. Zombies are commonly cannibals and have a craving for human flesh.
These days, zombies are commonly thought to eat brains. A lot of our modern conception of what zombies are like comes from George Romero’s film franchise, but Romero himself did not create zombies who ate brains (they ate living flesh in general). The idea that zombies eat brains may come from an episode of The Simpsons Dial Z For Zombies. This is a spoof of Return of the Living Dead. A generation of kids saw this episode before they were old enough to see a real zombie film.
Comics Code Authority
In the 1930s and 1940s plenty of zombie tales appeared in pulp magazines like Weird Tales and Strange Tales. In the 1950s, zombie tales alarmed child development experts. In America, their activism led to the formation of the Comics Code Authority. For the two decades after 1953, this authority prohibited ‘scenes dealing with, or instruments associated with walking dead, torture vampirism, ghouls, cannibalism, and werewolfism’ and this put some horror comics out of business. However, some comic publishers refused to abide by the rules and zombie stories continued to find an audience.
A crypt is a stone chamber beneath the floor of a church or other building. It typically contains coffins, sarcophagi (coffins) or religious relics.
Zombie bodies are often decaying. This emphasises the horror of death itself.
Dread is anticipatory anxiety. The fear of encroaching zombies is as bad as actually facing them head on, if not worse. Hence, they often walk slowly, allowing more time for audience (and character) dread.
Malevolent corpses from the Norse sagas. These creatures take the offensive by attacking and eating anyone who invades their burial barrows. The wonderful gothic subject matter of these sagas became popular outside Scandinavia in the second half of the 1700s. Draug Asuidus and Thorolf Baegifot are examples.
to dig out (something buried, especially a corpse) from the ground
There aren’t exactly any zombies in the Bible, but there are many references to bodies being reanimated or resurrected. The book of Ezekiel describes a vision where Ezekiel is dropped in a boneyard and prophesies to the bones. The bones start to shake and become covered with muscle and flesh until they’re reanimated yet “there was no breath in them.”
Féile na Marbh
Irish Feast of the Dead. On this night, spirits of the departed rise up, seeking the warmth of the fireside and communion with their living kind. Irish families are supposed to light a candle and leave it in the window, or leave an empty chair by the fire to guide wandering wraiths back home, where the wraiths will receive their blessing for the coming year.
Zombies in stories will always be flat characters because of their lack of free will. Their desires are basic (not tiered), they can’t make plans and they are indistinguishable from one another, or from any number of other horror monster creations which simply won’t quit. They don’t understand the wretchedness of their condition.
Frankenstein’s monster is a bit like a zombie because he has no free will but he is not made from a reanimated human or animal and therefore does not qualify as a zombie.
To qualify as a zombie, a creature must have no free will. Mummies and vampires are also renanimated corpses but are not zombies because they have free will. Zombies must be completely subordinate to the will of someone else or to some monomaniacal drive. The drive might be for human flesh, violence, revenge or perhaps resistance of the tyranny of entropy itself. Zombies are therefore a parody of slavery. (The other critieria is that a zombie must be reanimated from a human or animal.)
in Jewish folklore, a golem is an image (typically made from clay or mud) brought to life by magic. Golem in the Bible and in Talmudic literature refers to an embryonic or incomplete substance. Golems are not zombies but instead corporeal beings created from other forms of matter. Zombies have to come from humans or animals to qualify as zombies.
Modern zombie stories are commonly set in the 1700s especially if they’re comic e.g. Pride and Prejudice and Zombies. This was the century that invented the gothic novel. We think of Enlightenment and Regency England as a time of rigid, stable and elaborate social codes. Whether this is true or not, this era makes a good setting, ripe for disruption. Also, characters in powdered wigs contrast comically with decayed bodies wearing them. I Walked with a Zombie (1943) owes a lot to Gothic stories from the 1800s, and is very loosely based on Jane Eyre by Charlotte Bornte. The story is set in the Caribbean. Also typically, the dark-skinned natives use voodoo for good (improved health and well-being) but the whites appropriate native practices for their own evil ends.
Grendel is a character in the poem Beowulf. HE and his mother exhibit some qualities of the modern zombie — they can’t speak, eat human flesh and just keep coming after the Danes for no reason. They are also strangely human. Metaphorically, they represent the Danes’ failings: pillaging vengeance and pride.
Important to understand: In the late 1700s, enslaved Haitians successfully threw off their oppressors. There was a massive bloody struggle. The number of British and French soldiers was far higher but slaves still managed a revolution. It was two decades after this revolution that the word ‘zombie’ first appeared in English. In 1819 a poet called Robert Southey used it as a metaphor for imperialism in the Americas, meaning that colonised people had been robbed of their free will.
Shakespeare may have made reference to zombies in Hamlet: A mote it is to trouble the mind’s eye. In the most high and palmy state of Rome A little ere the mightiest Julius fell, The graves stood tenantless and the sheeted dead Did squeak and gibber in the Roman streets
Zombies have Haitian roots. A houngan is a type of voodoo priest. If you want to take revenge on someone, you can pay this houngan to give your victim a deadly neurotoxin out of a pufferfish. This toxin convincingly simulates death. The victim’s family thinks they’re dead and buries them. However, the houngan digs them back up and revives them, sort of. This newly minted ‘zombie’ is kept ‘in thrall’ and used as a slave. The zombie is not properly fed – they must be kept in a malnourished state. In fact, feeding zombies salt or meat may be enough to rouse them from their stupor. At this point they’ll either kill their master, kill themselves or go running back to their grave. When the houngan dies, the zombie person is meant to be free. But sometimes that just means jumping to their death.
Italian zombie film
Zombie (1979) by Lucio Fulci is a typical example of the Italian zombie film – a category in its own right. Similar to serial killers in American slasher films, Italian zombie films are shot from the heterosexual male gaze, and the audience is expected to become complicit in feasting upon naked women, or preying on couples having sex. Laura Mulvey has said that the image of a naked young woman often juxtaposes against an image of a disgusting, decaying zombie. In the Italian zombie films this takes on a more literal layer – the zombie is shown to eat the naked woman’s body. These are women who receive abuse from both humans and zombies. The women exist to absorb violence.
the state of being a lunatic; insanity (not in technical use). The word comes from ‘moonstruck’. It used to be thought that the moon causes madness.
This word describes something disturbing because of its connection with death.
In early 20th century zombie films, time and again villains learn that to possess the woman’s mindless body is unsatisfying. (A guy called Dendle said that.) White Zombie is a classic example, and so is Plague.
having or showing a wish to do evil to others. This is the zombie’s only desire.
to go about in search of things to steal or people to attack.
Irish night walkers
The zombie is quite literally a memento mori, and serves to remind us that if we think we can cheat death, we are only fooling ourselves. Night of the Living Dead
Mummies share the shambling gait of the zombie but are generally covered in bandages. Generally mummies aren’t considered zombies because they not entirely without their own will, or completely controlled by one basic drive.
Night of the Living Dead
Night of the Living Dead by Romero (1968) is a watershed zombie film series. Romero took various aspects of earlier zombies and crystalised them into an iconic creature we recognise today — the slow, inarticulate, shambling, undead thing motivated only by a desire to eat human flesh. They have no master and are horribly persistent. George Romero’s zombies are created by a vague technology run amok. We are never told what brings the recently dead back to life, but it’s thought to be radiation leaking to earth from a satellite. This was a typically Cold War fear, reminiscent of a whole lot of 1950s films in which radiation causes men to shrink and women to grow massive. In this film there is an indistinct boundary between monster and victim, and the audience questions how monsters are essentially different from humans. (Maybe not so different after all.)
Unlike giants (more generally), ogres have a massive appetite. Zombies and ogres are therefore related.
On the island of Haiti, it’s not unheard of for family members to actually see their dead alive, walking in a state of zombification. But no one wants to reclaim them. They are seen as irredeemably unclean and are now outcasts forever. They’re not figures of terror, though. They’re not capable of harming anyone. Instead, they are a creature hovering between life and death – it has no will to kill, or any will at all – and is simply a scary symbol of human bondage.
In stories, zombies often come about due to some sort of outbreak. Robert Kirkman, creator of the immensely popular Walking Dead series, has said he will never reveal how the original zombie outbreak started or how the zombies infect through biting because that detail is “unimportant” to the story.
Bokors have a tradition of using herbs, shells, fish, animal parts, bones and other objects to create concoctions including “zombie powders,” which contain tetrodotoxin, a deadly neurotoxin found in pufferfish and some other marine species.
White film makers of the 20th century tended to appropriate from other cultures and centre white people and white people’s fears. The white male nature of zombie stories itself is a zombie that just won’t die. The Walking Dead Has Become A White Patriarchy, so I have been going elsewhere for my zombie stories.
Zombies have two basic criteria: It must be the reanimated corpse or possessed living body of one person (or animal). (The other is it must have no free will.)
Ring of Salt
an enchanted circle of protection to keep the bad out — a kind of magic circle
In the early 1800s poet Robert Southey used the term ‘zombie’ as a metaphor for someone who has no will. This is how we tend to use zombie today.
n Irish culture, Samhain is a major Druidic festival marking the boundary between the living and the spirit world. This is the last festival of the harvest year, so pagan Ireland decreed that fruit and nuts (especially apples) would be eaten on the night of Samhain.
The Serpent and the Rainbow
A zombie craze was sparked in the 1980s after Harvard scientist Wade Davis traveled to Haiti to investigate two documented cases of zombies and wrote about his experience with vodou in “The Serpent and the Rainbow,” which inspired the 1988 film. Variety
In a Haitian community Zombies make excellent slaves because their memory and intellect is disabled by the toxin but the lower brain functions still work, allowing the body to move. Obviously, keeping someone as a zombie slave requires complicity from an entire community. Generally, no one in the community likes the victim so they don’t bother checking they’re actually properly dead before burying them. (Means of checking might include cutting off their head or driving a dagger through the heart.) Some people might want to intervene, but they’re afraid the same thing will happen to them.
Zombies don’t have souls, and this distinguishes them from humans
Zombies appeared in literature as far back as 1697 and were described as spirits or ghosts, not cannibalistic fiends.
Survival of the Fittest
This is a Darwinian term meaning harsh conditions weed out weaker members of a species. Survival of the Fittest a common theme among zombie narratives. Zombie narratives tend to have a resurgence after a big, scary world event such as the bombings of Hiroshima and Nagasaki in World War 2.
The zombie is a malleable symbol. Storytellers can use zombies as they see fit. Zombies have been used to represent the horrors of slavery, white xenophobia, Cold War angst, the fear of death, apprehensions about consumer culture. Zombie films are quite often about the specific anxieties of white men, and the perceived threat to the white male ability to control the sexuality of white women. Zombies Are All About The Heteronormative Power Struggle from Science 2.0 When zombies were about slavery, stories were concerned about how slavery transplanted to the USA something malignant, but for the masters more than the slaves. These stories were for white audiences terrified of voodoo. The House In The Magnolias (1932) and Song of the Slaves (1940) are two examples of that.
Used carefully at sub-lethal doses, the tetrodotoxin combination may cause zombie-like symptoms such as difficulty walking, mental confusion and respiratory problems. High doses of tetrodotoxin can lead to paralysis and coma. This could cause someone to appear dead and be buried alive – then later revived.
The Ancient Greeks may have been the first civilisation terrorised by a fear of the undead. Archaeologists have unearthed many ancient graves which contained skeletons pinned down by rocks and other heavy objects, assumedly to prevent the dead bodies from reanimating.
Voodoo (sometimes spelled vodou or vodun) is a religion based in West Africa and practiced throughout Haiti and the Caribbean, Brazil, the American South and other places with an African heritage.
New Orleans voodoo and American hoodoo derive from Haitian vodou. Professor Cosentino explains there’s really not much evil to these sacred religions:
“The Haitian revolution … actually scared the s–t out of America because it was the first and only successful national slave revolution in world history. And of course, what America saw was that the vast slave population in the United States could do this too and so there was the immediate beginning of this degradation of Haiti and of Haiti’s religion, which is vodou.” — Variety
In earlier English, corpse referred simply to ‘the body’. Only later did it refer to ‘the dead body’. Romeo’s zombies walk slowly, but Danny Boyle’s Zombies in 28 Days Later are really fast.
In any good zombie story, the zombies represent the weakness of a society or community of people they come after. Zombie films are therefore allegories. In Night of the Living Dead, the zombies tape into anxieties of the late 1960s — the dehumanising violence of the Vietnam War, uneasy reactions to the Civil Rights movement and a human tendency to become as monstrous as any monster who attacks us. With each subsequent film, the allegory gets updated. The next film is about brain-dead consumerism and after that the sexism turns into feminism.
The first zombie film. Frankenstein and Dracula also appeared on film at this time (1932). In early zombie films, villains learn that to possess a woman’s mindless body is unsatisfying. White Zombie started that.
W. B. Seabrook
The word zombie was used intermittently throughout the 1800s but wasn’t a well-known word until 1929, when W. B. Seabrook published a travelogue called The Magic Island. Seabrook was an American journalist and adventurer who traveled to Haiti and lived there with his family. (Um, he was also a cannibal.) Seabrook collected stories about zombies and voodoo and he even thought he saw a dead man resurrected once. Readers in the West were intrigued by these stories, especially Protestant readers, perhaps, because free will is held very dear to the Protestant’s heart – thought to be humanity’s main virtue.
In 28 Days Later, the virus called ‘rage’ is the Zeitgeist of the modern era, where everything is so impersonalised and moves so rapidly that everyone is consumed by fury and can do nothing about it.
An Enlightenment zombie meant someone who has no free will, and could refer to a high-level administator. Zombie can now mean that, but also a supernatural creature who has been renanimated from the dead and walks (or runs) around trying to eat the living, or infect them with a virus. More recently, zombie describes a computer that’s been taken over by a remote host. Zombies are generally stupid but recent zombies are able to learn quickly, sort of like artificial intelligence. This says something about our collective fear of computers taking over. For years zombi was spelt without an ‘e’ at the end.
A whole literary subgenre featuring zombies
I really like Walking Dead, in spite of its many problems. But the truth is, thinking about the show is often better than watching the show.
“Powers” is the final story in the Runaway collection by Alice Munro, published 2004. I find this story the most challenging of the lot — as in, what in holy heck was that all about? I’m going to have to write about “Powers” in order to understand it.
Here goes my best shot. What can we learn about storytelling from this novella? About life?
If this is not an easy story to read, nor was it an easy story to write. This from her editor:
On her own, Alice did eight revisions of “Powers”. Then we worked on that ending because it was hard to finish off the story part of it and give Nancy her due.
‘Melodramatic’ is an unusual word to ascribe to Alice Munro — a decidedly realist writer. Why would they have said that? I put it to you that this story is melodramatic if read at a more literal level. My own interpretation is highly metaphorical, as in, I don’t think Ollie is a real person. I think he’s a creation of Nancy’s imagination.
Hear me out.
SETTING OF “POWERS”
TIME AND PLACE
Set in a small Ontario town after the First World War, the story spans about 50 years of Nancy’s life, starting as she’s about to get married, and skipping over the middle, child-rearing years.
There’s a hint of fabulism in this one, which may partly explain accusations of melodrama. Except I don’t for one moment believe Tessa genuinely has clairvoyant powers — I read this as a metaphor for people who sit on the fringes of life in general.
When Nancy takes Ollie to see her clairvoyant friend they go through a tunnel. This tunnel feels like a fantasy portal. Even when the other side of a tunnel is in ‘the real world’ (rather than some high fantasy landscape), a tunnel within a story often indicates an other-world of some kind. Hayao Miyazaki loves a good tunnel. He uses tunnels in Spirited Away (reality > fantasy), in Ponyo (reality > magic tinged reality), and in My Neighbour Totoro (reality > magic tinged reality). Since one of the ‘rules’ of portals is that the characters must pass quite slowly through them, tunnels as portals tend to feature characters walking through them, on foot. (A car would be too fast.)
The world on the other side of this particular tunnel is perhaps leading to a heterotopia; perhaps it’s simply a separated place where the rules work differently, or where inhabitants are different and ostracised.
Perhaps this tunnel is, for Nancy, a portal into her own imagination? This is at the heart of my thesis.
Could we go even further? Does Tessa exist? Both Tessa and Ollie could be part of a paracosm Nancy creates for herself to cope with an un-companionable, aloof and vocationally-oriented marriage partner. After much thought, I think Tessa does exist, though with fantasy add-ons. Tessa is possibly a disabled person who Nancy imagines has superpowers. I think it’s just Ollie she’s made up as an alter ego.
When “Powers” turns to the psychiatric institution, Munro takes us into a gothic setting. This is where Munro starts to play with scale — ‘”Gothic” biomedical models rely on a metonymic process of substitution of the person for increasingly smaller cellular and ultra cellular units’ (Forgotten: Narratives of Age-Related Dementia and Alzheimer’s Disease in Canada by Marlene Goldman). In the dream sequence we’ll have a character dreaming of a character (mise en abyme effect) examining a pile of dead flies on a windowsill. It is noted that Nancy (subsumed by Tessa via a dream) doesn’t have a microscope, yet her eyes seem to zoom in on these iridescent fly wings. (She’s just met Ollie — perhaps imaginatively — and Ollie has trouble reading a menu. Equally old herself, it’s unlikely Nancy’s eyes would be capable of examining the detail of fly wings in real life.)
A CULTURE BUILT ON THE CONCEPT OF FEMALE HYSTERIA
When considering the setting of a story, we can’t ignore the major cultural forces which shape the characters. One dominant aspect of early 20th century misogyny involved the idea that women are prone to hysteria.
Freud’s “discovery” of hysteria was both anticipated by, and grounded in, 19th-century realist fiction. …the dark continent that Freud called femininity was brought to life by these realist novelists. The hysterical character, she argues, conceives of every relationship as tragic, imaginatively doomed — hence the warning which forms the title of this book. Yet this character speaks for everyone. The insights of Anna Karenina, Gwendolen Harleth, or Cassandra give to them a dignity beyond pathology or their social position. They are not merely literary “femmes fatales”. It is part of being civilized, the author argues, to fear the people and things we love, particularly when they are intimate to us. Knowing this, each person is responsible for the form this apprehension takes — whether awe or panic, respect or protest, desire or denial. […] Balzac, George Eliot, Charlotte Bronte, Tolstoy and Florence Nightingale […] are rich sources for understanding hysterical states of mind because they offer scope for interpretation that involves everyone as readers.
It is known that Balzac expressed his admiration for Dante. So when Munro’s character Nancy wants to delve into Dante, what is she really wanting? Insight into her own human condition? Wilf encourages against that, instead arranging a ‘useful’ life for her — one of choosing wallpapers and childbearing and mothering. This is exactly how misogyny works.
Patriarchy is what’s upheld. Sexism is why it’s upheld. Misogyny is how it’s upheld.
While reading “Powers”, look for the ways in which fiction is portrayed as fraudulent, i.e., fiction has the power to obscure the truth.
Back to my enduring hypothesis of Ollie as imaginary character: A character you invent yourself won’t necessarily tell their inventor the truth. Not immediately, anyway, though even invented characters can help their inventors discover something about themselves.
[“Powers”] explores … the ramifications of the increasing dominance of biomedical approaches to mental illness and ageing on Canadians from the perspective of patients and their caregivers. […] “Powers” repeatedly emphasizes the ethical limits of fictive consolation — by that I mean the consolation provided by fantasy and, by extension, literature.Forgotten: Narratives of Age-Related Dementia and Alzheimer’s Disease in Canada by Marlene Goldman
But an imaginary world can eventually reveal as well as obscure, because people use imaginary worlds in all kinds of different ways. In the end, Tessa’s conversation with Ollie (whether real or imagined) takes place on two different levels of her mind: There’s the story he tells her and the story she knows lies underneath. Nancy teeters on that interstial space between conscious fantasy and unconscious fantasy.
Of course, this story was written later than it is set. Is Munro writing of hysteria as if it’s a quirk of the past? No, she is not, and this is what makes her a feminist writer. That old ‘women are crazy’ chestnut is still influential today and can be seen in statistics as simple as how men are prescribed more pain killers, because when men say they’re in pain, men are more likely believed.
With Freud’s claims about the female psyche mostly discredited and the advances in treatment of mental illness over the years lauded, the average bystander might conclude that we’ve come a long way from labelling a normal reaction to sexual assault “hysteria.” But a long legacy of prescriptive and sexist science remains at the foundation of psychiatric medical treatment for women. From the first diagnosis of hysteria to the present-day disparities in mental health treatment, the tradition of medicating women’s emotions has held constant. Within this context, the line between empirical treatment and medicating the lived experiences of women grows dangerously thin.
Could Tessa’s clairvoyance be an analogue for hysteria? Or rather, not for hysteria itself, but how hysteria has been viewed by the medical establishment? Early in the story, Tessa’s clairvoyance is taken somewhat seriously. It is later shown to be part of her mental illness. Or is it? In Nancy’s dream at the end, Tessa might actually know telepathically what’s in Ollie’s pocket. Despite clairvoyance clearly not being a thing (within the world of the story), despite science debunking that whole thing, there’s always a lingering what if? Science from the past continues to influence the present, and has a very real impact on women’s lives.
Some critics consider this aspect one of the most interesting of “Powers” — Munro’s exploration of dementia and hysteria, united in the power they have over us as a culture — women used to fear hysteria; now more likely fear dementia:
Whereas Tessa’s mysterious powers of consolation lie in recuperating what has been lost, Ollie’s power seemingly lies in dissociating from his own vulnerability, and reducing women — most obviously Tessa — to scientific specimens. Ollie’s strategy recalls late nineteenth and early twentieth century biomedical approaches to both hysteria and dementia, which entailed locating the disease processes in women’s minds and bodies and using them as scientific material.
Forgotten: Narratives of Age-Related Dementia and Alzheimer’s Disease in Canada by Marlene Goldman
DISCRIMINATION AGAINST PEOPLE WHO HAVE ‘FITS’
After World War I, when the return of thousands of disabled servicemen forced disability onto the political agenda, disabled people were hidden from history, shut away behind the walls of asylums with their voices silenced.
Disability discrimination endures into today, though its exact nature morphs over time. Today epilepsy is much better understood. But in the early 20th century and prior, people who had fits were cast out as those with lepers were cast out. The following images offer some context:
When a disease is not well understood, people worry that it may be contagious or that it may be a moral problem, or possibly even a supernatural one. This story deals with the supernatural misunderstanding of fits.
CHARACTERS OF “POWERS”
Every life in this story is marked and decided by accidents and the unforeseen. Hence the clairvoyance thread.
Munro juxtaposes two women, the brisk, self-absorbed Nancy, and Tessa, a strange girl with extraordinary, fragile powers [MIRROR CHARACTERS]. Yet it is Nancy, the skeptic and rationalist, who succeeds in peeling back the obscuring film over the past. She protests that she doesn’t want to live the past – she only wants to “open it up and get one good look.” That glimpse has such a weight of truth that though it may be dream or imagination, it is real and meaningful – like Munro’s own work.
At the beginning of “Powers” she has just finished high school. Nancy’s diary entries portray her as capricious and full of life — her youth and lack of maturity shine through. I’m reminded of Kelly Kapoor from the American version of The Office, whose focus on weddings is all-consuming — she hasn’t thought about what it will be like to be married.
But Nancy has more empathy for others than Kelly, who is utterly self-absorbed. By Nancy’s own admission, she marries Wilf because he has already been turned down, and she doesn’t want to embarrass either of them by saying no.
Nancy has been brought up in a culture in which a woman’s needs are subsumed by that of a man — she makes it a goal to find out more of Wilf’s interests so that they’ll have something to talk about. (At no point does she expect him to be interested in her — and he is not.) She becomes pregnant soon into their marriage and we learn later she has had multiple children. These children are not mentioned — the early childhood years are skipped over.
Much later, with childcare done and dusted, she is now caring for her husband with dementia. Now Nancy is asked by the psychiatric institution if she would also care for Tessa. The emotional burden heaped upon women is a thread across the stories of Alice Munro. Take for example “Deep Holes”. There is a scene early on in which the reader is made fully aware of the effort that has gone into preparing a picnic to suit the individualised tastes of each family member. These efforts go unrewarded. Her ungrateful son cuts ties with her after he grows up, and as an older woman, the main character must find a way to live with this ingratitude.
Nancy visits Tessa in the psychiatric institution. Facing a painful moral dilemma, Nancy must decide if she has it in her to care for the both of them. Don’t forget, she’s been taking care of other people her whole adult life.
The moral dilemmas throughout “Powers” revolve around balancing Nancy’s own needs against caring ‘responsibilities’ the culture has instilled in her. A lot of woman readers in particular will identify with this.
Older Nancy has undergone a character arc in the parts left out of the story. She doesn’t have the spoons to care for anyone else. She leaves Tessa at the institution and returns to her own home.
To this end, I think Ollie is an imaginary invention to help Nancy assuage her own conscience. When you’ve been brought up to put the needs of others before your own, and then you suddenly can’t, or don’t, you need to find a way to justify your own actions to yourself. Imaginary Ollie helps her with that.
Of course, none of this would explain how Tessa ended up in America. I don’t think it matters which parts of the story occur within the ‘real world’ of the story and which occur in the ‘imagined world’ of the story. It’s all highly mutable. The whole story exists is a dream space, after all.
Wilf is the thirty-year-old town doctor, who asks much younger Nancy to marry him. He’s just asked someone else and been turned down. He is portrayed as a very distant, self-contained character.
Unlike in “Tricks”, the previous story of this collection, the reader has no sense that Nancy and Wilf will be a good match. There is no “I understand you” moment” (as Matt Bird calls it).
Alice Munro has said in an interview that marriage was different when she was young — young people of marriage age just sort of picked someone and went along with it. In contrast, dating today is a game of enormous choice, made all the more confusing by the illusion of online choice, and it would now appear foolish to ‘settle’ on someone without going through an extended period of dating many partners first. Nancy and Wilf both belong to this older generation who expect different things from marriage (not friendship, for instance) and who would like to get married so they can get on properly with their adult lives.
Wilf seems to want a uterus more than he wants a partner — he tells Nancy to ‘give Dante a rest’. He doesn’t want someone who is a deep thinker or an equal in conversation. He doesn’t respect that Nancy may really enjoy more difficult things. And he knows he can mould Nancy into whatever he wants her to be. The era makes this easy — an era in which wives did as their husbands instructed. They had no other real choice.
Towards the end of “Powers” we learn that Wilf lives with dementia later in life. Nancy has faithfully served as his wife and caregiver.
As noted above, Ollie may be Nancy’s invented, male alter ego.
Ollie is supposedly Wilf’s younger cousin, Nancy’s own age (by no coincidence).
Ollie starts out wanting to be a science journalist. Perhaps if Nancy were a man that’s what she’d like to do. Her interest in Dante suggests a youthful interest in deeper things than wallpaper and mothering.
Ollie is mercenary and capitalist. He could be the human embodiment of all that is wrong with modernisation (“getting and spending”). When he thinks Tessa has psychic powers he marries her in order to exploit her for money. He runs off to America with Tessa but sticks her in a dodgy institution which is not approved by the authorities.
Why does Ollie treat Tessa the way he does? Shouldn’t he know what it’s like to be so vulnerable? Well, that’s not how lateral violence works.
Pain that is not transformed is transferred. — Fr. Richard Rohr
Readers learn that prior to visiting with Wilf and Nancy, Ollie spent three years in a TB sanatorium. As a patient he was subject to protracted, invasive treatments. Wilf, who is portrayed as an extremely dispassionate and detached physician, explains that doctors collapsed one of Ollie’s lungs so that they could treat the infection. While Wilf calmly recounts Ollies’ treatment, the latter puts his hands over his ears. As Ollie confesses, he prefers not to think about what was done to him. Instead, as he admits to Nancy, he “pretends to himself he is hollow like a celluloid doll”. Ollie’s experience as a TB patient is relevant for several reasons. First, it recalls Sontag’s discussion of the dread that attended TB — a dread that currently haunts Alzheimer’s disease. Second, Ollie’s traumatic experience may have motivated him to pass on this sense of dread. Ollie’s response is significant because it offers insight into the predicament of the elegist, who, confronted with the death of the other, recognizes his own vulnerability and mortality. In the masculine elegy, the poet responds by deifying the deceased and, at the same time, celebrating his own survival. […] Ollie’s treatment of Tessa echoes this patterns.
Forgotten: Narratives of Age-Related Dementia and Alzheimer’s Disease in Canada by Marlene Goldman
I find Ollie and his backstory unlikely, which is why I consider him a character inside Nancy’s imagination. Conversations she puts down to Ollie could easily be conversations she has with herself, or when other characters seem involved, what Ollie says could easily be what Nancy says, or what she would like to say.
Naturally, we can read any literary character in this way. Here’s the list of reasons why I suggest this guy be coded as Nancy’s creation:
Nancy’s diary demonstrates she wants more from life than she gets, and inventing a parallel, peopled life would be one way of getting that.
Ollie might be an invention to assuage Nancy’s own guilt — guilt that she doesn’t have it in her to care for both her own husband, own children as well as her childhood friend who winds up in a horrible institution. She can imagine she’s cared for by Ollie.
Ollie may also be an invention to help Nancy cope with loneliness within marriage.
Ollie’s hinted-at bisexuality may be more of a gender fluidity, in which Ollie is partly made up of Nancy, partly made up of Wilf (she’s made him Wilf’s cousin, after all). What she doesn’t get from Wilf (companionship and conversation) she is getting from Ollie, more or less. That said, Ollie doesn’t exactly tell her the truth. Why not invent a fictional character who at least tells you the truth? Because you may not even know the truth yourself. You can’t have an imaginary character tell you the truth until you’ve wrestled with the real situation yourself.
Imaginary worlds come and go throughout a person’s life — busy with young children, it would seem natural Nancy had no time to even conjure Ollie for all those years, explaining the time jump. It’s at the ends of her life that she has the space to invent, and think, and overthink, and blame herself, and to try and make amends.
Wilf clearly knows little about his own cousin. I accept that he’s an inward looking man, but still.
Ollie ends up on Texada island. Islands are highly symbolic other spaces — especially in other Alice Munro stories. For example in “Cortes Island” the island is an imaginary space for main characters — imagined as a way of coping with day-to-day life.
Ollie took Tessa around the vaudeville circuit. The vaudeville world itself is another fictional arena — perhaps a fictional world within a fictional world. It’s not exactly a run-of-the-mill way to live a life — more likely to occur in fiction than in reality.
The reader is not afforded a look into Tessa’s mind, except perhaps at the end as Nancy’s dream lets her look through Tessa’s eyes.
Tessa is Nancy’s childhood friend. She dropped out of school when she was 14 due to an unnamed illness, later revealed to include seizures. She is small in stature, as if illness has caused lack of growth.
Nancy cryptically explains to the reader that Tessa is “not in the world that the rest of us are in”. (This may give them something in common, if Nancy has this really rich imaginative life.)
We are eventually told that Tessa is a clairvoyant. Tessa uses these so-called psychic powers to help the townspeople find hidden or mislaid objects, sometimes even dead bodies.
Vulnerable, childlike Tessa marries Ollie, who has written an article about her, sending many people to her house. (This minor celebrity creates some havoc.) As Nancy has passively accepted her own entry into wife- and motherhood, Tessa seems to passively accept all this, and goes along with Ollie who transplants her to America.
But Ollie is a man and his caregiving capacities are limited. He puts her in an institution, which eventually closes in the late 1960s.
Like Wilf, Tessa also suffers memory loss as an older person. Dementia may combine with mental limitations caused by a lifetime of seizures — the difference is unclear and unimportant to the story.
NARRATION OF “POWERS”
The Guardian’s view of Nancy is less kind than my own:
“Powers”… is a little masterpiece of impersonation, an uncanny inhabiting of the mind of a meddling, egotistical girl and of a distinct historical period. The long range of Munro’s stories is only made possible by her apparently effortless possession of decade beyond decade of the past, her technique being the opposite of so much information-bolstered fiction of the present: she knows that life in the past was unhampered by any sense of its future quaintness, so she doesn’t explain. She gives us a past as unselfconscious as today. […] The sweep of the thing, the unfolding picture of the unforeseen life, the interlocking strangeness and ordinariness, the unravelling narrative of Nancy’s own consciousness, together make a deep impression.
“Powers” is divided into five parts each with chapter names:
Give Dante a Rest
TIME: Spring, 1927 NARRATION: first person diaries of an unnamed character
Nancy, fresh out of high school, is convinced that she is destined to live a life of importance.
She has a joking, trickster side. She startles the town doctor, Wilf, on April Fool’s Day by rocking up at his house pretending to have a sore throat.
He does not share her sense of humour at all and tells her to get out. (He’s probably a good 12 years older than she is, which would be intimidating. This scene is the inverse of an “I understand you” moment. The reader can see that these two are wrong for each other.
Rather than blaming the doctor for his lack of humour, she feels really stupid. She was only having some fun, and perhaps trying to get his attention. The difference in maturity (borne of age difference) is also a factor here.
She sends a note of apology and hears nothing back, but when she’s trying to get through a novel by Dante, the doc turns up at her door, takes her out to see some ice breaking, and completely out of the blue offers his hand in marriage.
Nancy accepts his proposal, not because she feels affection for him, but because she can’t think of a good reason to say no — she doesn’t want him to feel bad, because her friend has already turned him down.
In her diary she seems disappointed that her life has turned out so mundane after all. Like all the other eligible young women she knows, she’s going to get married. (And she’s about to marry a doctor — financial stability for life.) Her path is set now. She’ll have his babies. He assumes so, too. She’s not going to have the special life she dreamed of.
This reminds me of Angela Hayes from the film American Beauty. Angela’s biggest fear is to be ordinary.
One of the worst criticisms that can be levelled at a young woman: “She thinks she’s all that.” She has ideas about herself.
In fiction, young women with aspirations above their station will invariably have rich imaginative lives. Of course they do, right? These characters have the ability to imagine how their lives might be, and that in itself requires imaginative power.
[NANCY’S PSYCHOLOGICAL WEAKNESS] Imagination itself can be a liability when you start to recast yourself. Safer, indeed, to invent a paracosm with a wholly original cast. Keep yourself right out of it, stories tell us, time and time again. In American Beauty, Angela’s story about herself (as a sexually experienced ingenue) seeps into the real world, making the actually virginal Angela highly vulnerable in the presence of her best friend’s sexual predator father.
Alice Munro doesn’t let us in on the exact nature of Nancy’s fantasies about herself. Or does she? (Cue the invention of Ollie. Perhaps she wants to be a science journalist, freed of the burden of caring for others, living on an island.)
Girl in a Middy
TIME: several months after Give Dante A Rest NARRATION: third person
Nancy and Wilf are engaged and preparing for their wedding. Wilf’s cousin Ollie is in town to attend the ceremony. Nancy becomes fascinated by his worldly affectations.
In an attempt to impress him, she takes Ollie to visit Tessa, Tessa correctly identifies all of the items in Ollie’s pockets. Ollie seems to dismiss her, but Nancy fears he has ulterior motives.
Nancy writes to Tessa, warning her to avoid Ollie. Tessa responds, revealing that she and Ollie have already eloped to the United States. They intend to get married and test her abilities scientifically. Tessa ignores Nancy’s cruel but shrewd injunctions that Ollie only wants to exploit her gift for commercial ends.
Here’s a feature seen across Alice Munro’s short stories: There is a revelation, we expect the story can close now, but no — Munro is just cranking up. Each of these sections contains its own mini anagnorisis.
One might have thought the climax of the story occurred with the revelation that a couple had run away together at the end of “Girl in a Middy”. It is certainly a surprise, though one ushered in with little pomp, right at the end of the segment.
But if one identifies the climax of the story as falling in the third “act”, one must choose a moment other than this one, something in “A Hole in the Head”. (Well, that seems like an obvious moment, doesn’t it, but in fact that hole already existed, or never existed, or still exists. In typical Munro-fashion, each of these scenarios seems possible.)
Perhaps the moment in which one woman realizes that the other is operating under the assumption that her lover is dead, the moment at which she chooses not to correct the misunderstanding, the moment at which she turns her back on her and leaves her there, isolated and confined.
Nancy is now an ageing woman visiting an American mental hospital. Along with many such facilities of this era, the ward is shutting down. Nancy has received a letter asking that she retrieve Tessa, who has lived there for some time.
When Nancy and Tessa meet, Nancy tries to learn about Ollie and his life with Tessa. Tessa, however, cannot remember anything. Perhaps electroshock therapy has ruined her memory. Tessa claims that someone may have strangled Ollie, but recalls nothing else. Tessa then guesses that Nancy plans to abandon her at the facility. This is true. Feeling guilty, Nancy promises to write her letters. She never does.
A Square, A Circle, A Star
TIME: moves forward a few more years. NARRATION:
Wilf has died from the complications of a stroke (suggesting he had vascular dementia). It’s only now that Wilf is dead that Nancy has the spoons to consider her obligations to Tessa.
Nancy’s friends have filled in where Wilf left off, urging her against getting too invested in her own demons. They tell her to get out and about, to get involved in social activities. As she has done her whole life, despite seeming capricious in her diary entries, Nancy does as she’s told. She goes on a ghastly geriatric cruise at their behest. But now it seems she’s done with people telling her not to go deep into her own mind. Though this part is summarised rather than shown, her experience on the cruise ship seems to have switched something over in Nancy — she will no longer fill up the rest of her life with frivolities that keep her entertained on the surface.
So she visits Vancouver. What a coincidence. She bumps into Ollie. (Not a coincidence at all if you’re with me here and Ollie isn’t real.)
She and Ollie go to a Japanese restaurant, then to a coffee shop, where they continue their long discussion. Ollie discusses his travels with Tessa in the United States. He says that funding for research disappeared after World War II, forcing he and Tessa to work on the vaudeville circuit.
Vaudeville a type of entertainment popular chiefly in the USA in the early 20th century, featuring a mixture of speciality acts such as burlesque comedy and song and dance.
The only way to make any money that they discovered was to go with the travelling shows, to operate in town halls or at fall fairs. They shared the stage with the hypnotists and snake ladies and dirty monologuists and strippers in feathers.
Focusing on the burlesque aspect, I see older Nancy as a burlesque witch. (Better to click through on that to know what I mean.) The modern burlesque witch tends to view herself as a younger woman trapped in an old woman’s body. The following passage demonstrates this exact experience in “Powers”:
It happens only a few times in your life—at least it’s only a few times if you’re a woman—that you come upon yourself like this, with no preparation. It was a bad as those dreams in which she might find herself walking down the street in her night-gown, or nonchalantly wearing only the top of her pajamas [FEAR OF DEMENTIA OR ACCUSATIONS OF HYSTERIA].
During the past ten or fifteen years she had certainly taken time out to observe her own face in a harsh light so that she could better see what makeup could do, or decide whether the time had definitely come to start coloring her hair. But she had never had a jolt like this, a moment during which she saw not just some old and new trouble spots, or some decline that could not be ignored any longer, but a complete stranger [SHE HAS HAD A MAJOR ANAGNORISIS, OR REVERSAL].
Somebody she didn’t know and wouldn’t want to know.
The strain of performing gave Tessa headaches and gradually eroded her powers, but they developed a system to deceive their audiences. (Much as Nancy has ‘developed a system’ to deceive herself — the invention of Ollie.)
Eventually, Ollie tells her, Tessa died. Nancy does not contradict him but feels all through the conversation that he has not been telling the truth. Ollie drives her back to her hotel, and she is about to invite him to spend the night in the other bed of her motel room. This is because he appears to have nowhere to stay but inside his jalopy. Before she speaks, however, Ollie turns her down, as if he possesses a less magical form of clairvoyance himself. Or perhaps there’s no clairvoyance, so much as Ollie being literally of Nancy’s own mind.
Nancy feels complicit in Ollie’s lies to the point where she feels she is lying herself in not protesting at it. (If Ollie is an invented character than she is indeed lying to herself, via Ollie.)
To make things right, Nancy decides to find Tessa and bring her to Ollie. However, she does not succeed.
Flies on A Windowsill
TIME: decades later NARRATION:
Nancy’s grown children have been kept off the page, but now we learn they worry that Nancy is living in the past. In other words, they worry she’s living inside her imagination, not in the real, current world. (I suspect ‘living in the past’ is an accusation levelled at older people, whereas a young person would be accused of living ‘inside her head’.)
The story closes with a dream. Nancy falls asleep and dreams about Tessa and Ollie. They are staying at a motel. Tessa suffers from a terrible headache. In the dream, Tessa sees a messy little pyramid of flies hidden on the sill behind the curtain. Excited that her psychic powers have returned, she awakens Ollie and they embrace. As they embrace Ollie worries that Tessa can sense the papers in his front pocket, which will commit her to a mental hospital. It is implied that Tessa does indeed sense the paper’s presence. But she no longer cares what happens to her. Nancy then dreams that Ollie decides to spare Tessa. As she does so, a feeling of reprieve lights up her dream. Nancy is pulled out of it as her consciousness disintegrates around her.
It is a bold choice to end a story with a dream sequence. Do you consider this a successful short story? What did you get out of it?
Interestingly, Nesbit was famously scared of the dark.
I spend a bit of time on book recommendation sites and modern parents are still buying Enid Blyton. I wish someone, once in a while, would place E. Nesbit in the hands of modern kids, if we insist that classics aren’t classics unless they’re 50 to 100 years old. You’ll find Nesbit’s children’s books have aged far less terribly than everyone else’s.That’s because Nesbit was a leftie feminist. And here’s the thing about leftie feminism: What looks radical today looks sensible after a few decades, even to conservatives.
Aside from children’s literature, Nesbit wrote short stories (for adults). “Man-sized In Marble” is her best-known example, though most people who know of Nesbit probably don’t know her for her short stories at all.
THE GOTHIC TRADITION
As explained below, Nesbit chose gothic conventions to convey her ideas. What are gothic conventions, exactly? I have wondered that myself and went into it here.
‘Man-Size in Marble’’ (1893) is both a successful Gothic chiller and a more politicized investigation of the plight of the artistically ambitious New Woman under patriarchy. It posits that while Gothic’s anti-feminism during the fin de siècle (end of the [nineteenth] century) is an increasingly familiar topic of study, little attention has yet been paid to the ways in which Gothic can also serve as a means of critiquing such attitudes. Through a close reading of Nesbit’s story and a comparison with other relevant texts of the era, the essay suggests that the author’s own radicalism, often overlooked by those who stereotype her as a writer for children*, encourages her to expose the violence inherent within late nineteenth-century social systems. For Nesbit, the Gothic is the perfect instrument for such a project.
*Though it’s doubtful meant this way here, the phrasing of ‘overlooked by those who stereotype her as a writer for children’ may encourage an interpretation that, had Nesbit ONLY been a writer for children, this would have indeed been a lesser thing. This is an attitude that has plagued children’s literature since the beginning of children’s literature. In fact, children’s literature must appeal to both adults and children and is therefore one of the most difficult things to write.
Mrs Dorman the housekeeper is a classic Gothic archetype. She’s the Cassandra figure who warns of impending doom but no one believes her. She’s the Madwoman or the Old Wife. However, in this feminist story she is more than an archetype. She is indeed old and wise with a deep store of local knowledge. She refuses the neat division between legend and history. She is presented as the inverse of a Londoner. Mrs Dorman has a symbolic name. She oversees the transmission of stories between the ancient village and its newcomers.
Laura is the virginal character (although not literally, since she’s newly married).
The narrator is the hero of his own story, according to him. If he wet his pants and ran away screaming, he’s not going to tell us, is he.
The setting of the church and graveyard is a classic setting for Gothic horror.
Your typical gothic horror includes members of the clergy. In this tale the clergy are conspicuous by their absence — the ending does not encourage us to believe there’s a God looking after us all, though that’s what Jack thinks.
By the 1890s gothic fiction was becoming increasingly violent. This story is quietly, off-the-page violent, but shocking for its time. There are several reasons why readers were developing a higher tolerance for gore — newspapers were reporting crimes in greater detail; the library system collapsed and this led to relaxed censorship; writers of realist fiction were pushing the boundaries with stark horror; magazines wanted shorter short stories which meant writers were cramming in more content via shock value.
The symbolism is Catholic, which makes this part of British Gothic tradition — a ‘Latinate, idolatrous and regressive world at odds with the progressive rationalism and secular statehood inaugurated by Henry VIII’s break with Rome’. (Women and the Victorian Occult).
This story belongs to a subcategory of the gothic tale, about sinister ceremonies, anniversaries and rites. These are pagan in origin. Other examples: “Pallinghurst Barrow” and “Wolverden Tower” by Grant Allen, “The Lottery” by Shirley Jackson. In film we have The Wicker Man, which ends in fire. However, Nesbit’s rites have their origins in Catholicism.
Nesbit made use of folklore and Gothic conventions but some of it is her own invention completely.
STORYWORLD OF “MAN-SIZE IN MARBLE”
“Man-size In Marble” is set in Brenzett, which today has a population of about 400. There’s not much to it. Nesbit herself lived in Kent most of her life, though she was born in what is now Greater London. When I looked Brenzett up on Wikipedia I learned that this story is one of the most famous things about it. On the map you’ll find it about halfway between Hastings and Dover.
1893 was the era of the so-called “New Woman”. Even without the vote, British feminists were encouraging independence, and advised women receive an education of their own. Of course, it was only women from the middle and upper classes who could afford to take this advice. Almost all of the fertile women in England who remained unmarried in the second half of the 1800s were from the upper classes and I surmise they preferred it that way. But these women were considered useless to society (what is a woman for, if not to provide sex and children for men?) and some put forth arguments that these women should be shipped off to the colonies, where there was a wife drought. (I wonder how many women were shipped here to Australia for that reason, against their will?)
MEN ARE MEN AND WOMEN ARE WOMEN!
During the 1880s and 1890s, there was a moral panic about how they were living in ‘sexual anarchy’ (according to writer George Gissing). All the established rules about sexual identity and behaviour were felt to be breaking down. This upsets conservatives.
I believe we have entered another moral panic in the last five years or so, as trans people are finally having their moment, and as non-binary people are requesting we use their preferred pronouns.
The Catholic All Saints tradition is now expressed in America as Halloween. All Saints Day wasn’t the only date associated with the supernatural. People used to stay up all night ‘porch-watching’. They would stay up all night in the church porch hoping to see the wraiths of all the local parishioners parade by. This would let them know who would die in the coming year. However, this wasn’t an All Saints thing to do — most people would’ve done it on St Marks Eve (April 24).
Girls were thought to have special access to these supernatural powers. They’d be able to perform acts of divination and learn who their future husbands would be. People would light bonfires. Go back far enough (into the Medieval era) and Christians thought that souls in Purgatory would be purged by the holy fire. The feast of All Saints was an attempt to relieve the ghosts stuck in Purgatory.
Protestantism rejected all this supernatural nonsense and All Saints was removed from the English church calendar in 1559. Still, all of this remained useful to writers of gothic horror.
KNIGHTS IN CHURCHES
To better understand this story, it’s important to know the Catholic tradition of burying knights in important places — the closer to the altar, the more important they’d been. Supposedly.
Another impressive feature of [Saint John’s Co-Cathedral] is the collection of marble tombstones in the nave in which were buried important knights. The more important knights were placed closer to the front of the church. These tombstones, richly decorated with in-laid marble and with the coats of arms of the knight buried below as well as images relevant to that knight, often telling a story of triumph in big struggle, form a rich visual display in the church.
The plot of “Man-size in Marble” isn’t the most interesting thing. Far from it. If this short story contained only the surface layer of the spooks in a church, I’d have called it underwhelming. Instead, the most interesting thing about this story is the characterisation of the young newly wedded man, whose attitude towards his wife comes through during his night of indescribable terror. In true Gothic convention, the story opens with a paragraph in which the narrator tells the reader the events contained within are indeed true. As you’ll see below, we are to read this ironically. This is a story critiquing Jack’s ‘rationalism’. The narration is a first person male, which fooled quite a few people at the time into thinking the author was male. This was useful.
Man, I don’t like this Jack guy. How much of this was intended by Nesbit and how much is my modern interpretation? There’s an unanswerable question, even bearing in mind Nesbit was ahead of her own time. Jack has been described as a ‘floppy-collared aesthete’. I’m reminded of Nathaniel P from the following contemporary novel:
Waldman’s novel ‘offers a mercilessly clear view into a man’s mind as he grows tired of a worthy woman‘, which isn’t what Nesbit’s story does, but both offer insight into a man who, on the surface, is feminist but dig a little deeper and although he is not sexist, he is nonetheless constitutionally inclined to uphold the system of misogyny. (For a clear delineation between sexism and misogyny, go no further than Down Girl by Kate Manne.) Jack doesn’t treat women as adults. He treats his wife like a child by refusing to tell her what he has learned about the house from Mrs Dorman, as it might upset her. Nathaniel Piven, a thirty-something-year-old Brooklyn novelist and burgeoning public intellectual, is thoughtful yet careless, open-minded yet absurdly entitled.— The New Yorkerreview
Jack reminds me of Nathaniel P. because both are New Age Guys (for their era); neither are alpha males; both are aesthetes; both are writers and both appear to be in touch with their emotions. When Jack finds Laura crying he tries to comfort her with “don’t cry, or I shall have to cry too, to keep you in countenance, and then you’ll never respect your man again”. This snippet of dialogue tells us layers of things about Jack:
He is blithely dismissing his wife’s emotions
He makes a show of having emotions himself
But the code of masculinity dictates he couldn’t possibly give in to them
Because his job as husband is to be first and foremost respected by his wife.
Ergo, this is performative empathy.
As I read the opening to “Man-size In Marble” I’m reminded of that show Escape to the Country and all those city people who go touring various country houses — oftentimes none of the houses are good enough and we learn the city folk didn’t really want to move to the country after all. Well, these two do eventually find a house to their liking, fussy as they are, and then the husband complains they don’t have any money. Next minute they’ve employed a ‘peasant woman’ to do all the housework.
‘Poor’ is such a variable concept, isn’t it? These two aren’t poor poor. They are living in ‘genteel poverty’, like the women in Sense and Sensibility. I mean, if you can afford to employ someone from a lower class to do all your drudgery work, you ain’t poor. When the peasant woman housekeeper takes off, this guy won’t believe her reasons. She tells him her niece is sick. He doesn’t buy it because the niece has always been sick. It doesn’t occur to him that sick people often get sicker — no, it’s all about him.
Jack speaks for Laura and Mrs Dorman throughout the story, refusing to take either of them seriously. He loves folklore but treats Mrs Dorman as a Victorian anthropologist might a tribal elder — perhaps here, Nesbit is satirizing the folklore “collectors” of the period such as Edward Clodd — and patronizes Laura with a pet name “Pussy”. He also persistently trivialises her art despite the fact that it seems to be their only earned income; while Laura is writing, he passes his time in sketching “wonderful cloud effects”. Whether her tales are “little magazine stories” or stories for the little magazines that were so much a feature of the 1890s’ literary scene, Jack sees them as insignificant, fit only for the “Monthly Marplot”. His disdain for “the jingling guinea” is what one would expect from an aesthete of the period, but it shows, too, a worrying inability to face up to the economic realities of his marriage.
At this point I refer you all to The Wife (both book and film), by Meg Wolitzer. Jack’s rationalism is at odds with the outlook of the story’s women: it is his adherence to it that ultimately brings about his “life’s tragedy”.
The story begins with a confession of rationalism’s limits, a frequent Gothic device as well as a rebutt fo the positivism that was making Conan Doyle’s Sherlock Holmes so pouplar in the early 1890s. … For much of the story, howeer, he is quite happy to live by rationalist principles, signally a clear divide between himself, the seemingly superstitious female characters, and maybe, by extension, the villages as a whole: the Irish outsider, Dr Kelly, is after all the “only neighbour” with whom Jack socializes. The more intuitive Laura is less imprisoned by this gospel, though…her sensitivity is not enough to save her from an awful fate, perhaps because her attitudes to social class are less radical than Nesbit’s own. The “village people” are, she says, “awfully sheepy”, and if one won’t do a thing, one may be quite sure none of the others will”.
His wife, Laura, is the one who won’t listen to the housekeeper (according to Jack), and is very much down in the dumps about losing Mrs Dorman — this means they will have to do all the housework themselves. And by ‘they’, we do mean Laura, don’t we. “Don’t worry your pretty little head about it,” the husband tells her. “There will still be time to do art even if we have to do everything ourselves.” Meanwhile, it’s a point of pride that he’s useless around the house. He tells us he has surprised himself by doing an excellent job of washing the plates. Well, if you’ve ever seen that documentary series where they take a modern family and make them live like it’s 1900, you’ll already know this, but the loss of the housekeeper really does mean the loss of the young wife’s artistic life. The husband doesn’t realise it because he’ll be swanning around doing the bare minimum at home (a bit of polishing here and there, fixing what’s broken and so on) but the day to day drudgery of cooking, cleaning and washing will be the dawn-to-dusk job of his wife. Soon children will arrive and there will be literally no time for her to pursue her creative goals.
In short, this guy has plenty of Shortcomings. But it’s up to the reader to pick up on those, because it’s written in first person so we have no detached narrator to guide us in this direction. Would a guy from 1893 have had the same reaction as I just had?
They find themselves a housekeeper but it goes tits up when she leaves. Now he will have less time to pursue his creative goals. The Minotaur Opposition is of course the spooks in the church.
Faced with Mrs Dorman’s absence, Laura worries that “I shall have to cook the dinners and wash up all the hateful, greasy plates … and we shall never have any time for [creative] work.”. The statues will not stand for her transgressions, and a collision between flesh and blood and calcified tradition is inevitable. In this respect, it is notable that they no longer have names, for they are less individuals in themselves than representatives of a reactionary brutality that destroys those who oppose it.[…] Quiescent for most of the time, the forces embodied by the stone knights have not been wholly vanquished by those of progress and modernity and are yet capable of wreaking havoc when roused.
He will try to persuade their excellent housekeeper to come back. He will also wheedle out of her why it is she has left, presumably so he can tell her that her reasons for leaving are not adequate. He doesn’t exactly set out to solve the mystery of What Spooked The Housekeeper, but he does happen to wander into the church at the exact time on All Saint’s that the statues are meant to come to life. (Coincidence works fine in gothic fiction, which is inherently melodramatic.)
While the narrator is chatting to the local blokes about spooks his wife is busy getting murdered. This happens off-the-page. Though at first pretty comical, consider this a symbolic rape and the finger as phallus. Not so comical now. No wonder that was left off the page. Writers are often advised to put the Battle on the page, otherwise the reader feels cheated. A lot of build-up over nothing. Bear in mind that this story is a Gothic ghost story in the same way that Alice Munro’s “The Love Of A Good Woman” is a murder mystery — i.e., not at all. Readers expecting genre fiction may be disappointed. Why did Nesbit choose the husband as narrator, which meant he wouldn’t be there to see his wife get murdered? Well, first, what we can’t see is indeed more scary. So there’s that. But also, this isn’t about the spooky walking statues at all. It’s about the young husband and his patriarchal attitude towards his wife.
In her ghost stories Nesbit uses the supernatural as a catalyst to precipitate an emotional crisis. This technique achieved criticism of Victorian proprieties.
Nesbit has used Catholic iconography to critique traditions of divination. After we learn she is dead we realise Laura was not protected by all those candles at all. She is ‘wedded’ to the stone knights, not to her mortal husband. Nesbit’s marble knights were once men, part of a Roman Catholic tradition which allowed their wealthy relatives to buy them a place beside the altar, even though the knights had done terrible things (‘deeds’) in their lifetimes. Of course, they’re continuing to do terrible things beyond the grave. They have no place beside the altar. Nesbit is critiquing the practice. And if we haven’t realised it by now, we know that if Jack had treated his wife as a fully-functioning adult and warned her of impending doom, Laura might still be alive.
I extrapolate that this guy won’t be getting his housekeeper back. I guess he’ll leave the area and find another wife, and he’ll never be quite the same again. If the young woman was killed, can this be a feminist story? The question has been asked. I argue that it can because, as I keep saying, subversion works better than inversion (in which ‘inversion’ would result in an ending in which the vulnerable maiden toughens up and defeats her opponents).
“Man-Size In Marble” is instead an example of subversion, but not at a plot level — at a metaphorical level. Nesbit kills Laura not to punish her, but to demonstrate the latent violent inherent in the sexual politics of the period. Many New Women are confronted by representatives of the patriarchal order, but the encounter is usually staged in solidly realist surroundings like those of Gissing’s The Odd Women (1893). By injecting Gothic fantasy into what seems at first an unexceptional tale of newly wedded bliss, Nesbit is able to provide both the shock expected of the genre, especially in short stories, and imbue her fiction with an underlying sense of ideological dissatisfaction.
“A Very Old Man With Enormous Wings” by Colombian writer Gabriel Garcia Marquez is sometimes subtitled “A tale for children”. This short story reminded me of middle grade novel Skellig by British author David Almond. Sure enough, Almond has said in interview that he was influenced by the 1960 Colombian short story, and others have already looked into the relationship between the two.
What does it mean for a short story to be ‘for children’?
How is the story structured?
What do I get out of this story and how are its themes relevant today?
NARRATION OF “A VERY OLD MAN WITH ENORMOUS WINGS”
Perhaps this is the thing which seems tailored for children. The narrative voice has a fairytale/folktale vibe.
SETTING OF “A VERY OLD MAN WITH ENORMOUS WINGS”
The setting is a fairytale world, but not the forests and castles of landlocked fairytale Europe — this is a fishing village beside the sea and the sea is the magical place. Weird things come out of the sea. First crabs, then, well, an old man with wings.
But why else is the sea setting important? Well, the sea and shore is often said to be a ‘liminal’ space — a space that exists on the borders, in the ‘in between’. But the word liminal is useful because it refers to metaphorical borders as well as geographical, actual ones.
A liminal space is the time between the ‘what was’ and the ‘next.’ It is a place of transition, waiting, and not knowing. Liminal space is where all transformation takes place, if we learn to wait and let it form us.
Apart from the sea itself, the story arena is very small for this one — we never follow the ‘camera’ into the ocean depths. Rather, the entire story takes place around a chicken coop and shack.
The setting is ‘fallen’ — the inverse of utopian. Also known as postlapsarian. A type of hell before actually getting to hell. ‘Sea and sky were a single ash-gray thing’, we are told. Hell on Earth, in other words. This is a story about an unfortunate convergence. The angel is both miraculous and ordinary — the world is both worldly and heavenly, with no division between the celestial and earthly.
When people come from all around to see the caged angel, broken and pathetic, this is not part of the fantasy world. Garcia Marquez is saying nothing about human relationships that hasn’t actually happened. In this way he is like Margaret Atwood, who wrote a ‘fantasy’ world for The Handmaid’s Tale, but invented nothing — every terrible thing in Atwood’s book had happened somewhere at some point in history.
Until the 20th century, it was socially acceptable to enjoy cruelty as entertainment.
Australia is having this debate, most recently with The Melbourne Cup — a culturally significant annual horse race. Many horses die as a result of this race, and their treatment too often involves torture. Australians are currently bifurcated into those who happily accept the Melbourne Cup and those who are morally appalled by it. Using history as our guide, the Melbourne Cup’s days are numbered.
STORY STRUCTURE OF “A VERY OLD MAN WITH ENORMOUS WINGS”
“A Very Old Man With Enormous Wings” is a story about a community rather than an individual, though the story focuses on a husband and wife, which makes sense because the angel arrives at their house.
The symbolism of names is important here. Pelayo is the Spanish form of Pelagius, which if you trace back far enough means “the sea”. This character is inextricably linked to his home by the sea. Elisenda is from Catalan — originally a Visigothic name meaning Temple and Path.
Pelayo and Elisenda do not want a scraggy old guy with wings in their yard. That is about the last thing they need, in the wake of all those crabs. They want their baby to get well. They want to live their simple lives in peace, without calamity, without crowds turning up to their chicken coop all the livelong day.
The Opposition in this story is an excellent reminder that ‘Opponent‘ does not equal ‘Villain’. The opponent in a story is the character who stands in the way of the main characters’ Desire. In this case the Opponent is very much the victim of the main (viewpoint) characters (the villagers).
The angel is guised as a ragpicker — a person who collects and sells rags. In stories, characters tend to underestimate those dressed in rags. The Pied Piper is a classic example – pied meaning he was wearing clothes stitched together by lots of different rags, meaning that he was too poor to afford proper clothes. Yet the Pied Piper had the last laugh.
Perhaps because of this history, in which a dishevelled appearance so often belies intelligence, conniving and trickery, I expected this story to end differently. I expected the fallen angel to ‘win’, to take revenge upon the people who abused him rather than helped.
The angel is presented as a classic horror genre opponent. In horror, you can’t kill the baddie. It keeps coming back, even if it’s only one arm clawing its way along the floor.
Pelayo and Elisenda ask the woman who knows things for advice. This woman is completely full of supernatural crap, but she’s established herself as Someone Wise, and people listen to her.
We can find contemporary analogues in anti-vaxxers, astrologists, conspiracy theorists and similar. There will always be people like this in every society, who position themselves as helpers and mentors as soon as science fails to explain new and disturbing phenomena.
Which part of this story is the Battle? The scenes of abuse, with the angel trapped in the cage, are of course a big struggle of sorts. For storytelling purposes, the Battle scene is the part which leads to the Anagnorisis.
This is an interesting technique: The writer spends most of the story with characters engaged in a big struggle, but the death scene is very short. The Battle which kills the angel is presented to us as succinct narrative summary rather than as a dramatised sequence.
In fact, his death is presented to us as if in passing, underscoring how little respect was garnered by this celestial creature:
Those consolation miracles, which were more like mocking fun, had already ruined the angel’s reputation when the woman who had been changed into a spider finally crushed him completely.
Why? Why not dramatise that scene for us? Wouldn’t it be spectacular, to see how a tarantula woman spiritually murders (‘crushes’) an angel? Well no, it would be grotesque.
The story is about the relationship between the humans and the angel — the tarantula is mainly brought in as a plot device
What I can imagine this scene looked like is probably far more fearsome than how anyone could’ve described a blow-by-blow account on the page
Unless writing for the action and thriller genres (and adjacent), an audience probably doesn’t even want a blow-by-blow description of a crushing.
When even the tarantula can’t get rid of the groteque angel completely, Elisenda realises she’ll just have to live with him.
Pelayo and Elisenda very soon overcame their surprise and in the end found him familiar.
I sometimes wonder what would happen if astro-biologists discovered life on another planet. Unless it was intelligent life who was coming for us all, I suspect we’d all be surprised for a while, but that the wonder would very soon wear off and we’d return to our regular infighting here on Earth, giving extraterrestrial lifeforms very little thought on a day-to-day basis, outside a small group of enthusiasts. We’d just take it for granted that it’s there, much like we take deep sea life for granted. I rarely give a thought to the alien-like creatures living deep in the Mariana Trench. If similar lifeforms were found beneath the surface of Jupiter’s moon, Europa, I’d probably watch a documentary on it, be fascinated for a while, then go back to my day-to-day life.
Because we can’t remain in awe forever, right? Awe is not an enduring emotion. If we felt it every day, it wouldn’t be ‘awe’.
Having made money off him, Elisenda and Pelayo will live a nice life in their nice big mansion, having put the poor creature right out of their mind.
This is an active non-noticing. I believe we in the West are pretty good at active non-noticing. Our sports shoes are made by children living in slave conditions, but we choose not think of that when we walk out of the store wearing comfy new kicks. Almost everything we buy is unethical; but to not buy it is unrealistic. It’s impossible to buy an ethical mobile phone; it’s also impossible to log in to certain Australian government websites without one.
Magical realism is a phrase that crops up a lot when discussing stories concerned with the manifestation of the supernatural in the context of everyday life. Our standout example of a magical realist writer is this very guy — Gabriel Garcia Marquez.
in magical realism the narrative is primarily interested in the village, while in fantasy the author would focus primarily on the old man, his wings, how he got them, and what his home world is like.
Worth knowing: magical realism is a contentious label to apply to work which is not Latin American. You’ll find various opinions about whether we may call non-Latin American fiction magical realism, or whether we should instead stick to, say, ‘fabulism’ to describe other work with the same attributes but set elsewhere. There’s quite a lot to this debate.
An invasion of creatures is used in another ‘magical realist’ story — one by Keri Hulme — “King Bait”. That New Zealand story is also about the base, nasty nature of humankind, in that case greed, in this case selfishness, and our ability to dehumanise what is clearly human, or equivalently sentient.
KIDS CAN SEE THINGS ADULTS CAN’T
The idea that we are surrounded by the extraordinary yet remain blind to it is a pretty common theme in picture books, in which the archetype of The (Jungian) Child is useful as a character who hasn’t lost their wonder yet, after being subjected to the monotony of life with adult responsibilities. “Children who notice things adults don’t” could be a subcategory of children’s literature in its own right. Think of all those fantasy portals, never discovered by adults, and all those fantasy creatures. Are they fantasy or real? Are they only real if we see them? What does it even mean to be ‘real’?
A well-known Australian picture book example of “children who notice things adults don’t” is The Lost Thing by Shaun Tan. A boy sees all sorts of weird machines everywhere. He even takes one home and his parents still don’t bat an eye. Commuters dressed in suits are wholly oblivious to the wonder all around them. The boy grows up and loses his ability to see these wondrous things, most of the time. But now and then he gets a glimpse of his former childish wonder.
What about in stories with no adults? Often in that case, when the author has dispatched with the adults, there’ll be a dog who can sense things the kids cannot. The kids will take the dog’s lead. The standout example from my own childhood is Timmy the dog from Enid Blyton’s Famous Five series.
Basically, the closer a character to its animalistic, unadulterated nature, the more useful they are in picking up on vibes more cerebral characters cannot. This is why, traditionally, girls have been used for this role more frequently than boys. Women give birth and menstruate and until very recently were consistently either giving birth or preparing to, across their entire adult lives. So women were more clearly ‘animal’ than men, who traditionally positioned themselves, and only themselves, closer to God. For 1000 odd pages on that idea see Women, Men and Morals by Marilyn French.
I’ve previously taken a close look at wolves in literature, specifically in children’s stories. Werewolves are a separate archetype from wolves and play a different storytelling role.
THE HISTORY OF WEREWOLVES IN A NUTSHELL
Werewolf literally means ‘Man Wolf’. Were is from Old English ‘wer’ meaning ‘man’. The maleness of ‘were’ has since been lost in modern English, but if we wanted to seem technically accurate, the female equivalent would probably be ‘wifwolf’, and that’s not ideal in an age where women don’t always appreciate being referred to in relation to men. (Wif is the Old English word for ‘wife’, in an era where women did not exist as autonomous human beings, belonging only to fathers, husbands and sons.)
In Europe, people really used to believe werewolves were a thing. Imagine believing that. Imagine thinking that, if you weren’t careful, you yourself might turn into a werewolf. How would you regard the moon, if this were your worldview? Don’t know about you, but I’d stay inside on moonlit nights.
During the sixteenth and seventeenth centuries, reports of werewolves pervaded much of Central Europe and sections of France along the Swiss border, notably the Jura and the Franche-Comfte. The surgeon Johann Dietz witnessed a crowd of villagers in the northern German town of Itzehoechase a werewolf with spears and stakes. Even Paris suffered sporadic attacks. In 1683, a werewolf on the Notre-Dame-de-Grace road supposedly saved a party that included several priests.
At Day’s Close, A. Roger Erkich
WEREWOLVES ACROSS CULTURES
Something about wolves that leads humans to think, across largely unrelated cultures, that people can turn into them. Horror storytellers have since turned all number of creatures into were-creatures, from horripilating to comedic effect and everything in between. Wallace and Gromit gave us the Curse of the Were-Rabbit, for instance, comedic because rabbits are not naturally terrifying (on their own).
The ‘were’ of ‘werewolf’ originally meant ‘man’ (man-wolf). This gendered meaning has largely been forgotten in contemporary English. We can therefore have female werewolves.
werewolves and the moon
There is a long history connecting moon cycles to changes in the human body:
Best known of the many “planets” said to influence the rhythms of everyday life was earth’s closest neighbour, the moon. While a welcome source of light, the moon reputedly affected the internal workings of the human body much as it did the flow and timing of ocean tides and the course of the weather. France’s “first philosophe”, Bernard le Bovier de Fontenelle, was one of many learned authorities to perpetuate the medieval theory stressing the moon’s importance to physical health: “As it passes through its phase, it exerts a great influence for better or worse over the course of illnesses.” So potent was its power that the moon could alter the amount of moisture within a person’s body, including the brain, thereby driving some individuals insane or “moon-struck.” Observed the authors of Maison Rustique, or, the Countrey Farme (1616), the moon was the “governesse of all such humidities as are in earthly bodies.” When the moon was full, women were thought at particular risk to become “lunatics.” Some victims died on the spot. In London’s St. Botoloph’s Parish between 1583 and 1599, as many as twenty-two deaths were attributed to planetary influence.
At Day’s Close by A. Roger Ekirch
But the story which connected the moon so closely to werewolves for a modern audience was the 1941 Wolf Man movie. Earlier werewolf stories were more fairytale in nature. The person turning into the wolf tended to put on a certain item of clothing such as a magic belt or coat.
WEREWOLVES IN MODERN STORIES
When it comes to werewolf tropes, the tropes differ depending on the medium. Movie werewolves are most often supernatural horror villains, there for the gore and slashing, and could be swapped out with many other horror villains. For this reason, these werewolves are not particularly interesting.
Twilightshifted the status of werewolves — the character of Jacob paved the way for a modern werewolf who is also a potential love interest.
Werewolves can be used to convey many things, depending on the ideology of the storyteller. One common use of the werewolf (among various other wild animals) is as a proxy for overwhelming teenage sexuality:
It can be a hard thing to be a teenage girl.You face pressure from both your peers and society at large to rush into sexual activity you may not be ready for. You’re judged for your clothes, your makeup, your interests. You have to navigate that blurry line between childhood and adulthood, exemplified by physical changes that can make your body feel like it’s not your own.
Also, you might turn into a werewolf.
Or a mermaid.
Maybe a succubus.
At least that’s the case in the movies, where there exists a long and storied tradition of associating of female puberty with the supernatural.
Or, if you’re not into the whole brevity thing: “Help, I’m a teenage girl coming into my own as a sexual creature, while also turning into a literal creature who transforms into a deadly animal/can control objects with my mind / has an all-consuming hunger for human flesh / bites dudes’ junk off with my vagina” (circle where applicable).
Supernatural sexuality is nothing new at the movies.
It’s a horror subgenre that’s shown its face time and time again throughout the decades. In 1942’s Cat People, a sexually repressed young woman refuses to be intimate with her husband due to her (justified, as it turns out) fear that doing so will cause her to turn into the killer cat that looms so large in her people’s mythology.
As such, the werewolf as sexual beast trope can be used to try and suppress sexuality, or to encourage readers to embrace it.
PROBLEMATIC WEREWOLF TROPES
The problem with many werewolf stories is that the wolf is based on inaccurate, outdated science, in which wolves were studied in captivity, not in the wild. When studied only in captivity, scientists came up with the following:
In each pack there is an alpha male and an alpha female running things.
The alpha male is more powerful than the alpha female.
There will be wolves at the bottom of the hierarchy (omegas).
Wolves mate for life.
In the wild:
The parents are in charge of the pack. ‘Alpha male’ and ‘alpha female’ are mum and dad taking care of the teenagers. (Not so sexy now, right?)
Wolves don’t mate for life.
The ‘males are stronger than females’ thing is never so simplistic, whether we’re talking about animals or humans. It is a fantasy to imagine that men can protect us all. To take an example from a different species, it was only recently that researchers shared that male, alpha chimpanzees are only the alphas of the other males, and that an alpha male chimp can easily be dethroned if all the females decide to reject him. It is certain that the sexual hierarchy of wolf packs is equally nuanced and complicated as it is in chimpanzees.
If storytellers go with the captivity inaccuracies, this results in a romantic view of the (human) patriarchy, which is intimately connected to the One True Love story. We see this in Twilight, in which werewolf Jacob’s One True Love is Bella’s baby.
Consent is a complicated topic in storytelling because sexual fantasies are somewhat separate from what an audience will accept in reality. Or is the line really so clear? The very definition of ‘fantasy’ becomes muddied when narratees live in the real, non-fantasy world in which non-consensual activity happens to people frequently. Werewolf stories set up under the (human) patriarchal system require ‘underdogs’ do as they are told. While this hierarchy can pave the way for con-non-con fantasies, is it still a fantasy when the characters within the setting are unable to give their own consent?Con-non-con activities are in fact consensual. There is a dearth of stories modeling conversation which needs to take place beforehand. To what extent should stories model good behaviour? Does there need to be that wrapper story in which readers are gradually immersed further into the fantasy world?
As mentioned above, the alpha werewolf in a patriarchal werewolf story is more powerful than the alpha female. This is an uncritical presentation and serves to reinforce ‘the natural order of things’ (for humans).
Some werewolf stories present werewolf as analogue for disease. J.K. Rowling has said that in the Harry Potter series, the werewolf part stands for AIDs. Even if readers are supposed to get the message that ostracising werewolves (diseased people) is bad and we shouldn’t do it, the very act of writing a diseased character as a supernatural monster is in itself problematic, and perhaps relies too heavily on the audience’s ability to see the storyteller’s intent. Zombies are also used in this way.
Werewolves in modern stories are sometimes presented as protectors of nature, which is not problematic in its own right. It can become problematic once non-native writers include tokenistic, appropriated indigenous cultures and transfer those symbols onto wolves.
WHAT MAKES FOR A PROGRESSIVE WEREWOLF STORY?
In better stories, a werewolf can make for an interesting, rounded character in its own right. An adept storyteller can almost transport us into a canine body ourselves and send us running through the forest.
Modern werewolf stories tend to say one of the following:
Friendship makes you stronger. The metaphor here is the wolf pack. Teen Wolf is a good example of that, with the additional message that ‘those in your pack don’t have to be wolves’, which conveys a message of diversity and ‘chosen family’.
Werewolf stories can say something interesting about anger management, and the struggle to control one’s emotions.
Werewolf stories can more generally be about Being Different — this plot is certainly not limited to werewolf stories.
WOLVES, TRANSFORMATION AND SEXUALITY
One modern and interesting way writers are using werewolves: As symbols for how hard it is to fit into the rules of the patriarchy.
The following example makes use of wolves rather than werewolves, but these wolves are functionally ‘were’- wolfish:
“St. Lucy’s Home for Girls Raised by Wolves” by Karen Russell is […] about a pack of wolf-girls sent away to live with nuns so they can transition into normal young women. I think Russell uses animals in this story as a symbol for the wildness in young people and how there is an expectation, especially for girls, to abandon rough or wild behaviour as they mature. It is about societal pressure, but it is also about the kinship people feel toward animals, and similarly the divide between animal and human that we can never traverse. Pulling from this set of examples, what are some of your favourite short stories and in what ways are animals used in them?
“Dear Amelia” by Anne Valente, explores a similar transformation in reverse. The story is narrated by a group of girls that is turning into Maine black bears, a secret that they keep to themselves. To me, this story is so much about the private discovery of the self as you come of age, an experience that is at once mysterious and magical. What better way to enact that than through this literal transformation?
A Goodreads list of the most popular Werewolf novels recently. Maggie Stiefvater’s Shiver series is near the top, and definitely the most popular young adult werewolf series. There is another entire list dedicated to Werewolf Erotica. Anyone who has read Nancy Friday’s My Secret Garden may not be surprised at werewolf erotica because dogs make a surprisingly frequent appearance in female sexual fantasy.
The vampire can be compared to the wolf – the seducer wolf in Little Red Riding Hood and other stories.