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Product details
File Size: 5615 KB
Print Length: 196 pages
Publisher: Syracuse University Press; Critical edition (May 15, 2013)
Publication Date: May 15, 2013
Sold by: Amazon Digital Services LLC
Language: English
ASIN: B00ECIZHT0
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Fantastic, but it seems unfinished. Not unsatisfying, but the story more than hints that it is just the begining of a more expansive novel. Seeing that Le Fanu died about a year after writing it this seems most likely.
The star rating is for this “Critical Editionâ€. “Carmilla†itself, a short (28k words) Gothic mystery written in 1872, is quite good.The protagonist, Laura, is a lonely young woman who lives with her widowed dad and superstitious servants in an ancient castle in the midst of a legend-haunted forest. An anonymous noblewoman has left her daughter Carmilla in their care, then disappeared in pursuit of some desperate-but-secret errand. Carmilla refuses to disclose family secrets, and her behavior can be rather odd.“Carmilla†is a MYSTERY that suffers from a problem of advertising. Without a major spoiler, few people would read it; so it gets spoiled alot. If by some remote chance you remain unspoiled, and if you like Gothic tales, then stop reading reviews (perhaps including this one), and find yourself a the actual tale. You will need to avoid many front covers, back covers, editors’ introductions and promotional blurbs. Your best bet is some edition of IN A GLASS DARKLY (the author’s 5-story collection featuring this tale).In this “Critical Editionâ€, the spoiler is repeated on the back cover, and in the editor’s preface starting at the first sentence. Nor will you be safe if you skip unspoiled to the tale itself, since it appears prominently in a footnote.By itself, “Carmilla†makes a slim volume, which is another reason why IN A GLASS DARKLY may be a better buy. This “Critical Edition†instead supplements the author’s text with editor’s introduction, footnotes, 3 critical articles, bibliography, etc. Sadly, none of these extras are worth much.The editor boasts she has reverted to the original magazine text, but then peppers the text with footnotes explaining where she has preferred readings from the 1872 publication of IN A GLASS DARKLY on a case-by-case basis. But the latter represents the author’s final wishes, and should have been followed consistently. In any event, the changes are too trivial to be of interest.The footnotes are generally poor, at some times restating the obvious or evident ("Utrecht velvet" is a type of velvet from Utrecht); at another time giving away what the author does not want us to know yet. Definitions are supplied that one could look up oneself (“Aladdin’s lampâ€; “hippogriffâ€); but opportunities are missed to warn unsuspecting readers that meanings of words have changed (such as “wonderful†and “romanticâ€). Most shameful is a footnote that claims that four works referred to in the text are “[a]pparently fictional titles created by Le Fanu to give the ring of scientific validity to Baron Vordenburg’s research ...†(p.93). In fact, all four are real works.(Vague Spoilers Follow). Modern readers tend to read this text as having lesbian elements; which they assume Victorian readers must have found shocking. As far as we can tell, they did not even notice. A number of factors play into modern perceptions. One is that the author does deliberately inject a mysterious erotic, or quasi-erotic, or pseudo-erotic element as a clue or red herring (trying to avoid spoilers here). Another factor is that language has changed: words like “passionâ€, “arousedâ€, “romanceâ€, etc., now have associations with love and sex that they did not formerly have. A third factor is that the culture has radically changed; so that we now see “lesbianism†in expressions of same-sex affection once seen as normal, innocent and non-sexual.Since about 1980, a body of “literary criticism†has grown up that obsesses on the lesbian aspect of “Carmillaâ€. Scholars strain to find a coherent pro-or-anti-lesbian message, and, not finding one, vigorously hammer square pegs into round holes, resulting in ludicrous textual mis-readings. The narrator is said to be unreliable, the literal elements are said to be a metaphors, and loose games of association are played, until the text is twisted to its opposite. The story’s status as a mystery is ignored, as critics debate the deep socio-politico-cultural and psycho-sexual significance of its various clues, red herrings and twists.The essays here rest firmly in that tradition; but, to break new ground, they set out to ALSO show that “Carmilla†is a metaphor about Ireland and/or the threat posed by Irish Catholicism. The result is complete incoherence, straining to sound as erudite as possible.An introduction by Kathleen Costello-Sullivan summarizes with approval these prior critics. She cites with approval their oft-expressed idea that an early incident in the story, where a 6-year-old girl imagines a woman has attacked her by sticking needles in her upper chest, MUST be perceived as “homoerotic.†Should that not be “pedo-sado-homo-eroticâ€? Surely it is not self evident that the author actually MEANT to appeal to the erotic tastes of so narrow a crowd. Might it not just be a clue in a mystery? (no spoilers, now).Then an article by Jarlath Killeen desperately strains to create an Irish metaphor of some kind. My favorite part is “Carmilla may be [Daniel] O’Connell in dragâ€; a reference to the Irish liberator. He also suggests that Carmilla represents Catholicism, or Anti-Catholicism, or both. The only sensible thing he says is that “Ireland is never mentioned†in the tale. Which is true.Next Renee Fox tries to unite the supposed Irish Catholic metaphor and the lesbian metaphor into some kind of complex dual metaphor, with incomprehensible results. She almost says something sensible when she points out that Le Fanu’s contemporaries would not have seen passionate female friendships as “lesbianâ€. But she then seems to proceed on the assumption that she knows better and Le Fanu agrees with her. She not only sees Carmilla’s desire for Laura as erotic (for which she has some excuse; but [spoiler]); but also Laura’s affection for Carmilla; as if affection and sex were the same thing and no distinctions are valid. She even finds erotic implications in Laura’s observation that “curiosity is a restless and unscrupulous passion†(p.115), as though she cannot imagine "passion" being used in a nonsexual way, even when the "passion" is identified as curiosity. Naturally, when she reads Laura’s line about memory being impaired when “passions†are “wildly and terribly arousedâ€, she fails to realize Laura is talking about traumatic experiences, not sexy ones.Next, Lisabeth Buchelt contrasts the sublime and the beautiful under different aesthetic theories, and applies this to “Carmillaâ€. In the end, it struck me as an over-elaborate way of saying that, in this mystery story, things are not exactly as they seem. Finally Nancy West has a decent article. for film buffs, about various film based on or inspired by "Carmilla".
Very good book. Well written.
Set in 19th century Austria, Laura is a lonely young woman living with her father and their two servants in the Styrian countryside until one fateful night when she and her father encounter a mysterious stagecoach barrelling through the forest near their house. Rather rashly, her father agrees to let the sickly young woman inside stay in their house while her strange mother continue on her journey. And then people in the surrounding area start dying of an unknown disease and the peasants start muttering about an “oupireâ€. Who, or what, is Laura’s new friend, Carmilla, really – and will she survive the encounter long enough to find out?Nowadays vampires are so prevalent in popular culture, nearly everyone knows about them. Their traits, their behaviours, every aspect of the vampire is so well defined that this Victorian story can seem quaint in the way it plays up the mystery of Carmilla. But when J. Sheridan Le Fanu’s novella Carmilla was published in 1872 (the year before the author’s death), the vampire was a relatively unknown creature in popular culture. John Polidori’s short story The Vampyre had been published to some success a few decades earlier and the pulpy Varney the Vampire had been a popular series, but Bram Stoker’s Dracula, the most famous vampire novel ever written and the book that would launch vampires permanently into the mainstream, wouldn’t appear for another 25 years.In fact, Carmilla is credited by Stoker as an influence in the creation of his novel, and it’s easy to see why. The fangs and nightly blood-sucking, sleeping in a coffin in a ruined chapel, the associations of vampires with nobility, the ability for vampires to transform into animals, the aversion to Christianity, eternal life and youth, and the strong ties between vampires and sexuality all appear in Carmilla. Perhaps the reason why Carmilla wasn’t the success that Dracula was lies in its female protagonist and her relationship with the female vampire that Le Fanu implies went beyond mere friendship.The story opens when 6 year old Laura meets the beautiful young woman Carmilla, whom she doesn’t know by name yet, but who appears in her room nightly to drink her blood. When her nursemaid acts on her suspicions, a ritual from a priest is performed and Laura is no longer visited by the vampire. But years later, when our story takes place and Laura is 19, Carmilla re-enters her life, and Laura recognises her as the youthful visitor who used to bite her breast as a child – though she seems to have no trouble accepting that Carmilla hasn’t aged in 13 years! Instead, Laura’s feelings confuse her as she is both drawn to and repulsed by her though describes Carmilla as beautiful. Later, when the two are alone in Carmilla’s bedroom, she makes a move on Laura, kissing her and drawing close to her, talking intensely and unequivocally about how Laura belongs to her.In this sense, Carmilla is a surprisingly un-Victorian story as it’s basically a lesbian vampire story! You could take this idea further still - if you interpret vampirism as a metaphor for homosexuality, you might even read the subtext of Carmilla’s speech to Laura’s father, explaining this “diseaseâ€, meaning vampires, as a sexually progressive argument:“‘Creator! Nature!’ said the young lady in answer to my gentle father. ‘And this disease that invades the country is natural. Nature. All things proceed from Nature - don’t they? All things in the heaven, in the earth, and under the earth, act and live as Nature ordains? I think so,’†(p.39)Besides the sexual undertones of the story, there are a number of memorable scenes that stand out for their rich, gothic imagery. Ruined chapels, castles with drawbridges, haunting forests with crumbling Christian totems, all bathed in a twilit glow and set against the schloss and background of the 19th century Austrian countryside. Le Fanu continues to hint at Carmilla’s true identity, though to modern audiences, it’s either known before you pick up the book what’s what, or you’ve guessed it within Carmilla’s first appearance. Nonetheless, there are a number of interesting scenes that will become classic staples of vampire fiction such as Laura looking at a painting from 1698 (150 years before this story is set) of a noblewoman called Mircalla who looks identical to Carmilla (and whose name nobody seems to notice is an anagram of Carmilla) strongly implying Carmilla’s immortality, or the image of Carmilla drenched in blood and standing at the foot of Laura’s bed when she awakens in the middle of the night!By far my favourite scene was Carmilla’s entrance where a blighted carriage rumbles precariously through the moonlit forest path, nearly toppling at the sight of an ancient Christian cross as its horses react violently to the religious symbol. Laura watches as her father approaches and before long Carmilla emerges to go back with them. Meanwhile, Laura observes inside the carriage the “hideous black woman, with a sort of colored turban on her head†who is presumably Carmilla’s mother, if not guardian, who nods and grins derisively at her with “gleaming eyes and large white eyeballs, and her teeth set as if in furyâ€. And the carriagemen, described as “ugly hang-dog-looking fellows†- couple this ghoulish group with Carmilla and it’s like the carriage was regurgitated from Hell itself!Not every aspect of the modern vampire mythos is laid out here - Carmilla walks about in daylight and can see her reflection in the mirror, while the creation of a vampire is rather glibly described by Le Fanu as someone evil who kills themselves, and somehow becomes a vampire. They then feed on others, draining the blood of their victims until they die and then rise from the grave, vampires themselves. The second part was used in Dracula and kind of makes sense in a parasitic way but the original vampire creation is very weak.If Le Fanu’s story is unconventional for its time, his writing is unfortunately all too similar to his Victorian contemporaries. Overwritten scenes, overwrought dialogue, overly proper behaviour all make this book a rather slow read even though it’s barely 100 pages long and its predictability too doesn’t help. However, Carmilla has remained in print at least in part because it’s an original and striking story whose titular character would go on to influence numerous horror writers to create their own female vampires in her mould. The imagery and the vampiric scenes do still retain their ability to mesmerise modern audiences, and for fans of the literary sub-genre of vampire fiction, it’s worth reading Carmilla to see where a number of tropes and stock characters originated, in particular the Van Helsing figure in this book, General Spielsdorf.There’s certainly more than enough here to warrant the classic label it’s earned since it was first published, and it’s story is a lot more interesting than many other classics too! So, if you’re feeling sinister, take a trip to Styria and meet the eternally youthful Carmilla - she’ll never let you leave!
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