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Alyson Dunlop's Blog

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Monthly Archives: March 2013

Werewolves: Narrative and Symbolism in Film and Literature

29 Friday Mar 2013

Posted by Alyson Dunlop Shanes in Uncategorized

≈ 2 Comments

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allegory, anarchy, Berserkers, bitten, classics, criminal, curse, delinquency, Devil, film, folk lore, folktales, forest, full moon, fury, God, hallucinogens, Herodotus, hooliganism, hypertrichosis, infection, literature, Luna, Lupa, lycanthrope, lycanthropy, Madness, menstruation, metamorphosis, Norse, Ovid, Pausanius, pentagram, Petronius, Pliny the Elder, pornography, prostitute, psychiatric illness, puberty, scratched, sexual, symbolism, transformation, tranvestitism, Viking, Virgil, werecats, werejaguars, werelions, weretigers, werewolves, witches

werewolf

By Sergey Kalinen

Werewolves!  Where does one start?!  These supernatural creatures have as vast and varied a history as vampires, probably even more so.  Early tales of transformation from man to wolf, can be read in the classical literature of Herodotus, Pausanius, Ovid, Virgil, Pliny the Elder and Petronius.

Depending on which part of the world you live in, the curse of the werewolf is either given by God or the Devil. Also, depending on which part of the world you live in, humans may metamorphose into any number of creatures.  In Europe, and subsequently Canada via Viking migration, America via European migration, Haiti via French migration etc, wolves are the most likely     were-animal.  Were-cats are also mentioned in the texts.  In Europe they are mostly associated with witches, whereas in Africa and Asia they are mostly associated with big cats – weretigers and werelions.  Werejaguars are also mentioned in the Americas.  In Thailand, there are even folk tales of werecrocodiles!

There seems to generally be a big difference between werewolves of film and werewolves of literature.  For example, in film werewolves are most often infected or cursed from being bitten or scratched by another werewolf.  In literature, they are cursed through a pact with the Devil, parentage or because they have a psychiatric illness (lycanthropy); also, in literature, religious symbols are usually no protection whereas, for example, a pentagram was used in the film An American Werewolf in London.  Traditionally used as a symbol for protection, it is often misunderstood to mean something Satanic.  In later (20th century) literature, the silver bullet was added as a means of killing a werewolf.  Prior to that, wolfsbane and exorcism were often tried on people believed to be lycanthropes.

From the original texts to current visual storytelling, it should by now be obvious that werewolves represent many varied things, and I’m not going to get too arsy about the differences because as I see it, most stories evolve and metamorphose themselves in the process.  Plus, films have to be written by someone before being put on the screen….

It has been suggested that rabies is one origin of werewolf beliefs.  It’s a great hypothesis, and there are several aspects of infection and symptom that would suggest this theory is correct.  Even though being bitten and infected was a later addition, and not present in origin myths and legends, the infection does curse the victim to a state of madness and is also often associated with canines.

Another possibility for the origins of the werewolf legends lies with the medical condition hypertrichosis.  This condition is caused by a genetic mutation of chromosomes, as well as various diseases such as cancer and anorexia.  In the most severe cases, the face and body are covered in thick hair, giving a very animalistic appearance.  In days gone by, people who suffered from this condition often ended up in circus shows, labelled with such names as “Wolf Man”.

Thirdly, The Berserkers, were Viking warriors described in Old Norse literature who dressed in wolf and bear skins.  They were said to enter an almost uncontrollable, trance-like fury, thought by some historians to be induced by drugs.  In one saga, they are described as being “tasters of blood”.  Their fit of madness is described here:

This fury, which was called berserkergang, occurred not only in the heat of battle, but also during laborious work. Men who were thus seized performed things which otherwise seemed impossible for human power. This condition is said to have begun with shivering, chattering of the teeth, and chill in the body, and then the face swelled and changed its colour. With this was connected a great hot-headedness, which at last gave over into a great rage, under which they howled as wild animals, bit the edge of their shields, and cut down everything they met without discriminating between friend or foe. When this condition ceased, a great dulling of the mind and feebleness followed, which could last for one or several days.(1)

This is interesting, in that not only do the Berserkers transform in the same way as werewolves do, but they are also weak when the effects wear off, in the same way that werewolves appear to be weak when they transform back to their human form.  The state of going ‘berserk’ is explored in Finding Delphi, when one of the protagonists is forced to confront his past and the guilt that remains with him because of his actions.  The effects of a hallucinogen experienced by him and other protagonists in the story, cause him to shapeshift into various animals, including a wolf.

The werewolf, in storytelling, has to be some part of the human being – a part of us which is deep-rooted and potentially accessible.  In some cases, it could be madness, and we have the full moon symbolism to thank for the association with the lunatic.  The word luna is Latin for moon and the goddess of the moon.  It is also, incidentally, the alchemical name for silver!  The full moon has long been associated with psychiatric illness.  It has never been proven to be anything more than a mythical link, although there is no accounting for the effect belief has on a subject.  In American Werewolf in London, the unfortunate David Kessler suffers psychologically through nightmares and supposed hallucinations, after straying off the path onto the moors, disregarding the full moon and being attacked by a werewolf which kills his friend, Jack, and turns David into a werewolf.  His reign of terror throughout the streets of London seems to be linked to delinquency and hooliganism, with some transvestism, anarchy and porn thrown in for comic effect.   In this case, the werewolf is the parts of an eighties society that London was either uncomfortable with or did not take very seriously, possibly both.  Certainly it represents the ‘Other’ in that society.

As well as furious, strange and criminal behaviour, the werewolf represents our most base instincts; our untamed wildness.  It represents the animal side of our nature.  It is really what is going on, or what we have the potential for, underneath our civilised exterior.  Of course, this includes our sexual nature which seems to have been demonised some couple of thousand years ago….  In very ancient times, the wolf was associated with prostitution, and this is one theory for the background story of the wolf that raised Romulus and Remus, the founding brothers of Rome – that is, that Lupa may in fact have been a prostitute.

Folk tales, such as Little Red Riding Hood, are full of amazing allegory, warning unsuspecting adolescent girls of the dangers of not sticking to “the path”.  In the original fairytale there is a clear distinction between the safety of the village and the dangers of the forest.  The tale is symbolic of an innocent female victim being lured by a dangerous male criminal from a place of safety to a place of isolation.  Charles Perrault, writer of the earliest version (1697) explicitly explained the meaning of the story at the end:

From this story one learns that children, especially young lasses, pretty, courteous and well-bred, do very wrong to listen to strangers, And it is not an unheard thing if the Wolf is thereby provided with his dinner. I say Wolf, for all wolves are not of the same sort; there is one kind with an amenable disposition – neither noisy, nor hateful, nor angry, but tame, obliging and gentle, following the young maids in the streets, even into their homes. Alas! Who does not know that these gentle wolves are of all such creatures the most dangerous!

There is no doubt in my mind that Little Red Riding Hood is a warning to pubescent girls on the awakening of sexual maturity, the red cloak symbolising the blood of menstruation; the wolf, therefore, a sexual predator.

The literary tale was beautifully brought to life in Company of Wolves, which was an absolute dream for the discerning symbologist (yes, I know it’s a made up title – please don’t write in!).  Unlike the fairytale the charismatic wolf is first encountered as a Prince Charming, later metamorphosing into a wolf.  Throughout the story there are several transformations from human to wolf, introduced through other folk tales within the story.  The main point, according to the old-fashioned thinking of her grandmother’s generation, is for Rosaleen (Red Riding Hood) to be wary of wandering off the path (of righteousness) as there are wicked men ready to take advantage of her.  However, Rosaleen’s mother has a different attitude.  Nowadays it’s okay to run off with the man (or werewolf!) you love.

I leave you with one of my favourite quotes, and the moral of the story, from Charles Perrault’s Little Red Riding Hood:

Little girls, this seems to say,
Never stop upon your way,
Never trust a stranger-friend;
No one knows how it will end.
As you’re pretty so be wise;
Wolves may lurk in every guise.
Handsome they may be, and kind,
Gay, and charming – never mind!
Now, as then, ‘tis simple truth –
Sweetest tongue has sharpest tooth!

Until next week, stick to the path and beware the moon!  Your friend,  A.D.

Footnotes

(1)    Fabing, Howard D. (1956) On Going Berserk: A Neurochemical Inquiry in Scientific Monthly 83 [Nov.] 234.

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Fear, Madness and Repressed Sexuality in Dark Fantasy and Horror

22 Friday Mar 2013

Posted by Alyson Dunlop Shanes in Uncategorized

≈ 3 Comments

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Blood, Dark Fantasy, Demons, Desire, Dracula, Fear, Hallucination, Horror, Madness, Psychological, Repressed, Sensuality, Sex, Sexuality, Sleep Paralyis, Vampire

vampire4“In a world which is indeed our world, the one we know, a world without devils, sylphides, or vampires, there occurs an event which cannot be explained by the laws of this same familiar world.  The person who experiences the event must opt for one of two possible solutions: either he is a victim of an illusion of the senses, of a product of the imagination – and the laws of the world remain what they are; or else the event has indeed taken place, it is an integral part of reality – but then this reality is controlled by laws unknown to us…   The fantastic occupies the duration of this uncertainty.  Once we choose one answer or the other, we leave the fantastic for a neighbouring genre, the uncanny or the marvellous.  The fantastic is that hesitation experienced by a person who knows only the laws of nature, confronting an apparently supernatural event.” (Tzvetan Todorov:  The Fantastic, A Structural Approach to a Literary Genre, Press of Case Western Reserve University, Cleveland, Ohio 1975 p25).

In order for horror and dark fantasy to be remotely compelling to the reader, it should be somewhat believable and a tad inexplicable, enough to make us feel ‘creeped out’ or on the edge of our seats, at any rate.  Those who read these genres, particularly vampire stories, are often deeply aware of the significance of the literature, if indeed they have not had an experience of sleep paralysis accompanied by hallucination; if hallucination is what demons are, springing from the mind of the victim.  The experience of them is every bit as real as you sitting here reading this blog.  Throughout literary history there have always been souls who understood what vampires and demons symbolised, as well as how to defeat them.

Our most disturbing fears, if awakened, will teach us something of our present circumstances.  These fantastical events never occur without reason.  Like attracts like – negative environments and people very often bring their negative influences to our own psyche.  Our beliefs, fears and unconscious mind do the rest.  By allowing ourselves to remain in that state of mind we open ourselves up to terrifying experiences (or dark energy is attracted to us, whichever you choose to believe).  Either way, writers of dark fantasy and horror are often your guiding light in Hell.

These writers usually have a deep understanding of the Otherworld and reader’s darkest fears.  They take you there in order that you may better understand the many possible dangers and demons that can be encountered in life; and they hopefully end the story with a solution of how to defeat these monsters.

One of the most famous horror writers is Bram Stoker, author of Dracula.  We’ll come to the Count in a minute, but it is interesting that the subject of the disturbed mind is present in the form of Renfield, who has some very important information for the reader.  Note too the eccentric figure of Van Helsing, a slightly mad, but genius doctor, who also has the required knowledge of the fantastic as well as the mundane.  In fact, many of Stoker’s characters question their sanity throughout the story.

Blood, as the mad Renfield informs us, is the life.  By consuming blood, he says, you gain the vital powers of the person whose blood you are draining.  This is proved by his Master – Count Dracula – who becomes younger after drinking the blood of the youthful Lucy.  She becomes weaker, eventually dying, as he becomes stronger.  Mina drinks his blood in some kind of perverse and unholy communion.   Dracula is very clearly placed in opposition to God, and we can assume that he therefore represents the Devil himself.   In fact, Dracula is indeed compared to the Devil several times.  As for Renfield, he is the unfortunate mad man who speaks the truth: the ‘Cassandra’ of this story.

Of course, blood is symbolic of so many things.  On the subject of transubstantiation, in some pagan faiths, such as Sioux, there is a long-held belief that eating the flesh of a certain animal empowers you with that animal’s vital essence and spirit, a superstition that undoubtedly found its way around the world in many other guises.  Bram Stoker was probably aware of the legend of Countess Bathory who, regardless of whether she did or not, supposedly bathed in the blood of virgins to retain her youth (See Footnote 1).  In our modern world, we are well aware that blood transfusion saves lives.  This was only a recent discovery in Stoker’s time, but he does mention, and describe, the procedure in Dracula.   Most importantly, blood symbolises the potent life and energy we possess.  Without it, we die. That life and energy is required so that the figurative vampire may live.  In other words, if we let our fears take us over, or repress our innermost desires, we will be drained, disempowered, possibly depressed and eventually die.

Sleeping and night time are, of course, the places you will encounter vampires and other night demons, and in Dracula it is no different.  Disturbed sleep is touched upon with the somnambulistic Lucy, who is easier to control when she is in this state.  Sleeping people cannot defend themselves, like the state of sleep paralysis mentioned earlier.  It is in this state that people are also very often prone to hallucinations.  This is a condition which has been described for centuries by those who have reported incubus and succubus attacks.  These creatures are night demons who feed upon our energy or have sex with us, in much the same way as Dracula does with Lucy and Mina.  Dracula, therefore, is bound up not only with our fears but also with our repressed sexuality.  The vampire’s teeth penetrating the neck of his or her victim, is symbolic of sexual penetration and shows our deep-rooted primal desire to be fucked.  Hard.  By a sexy, charismatic guy with a castle and pet wolves.  Possibly.  You get the picture.   In the half-asleep world of sleep paralysis we are bound, helpless to our inner desires and fears.  It is then that the vampire is free to strike, and the hallucination takes over.

Never fear, there is hope, and Stoker et al give us some clues on how to defeat the darkness in our lives.  I suppose it’s up to each of us to take what we will out of that, but you’ll have to take a deep breath, pick up the books and face your fears for yourself….

In Sisterhood of the Wolf there is an appearance of a mysterious stranger.  To begin with, he is not identified as a vampire, but there are many tell-tale signs.  He is dark, with penetrating eyes, and there is an enticing quality about him.  Channing knows she should not be anywhere near him, but she simply cannot help herself.  There’s also something strange about Channing which, again, the reader will no doubt suspect long before it happens.  She should be able to smell the stranger from across the street.  That’s some super-power!  Nevertheless, even although she cannot, she still gets a warning, a tingling, before she sees him.  He has a magical super-power too!  He is able to influence her senses and actions.   Channing needs no persuasion to follow his command, even though the impression is of a strong independent woman.

This short opening scene is intended to be sensual, sexual, tense and dangerous.  I have deliberately cut off the reader at this point, hoping it will leave you all wanting more!  What I can say, for now, is that Channing is not scared for her own wellbeing.  She’s a woman well able to take care of herself, and that dark stranger better watch out.  He is about to bite off much more than he can chew!   This is definitely a book for feminists!

Until next week, your friend… A D.

Footnote

1. He was certainly aware of some of the history of eastern Europe, as is evident with his lead character, based on real life Vlad III, Prince of Wallachia, also known by his patronymic name of Dracula.  A name he inherited via his father Vlad II Dracul, a member of the Order of the Dragon.  The real Dracula’s cruelty was renowned, and his preferred method of execution was impalement, where Stoker no doubt derived the classical image of the stake – one of the methods used to kill vampires.

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The Writer in Public

22 Friday Mar 2013

Posted by Alyson Dunlop Shanes in Uncategorized

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Writing

The Writer in Public

(By Matt Haig)

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Robert Louis Stevenson on Writing

22 Friday Mar 2013

Posted by Alyson Dunlop Shanes in Uncategorized

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Robert Louis Stevenson, Treasure Island, Writing

Robert Louis Stevenson on Writing

(By Alison Flood, The Guardian)

The One Fixed Point in a Changing World

18 Monday Mar 2013

Posted by Alyson Dunlop Shanes in Uncategorized

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For Sherlock fans. Really the one and only reason I’m posting this is because there is a reference to my friend Donald Robertson in it, which he was equally astonished about! LOL! I suspect someone has given themselves a writing project on Sherlock Holmes and Stoicism as psychotherapy. Or something like that. Anyway, it isn’t the worst thing I’ve ever read.

Click here to read The One Fixed Point in a Changing World by J H Watson (apparently!).

Why I Write Fantasy Fiction and Horror Stories

15 Friday Mar 2013

Posted by Alyson Dunlop Shanes in Uncategorized

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Welcome to my first weekly blog! From now on, I’ll be blogging an article every Friday. WolfToday I’m going to talk about why I write fantasy fiction and horror stories, so kick back and enjoy.  I hope it’s a learning experience for you.

There’s something incredibly exciting about creating a world where anything can happen, and where you can feel free to express your ideas in an entirely symbolic way.  Some people don’t understand the appeal of fantasy or horror, but that’s probably because they don’t understand the meaning of it.  Once you understand it, fantasy is a magical place of hidden meanings waiting to be discovered and interpreted.

It is, of course, a little bit scary to divulge your innermost thoughts to complete strangers.  However, I find it almost therapeutic to write about the world I see in my mind, and to express it creatively through the fantasy/horror genre.  There is something about injecting the fantastical into writing that brings it to life.  I think the magical feeling we get from fantasy is something we often miss as we leave childhood behind.  Fantasy, I suppose, is an accepted way of allowing ourselves to enjoy those same feelings.  It becomes less scary for me to express my thoughts and the reader is able to experience their fears or immaturity in a safe and mature environment.

One of the many things I love about writing is that I can include a message of some sort.  Of course, you can do this with any kind of writing, but in fantasy and horror it is both subtle and profound.  I love having a place where I can talk about real issues that concern me and show the possible outcomes.  Writing is a hugely powerful medium – the pen is, indeed, mightier than the sword!

Admittedly, the journey of some of my stories makes uncomfortable reading.  However, my stories address real fears that we all have & I always attempt to resolve the situation satisfactorily.  That is not to say that I believe every story must end in a traditionally ‘happy’ way.  I don’t.  That’s not real life.  What I do hope to show, though, is that even if an outcome is not what either the protagonist or the reader would have wanted, or wished for, that there is a silver lining if you think about it.  I think this accurately reflects my own view of life.  In other words, fantasy and horror allows me to take people to their deepest self, to their most petrifying fears and to their unfounded prejudices and it shows them what to do once they get there.

Fantasy writers have been described by some as ‘King’s Fools’, the only people to be permitted to speak the truth.  Is there less need nowadays than in the past to have speakers of truth?  Are we able to speak freely?  Possibly.  It depends where you live.  Do we do anything about injustices, or do we see the terrible wrongs in the world, and yet do very little to change them?  Do we simply turn our heads, and look the other way?  What do we fear and why do we fear it?

What better way to express the idea of e.g. madness than through fantasy and horror?   In “Sleepless” readers are introduced to a horrific character, Zoran, the general of a concentration camp, someone we can barely imagine to be human.  But he is.  He is very human.   We probably often wonder how ‘those evil bastards’ sleep at night.  Well, he doesn’t.   He is tormented by his own demons, rather than being the monster himself.  It is easy to demonise human beings based on their behaviour, but when the question was asked and experiments conducted after the horror of the Holocaust, it turns out most people would follow orders.  In fact, most people would torture, under the right circumstances.

I’m interested in people, what makes them happy, what holds them back, what they fear, what they love and what they hate.  As a pagan, classicist and hypnotherapist, I am aware that many people in today’s society miss out on a whole range of helpful concepts.  Spirituality doesn’t necessarily mean you have to be religious.  Defined as being related to the spirit or soul, I would go further and say that spiritual ideas have a great deal of influence on our mind too.  I have always been interested in the positive psychology of spirituality and religion.  In an age of scientific advancement, we are tending to move away from spiritual matters, but I do not believe the two things are mutually exclusive.  I suppose that is why I am pagan.  My beliefs allow for science.  In all honesty, I cannot say whether I believe in God(s) or not, but regardless of what you believe, the gods exist in “Return of the Olympians” at least, and I hope you will find them as loveable characters as I do.  I have found them to be useful in expressing certain concepts, and I think they bring the stories to life, adding a little bit of supernatural humour.  Besides, I do genuinely respect what each of them stand for.

I am also greatly interested in Gothic Horror and allegorical storytelling which, of course, fantasy encompasses.  I love that characters can be the visible mind, right there in front of you, to gaze at in horrified glory.  As a youngster, I was completely fascinated by vampire and werewolf films.  In truth, I have probably gained more from their visual storytelling than from reading about them.  Metamorphosis is something that has fascinated humans since time began: that is, we can change physically, reflecting the horrific emotional changes one human being may experience, if so cursed.  The idea that evil is entirely visible is perhaps a comfort to us, knowing that we can tell good from bad.  The tragedy of the inevitable downfall of the monstrous leaves us with the comfort that, even if we felt sorry for their plight, it is better they were put out of their misery and mankind could sleep safely at night.  What are these monsters we are so utterly terrified of, though?  Mainly things like unpredictability, sexuality, aggression, mental illness, death, consumerism, nobility, scientific advancement and nature-tampering.  These are all very ancient fears and superstitions that have been with us since the beginning of time.  Monsters are the personifications of our fears, groundless or otherwise.  They show that we are afraid of being eaten, having to give in to our own sexual desires, or those desires of others, being unable to control our inner rage or being sucked dry of life by the ruling classes.  Locations are isolated, because there is danger when we are alone.  We are constantly reminding ourselves, through the figurative monster, that we are vulnerable.  Divided we fall, comrades.

I would like to think that there is something for everyone in my stories.  I certainly try to write like that, rather than home in on a particular audience.  My audience is human beings, and I write because I have something to say to them.  Some will not understand, some may misunderstand but, like any writer, I have a message I would like to bring to the world and I will have done my job if you take something positive from that message.

 

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