Author of the Week ~ E M Reders

27 Thursday Mar 2014

Posted by Alyson Dunlop in Uncategorized

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Blurb: The vampire world is a dangerous place at the best of times, but especially so during a war. Though there is one safe place left. ‘Dead Fang Hotel’ But it’s not a sanctuary for all its residents. For Bree it is nothing but a prison. A prison in which to hide from her enemies and the horrors of her dark past. She hates the place and after being carted back there after yet another attempt at escape decides that she has had enough of her constant captivity. Things have to change. The biggest change comes in the form of a tall, dark, sexy as hell vampire assassin. Gabriel But as the two grow ever closer she begins to worry that her past may cost her even more pain than it already has. I mean who could love a Fangless vampire. *This book is Intended for mature YA/Adult audiences due to sexual content*

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At the age of 16 E.M. Reders watched a certain boy wizard movie and instantly wanted to read the books. Since that day she has been an addictive reader of fantasy both YA and Adult and now 10 years later is bringing her own fantasy series to life. When she isn’t nose deep in her Kindle or typing away she is chasing round 2 (soon to be 3, or 4 if you include the husband) children and a crazy dog.

Click here to follow E M Reders’ blog!

The Raven: Black Bird of Ill Omen

21 Friday Jun 2013

Posted by Alyson Dunlop in Uncategorized

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Aesclepius, Aglauros, Athena, Athens, birds, Cecrops, Celtic, cemetery, Chiron, Christopher Lee, Coronis, corpses, crow, darkness, death, Edgar Allan Poe, Erichthonius, fertility, Goddess, Hades, healing, Herse, Horror, Lenore, light, maere, mara, Metamorphoses, Minerva, Morrigan, mythology, nepenthe, nightmare, omen, Pallas, Pandrosos, phantom, Phoebus, Pluto, raven, snake, sun, supernatural, The Raven and The Crow, tombstone, Underworld, Vulcan, wisdom

*Honestly. I’m astounded I even have to add this disclaimer. However, certain parties seem to think that this article entices hatred of ravens. If they had read it properly they’d have realised it was intended to inform readers of the mythology attached to these birds. It is not in any way supposed to be what I personally think about them. I love ravens. They’re great. Very intelligent. Happy?

The raven, a bird from the crow family, has long been considered a bird of ill omen. From ancient texts through to modern times, writers have often associated these creatures with death and the supernatural. It is thought one main reason for this is that ravens are carrion birds. This means they eat the decaying flesh of corpses, usually animals, but they were also connected to battles in mythology – it is likely fallen soldiers were fed upon too. They are associated with The Morrigan, Celtic war goddess, whose name may derive from the old English word maere (the word survives in nightmare). Her name is often translated as “phantom queen”. Take a walk around any cemetery and you are guaranteed to find a crow or raven hopping about or perched upon a tombstone. They sense death is nearby…

In Ovid’s Metamorphoses, there is a tale called The Raven and The Crow. It is about a raven who was once a white bird, but whose “chattering tongue” was his downfall. Coronis, beloved of Phoebus the sun god, has been unfaithful to him. As the raven is on his way to tell Phoebus, he meets a crow who warns him he might be better just to keep his beak shut. The crow tells the raven that she was once in a similar situation, and had been turned first into a crow, when she was saved by Pallas (Athena, goddess of wisdom), but then banished by her after telling tales. The raven ignores the crow’s warnings and carries on to tell Phoebus about his beloved’s infidelity. Phoebus immediately shoots Coronis through the heart with his arrow, but immediately regrets it. As she dies, she tells him that she carries their child, and they will now die together. Before Coronis is burned on the funeral pyre, Phoebus snatches his son from her womb and carries him off to Chiron, the centaur and tutor of many Greek heroes. Even though the raven had been truthful, nevertheless Phoebus turns him black and banishes him from all the breeds of birds that are white.

The crow tells the raven two attempted rape stories, the first is skimmed over when the crow simply states that “once upon a time a baby, Erichthonius, was born without a mother.” In fact, this was the attempted rape of Minerva (Gr. Athena) by Vulcan (Gr. Hephaestus), whereby his seed falls on the ground and Erichthonius (“very earthy”) is born. The names of Cecrops’ three unmarried daughters are Pandrosos, Herse and Aglauros. Their names mean “bedewed”, “dew” and “clearwater”, which reflect the connection to fertility. The snake that is seen is a reference to the earth-cults. Erichthonius was worshipped in this guise at Athens (Kenney 1998). Interestingly, the son that is born from the murdered Coronus, is Aesclepius, god of healing and medicine, whose emblem is also a snake.

Indulge my ravings…. This seems to me to be, not just a tale of caution about keeping schtum, but also a story explaining the landscape, possibly of the areas in and around Athens. “Born without a mother”, so hardly likely to be animal. Erichthonius’ name means literally “very earthy”, so possibly not even plant, simply the earth itself and how it lies on the land. He was conceived when Vulcan (god of volcanoes) erupted (!) on Minerva (whose Greek name is Athena, symbolic of many things including the city of Athens). She wiped his seed on the ground (i.e. the surrounding land). This sounds to me like an erupting volcano has carved the Athenian landscape. Aglauros aka “Clearwater” is the only one to sneak a look at the “earth”, which could indicate a river(s) or stream(s) in the area. Volcanic eruptions cause the land to become more fertile and draw in migrants. In this case, the migrants who moved into the area were earth cults, whose totems were snakes. They also, more than likely, brought knowledge of medicine.

Furthermore, all four elements are mentioned in this tale: earth (Erichthonius), fire (funeral pyre where Aesclepius is snatched before his mother is cremated; Phoebus Apollo also represents the sun, a symbol of fire), water (Cecrops’ daughters) and air (the birds).

If you disagree, or know more, please do comment at the end of this blog! I would love to hear your opinions.

I recorded a reading of The Raven and The Crow for you.

One of my favourite poems is The Raven by Edgar Allan Poe. It’s a delight to both read and listen to, so I’ve included both the poem itself and a reading by Christopher Lee (who else?! I couldn’t resist that voice!):

Once upon a midnight dreary, while I pondered, weak and weary,
Over many a quaint and curious volume of forgotten lore–
While I nodded, nearly napping, suddenly there came a tapping,
As of some one gently rapping, rapping at my chamber door.
“‘Tis some visiter,” I muttered, “tapping at my chamber door–
Only this and nothing more.”

Ah, distinctly I remember it was in the bleak December,
And each separate dying ember wrought its ghost upon the floor.
Eagerly I wished the morrow;–vainly I had sought to borrow
From my books surcease of sorrow–sorrow for the lost Lenore–
For the rare and radiant maiden whom the angels name Lenore–
Nameless here for evermore.

And the silken sad uncertain rustling of each purple curtain
Thrilled me–filled me with fantastic terrors never felt before;
So that now, to still the beating of my heart, I stood repeating
“‘Tis some visitor entreating entrance at my chamber door–
Some late visitor entreating entrance at my chamber door;
This it is and nothing more.”

Presently my soul grew stronger; hesitating then no longer,
“Sir,” said I, “or Madam, truly your forgiveness I implore;
But the fact is I was napping, and so gently you came rapping,
And so faintly you came tapping, tapping at my chamber door,
That I scarce was sure I heard you”–here I opened wide the door–
Darkness there and nothing more.

Deep into that darkness peering, long I stood there wondering, fearing,
Doubting, dreaming dreams no mortals ever dared to dream before;
But the silence was unbroken, and the stillness gave no token,
And the only word there spoken was the whispered word, “Lenore?”
This I whispered, and an echo murmured back the word, “Lenore!”–
Merely this and nothing more.

Back into the chamber turning, all my soul within me burning,
Soon again I heard a tapping something louder than before.
“Surely,” said I, “surely that is something at my window lattice;
Let me see, then, what thereat is and this mystery explore–
Let my heart be still a moment and this mystery explore;–
‘Tis the wind and nothing more.

Open here I flung the shutter, when, with many a flirt and flutter,
In there stepped a stately Raven of the saintly days of yore.
Not the least obeisance made he; not a minute stopped or stayed he,
But, with mien of lord or lady, perched above my chamber door–
Perched upon a bust of Pallas just above my chamber door–
Perched, and sat, and nothing more.

Then the ebony bird beguiling my sad fancy into smiling,
By the grave and stern decorum of the countenance it wore,
“Though thy crest be shorn and shaven, thou,” I said, “art sure no craven,
Ghastly grim and ancient Raven wandering from the Nightly shore–
Tell me what thy lordly name is on the Night’s Plutonian shore!”
Quoth the Raven, “Nevermore.”

Much I marvelled this ungainly fowl to hear discourse so plainly,
Though its answer little meaning–little relevancy bore;
For we cannot help agreeing that no living human being
Ever yet was blessed with seeing bird above his chamber door–
Bird or beast upon the sculptured bust above his chamber door,
With such name as “Nevermore.”

But the Raven, sitting lonely on that placid bust, spoke only
That one word, as if its soul in that one word he did outpour
Nothing farther then he uttered; not a feather then he fluttered–
Till I scarcely more than muttered: “Other friends have flown before–
On the morrow he will leave me, as my Hopes have flown before.”
Then the bird said “Nevermore.”

Startled at the stillness broken by reply so aptly spoken,
“Doubtless,” said I, “what it utters is its only stock and store,
Caught from some unhappy master whom unmerciful Disaster
Followed fast and followed faster till his songs one burden bore–
Till the dirges of his Hope that melancholy burden bore
Of ‘Never–nevermore.'”

But the Raven still beguiling all my sad soul into smiling,
Straight I wheeled a cushioned seat in front of bird and bust and door;
Then, upon the velvet sinking, I betook myself to linking
Fancy unto fancy, thinking what this ominous bird of yore–
What this grim, ungainly, ghastly, gaunt, and ominous bird of yore
Meant in croaking “Nevermore.”

This I sat engaged in guessing, but no syllable expressing
To the fowl whose fiery eyes now burned into my bosom’s core;
This and more I sat divining, with my head at ease reclining
On the cushion’s velvet lining that the lamp-light gloated o’er,
But whose velvet violet lining with the lamp-light gloating o’er
She shall press, ah, nevermore!

Then, methought, the air grew denser, perfumed from an unseen censer
Swung by Seraphim whose foot-falls tinkled on the tufted floor.
“Wretch,” I cried, “thy God hath lent thee–by these angels he hath sent thee
Respite–respite and nepenthe from thy memories of Lenore!
Quaff, oh quaff this kind nepenthe and forget this lost Lenore!”
Quoth the Raven, “Nevermore.”

“Prophet!” said I, “thing of evil!–prophet still, if bird or devil!–
Whether Tempter sent, or whether tempest tossed thee here ashore,
Desolate, yet all undaunted, on this desert land enchanted–
On this home by Horror haunted–tell me truly, I implore–
Is there–is there balm in Gilead?–tell me–tell me, I implore!”
Quoth the Raven, “Nevermore.”

“Prophet!” said I, “thing of evil!–prophet still, if bird or devil!
By that Heaven that bends above us–by that God we both adore–
Tell this soul with sorrow laden if, within the distant Aidenn,
It shall clasp a sainted maiden whom the angels name Lenore–
Clasp a rare and radiant maiden whom the angels name Lenore.”
Quoth the Raven, “Nevermore.”

“Be that word our sign of parting, bird or fiend!” I shrieked, upstarting–
“Get thee back into the tempest and the Night’s Plutonian shore!
Leave no black plume as a token of that lie thy soul has spoken!
Leave my loneliness unbroken!–quit the bust above my door!
Take thy beak from out my heart, and take thy form from off my door!”
Quoth the Raven, “Nevermore.”

And the Raven, never flitting, still is sitting, still is sitting
On the pallid bust of Pallas just above my chamber door;
And his eyes have all the seeming of a demon’s that is dreaming
And the lamp-light o’er him streaming throws his shadows on the floor;
And my soul from out that shadow that lies floating on the floor
Shall be lifted–nevermore!

Here is a reading by Christopher Lee:

Lenore is the main focus of the poem, the beloved of the narrator and apparently now no longer living since only the angels know her name now. Poe uses alliteration throughout the poem. The first time Lenore is mentioned he describes her as “rare and radiant”. According to all sources I could find, Lenore literally means “light” or “torch”. Lenore, therefore, is not simply a beloved woman, she is symbolic of all that is bright, his guiding light in life. She is more than mortal. She is an ideal.

This is contrasted by the image of the raven. The bird appears to be almost a part of the darkness of the night from which he emerges. Initially, the raven is asked what his name is and replies “Nevermore”, much to the amusement of the enquirer. However, the more the raven says this the horrified man begins to feel like it is a prophecy. As the narrator asks for the birds “lordly” name he may well be regarding the bird as the “king of the night” himself. Certainly, as the poem continues, the narrator feels ever more threatened by this night visitor.

“Night’s Plutonian shore”, is a wonderful three word description, as it sets a scene and tells us all we need to know! The action is taking place at night: darkness and night often symbolising mystery, danger and frightening powers. Plutonian is a reference to the Roman god of the Underworld, Pluto (Gr. Hades), and all the associations that go along with that: death, darkness, decay. Shore could be a metaphor of the night as an ocean washing up at his chamber door. He describes each night as being a “Nightly shore” in the previous line. Perhaps the narrator sees himself as residing on or near a shore.

The narrator assumes the bird will leave him at daybreak, but the bird again answers him “Nevermore”. As the speaker ponders on this, the memory of Lenore comes back. The idea of nepenthe comes to him, as he imagines the room filling with perfume. In the Odyssey, Homer describes this mythological drink as a potion that takes away all grief and sadness. However, as the bird keeps assuring the narrator that “Nevermore” will he be free from grief, he descends into madness and hopelessness.

The reference to Pallas is another name for Athena, goddess of wisdom, the symbol of the ideal woman. Perhaps this raven speaks the dark truth, the only knowledge he possesses, like that of the raven in the previous poem. It is of little comfort to our narrator, whose soul is lost forever in the shadow of the raven….

Until next week. Your friend, A.D.

References

Ovid, The Raven and The Crow in “Metamorphoses” (c.1-8 CE) (trans. Melville, A. D.; notes and intro. Kenney, E. J. 1998 Oxford Uni Press)

Rosalind Clark (1990) The Great Queens: Irish Goddesses from the Morrígan to Cathleen Ní Houlihan (Irish Literary Studies, Book 34)

http://www.shmoop.com/the-raven/symbolism-imagery.html

Star-Crossed Vampire Lovers: Dracula as a Damned Eros

14 Friday Jun 2013

Posted by Alyson Dunlop in Uncategorized

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Anthony Hopkins, Aphrodite, Atropos, Baal, Beelzebub, Blood, Bram Stoker, Carfax Abbey, classics, Clotho, Cupid, Demeter, Dr Seward, Dracula, Eros, Francis Ford Coppola, Gary Oldman, Greece, Horror, Jonathan Harker, Keanu Reeves, Lachesis, Lucy, Mina Harker, Mina Murray, Renfield, Richard E Grant, Sadie Frost, Sex, symbolism, The Fates, The Wyrd Sisters, Tom Waits, Transylvania, Van Helsing, Venus, Vlad Tepes, Vlad the Impaler, Winona Ryder, wolf

This contains spoilers! Watch the movie first!

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The 1992 film Bram Stoker’s Dracula, directed by Francis Ford Coppola, is a completely different take on the story of the monstrous Transylvanian count. It is more than just a love story, and as I began to study classics almost ten years later I realised there was a deeper meaning to the tale. The vampire had actually been portrayed as a fallen Eros, damned by God and His “mad men”.

The movie starts as no other film about Dracula starts, with the Count in human form. Here he is the real historical character we know Dracula to be based on, Vlad Tepes, Prince of Wallachia. He goes into battle, leaving his beloved wife Elisabeta. Whilst in battle, Elisabeta receives false word that her husband has been killed. Devastated, she commits suicide. On his return, Dracula is told by the priest (played by Anthony Hopkins who will later be his adversary, Van Helsing) that his wife is damned because she took her own life. Dracula, enraged that the God he is fighting for should turn against him by condemning the woman he loves, renounces Him. He then damns himself by drinking the blood from the cross he has stabbed with his sword. Straight away, we know that the reason Dracula has willingly condemned himself to be damned is for the love of a woman, also damned.

Four centuries later, in 1897, we find ourselves in London at the Carfax Lunatic Asylum and are introduced to Renfield, one of the patients. He is talking to his “Master”, saying he has made preparations for his arrival, before eating a fly and thanking his invisible Master for his generosity. In Nods to the Old Gods, I mention Beelzebub, a Semitic deity. His name in Arabic was thought to mean Lord of the Flies, although this is probably a derogatory corruption of his true name Lord of the High Place (Heaven) or “High Lord”. He is also called Ba’al, meaning “Lord” or “Master”. He is primarily a sun god, and god of fertility. If damned, as He was – like many other pagan gods were – surely Ba’al would be condemned never to walk in sunlight and all acts of fertility, such as sex and sexual love, would also be condemned as impure lust by opposing forces (i.e. early Christians).

In the next scene, Renfield’s boss explains to Jonathon that Renfield has “lost his greedy mind”. Beelzebub was condemned to be a Prince of Hell, his sin being that of gluttony, which ties in with Dracula’s insatiable appetite for feeding on human blood, and also perhaps with Renfield’s gluttony for flies.

Dracula first appears as a supernatural being shortly after we are first introduced to our two protagonists, Mina and Jonathan, a couple very much in love who want to marry. They are prevented from doing so until Jonathan has first visited Dracula. Vampires and couples in love are often a motif of many Dracula stories. The two things seem to be inextricably linked. In Bram Stoker’s Dracula, the count finds a picture of Mina and immediately recognises her as the reincarnation of his beloved Elisabeta.

Unlike any other Dracula story, Oldman catches us off-guard and talks of something no other Dracula has ever talked about. He says: “The luckiest man who walks on this earth is the one who finds true love.” He then induces our sympathy by beginning to cry whilst telling Jonathan that he was married once, but his wife died.

As the story continues, other characters are introduced: the flirtatious, sexually knowledgeable and free-speaking Lucy is balanced with the virginal and sexually naïve Mina. Lucy’s suitors, each one more in love with her than the other, are Quincy P Morris, Dr Jack Seward and Arthur Holmwood. It is whilst watching Lucy flirting with all three men that Mina becomes aware of Dracula, an allegory of her sexual stirrings.

Back at the asylum, Renfield accuses Dr Seward of being “love sick” (thought to be a real disease in ancient Greece!), whilst in Dracula’s castle, Jonathan is seduced by three female vampires. They are described in Bram Stoker’s novel as Dracula’s three brides. Collectively they are referred to as “sisters” and at one point “weird sisters”. This is an interesting point. The weird sisters appear also in Shakespeare’s Macbeth as witches, but originally these were the Wyrd Sisters, or Fates. Here, The Fates therefore exist in order to determine Jonathan’s destiny. Clotho, the spinner, who spins the thread of life; Lachesis, who chooses our lot in life, and how long that life will be; and Atropos, who cuts the thread of life with her shears. In the film they are enjoying a sexual orgy with Jonathan, deciding his fate as they seduce him with their beauty and charm.

Meanwhile, the Dracula-as-sexual-urges allegory appears again, as Dracula watches the girls playing and kissing in the maze during a storm. Shortly afterwards Dracula lands in England and immediately entices a somnambulistic Lucy into the garden in order to seduce her. Lucy is wearing a flowing red dress, the same colour as the old count’s coat at the castle. The colour red seems to be a recurring motif of the film, perhaps symbolising its most usually associate emotion, passion and, of course, blood. In this scene, where Mina finds Dracula in the form of a beast, feeding on Lucy whilst enjoying her almost sexually as well, Dracula causes Mina to forget seeing him in such a state.

Soon after, fresh from feasting on the crew of the Demeter (incidentally, the ancient Greek mother goddess of the grain and fertility) and Lucy, Dracula appears as a young man walking through the streets of London. He is now dashing enough to let Mina see him in princely form. They go to the cinematograph, where Dracula seduces Mina. Here, a wild wolf is used as a symbol of his wild passion, which he tames as he tames the wolf, in order that Mina is safe from his carnal desires.

The next scene introduces us to Professor Abraham Van Helsing, as he gives a lecture on the problem of syphilis in Victorian society. He points out that venereal diseases literally means the diseases of Venus, Roman goddess of love, which is a reference to their “divine origins”. Venus is the mother of Cupid, the Roman god of love. Eros is the Greek equivalent of Cupid, whilst Aphrodite is the Greek equivalent of Venus.

As Lucy lies gravely ill and dying, Mina is swept off her feet by her prince, and we see that the vampire does indeed have more than one side to him. He gives Mina absinth to drink, which he describes as the “aphrodisiac of the soul”. An important line, as I’ll point out soon. Dracula, in this guise of Eros, and Mina, in the guise of Psyche (“the soul”), fall in love with each other all over again, whilst reminiscing about their sad parting. However, when Jonathan, having escaped the castle, sends word that he is safe and wishes for Mina to join him to be married, Mina puts a stop to her clandestine trysts with Dracula. She sails for Romania, still feeling he is with her, speaking to her in her thoughts. She broods over the fact that, being single and enjoying the company of her sensual prince, she felt more alive than she ever had before. Now, without him, about to marry Jonathan, she feels confused and lost.

At this point, Van Helsing realises he is dealing with Dracula, one of the undead, and warns Morris to guard Lucy lest she become a “bitch of the Devil” and “a whore of darkness”. He tells Morris that Lucy is not just a random victim, but a wanton follower. She is “the Devil’s concubine”. Lucy is the whore to Mina’s virgin.

As Mina marries Jonathan, the enraged Dracula condemns her best friend Lucy to become a vampire, and an eternity of craving human blood. He is the power or force of nature that no “foolish spells” can stop. The men watch as Lucy, now an undead nocturnal creature who has evolved into a maternal killer of children (see my blog article Margaret Thatcher meets Medea for more on the image of the monstrous mother in film), carries a toddler into her lair presumably for devouring. She is repelled by the cross, and defeated.

The men know they must kill Dracula, and make their way to his resting place in Carfax Abbey, whilst Mina takes refuge in Dr Seward’s quarters in the asylum next door. Whilst the men destroy and sterilise the boxes with his home soil in it, where the vampire must sleep, Dracula takes refuge with Mina. He escapes unseen. As a shape-shifter, Dracula can take on the form of several animals or mist. He is clearly an ethereal being.

Dracula visits Mina as she sleeps. This scene conveys two things. Initially it is the iconic incubus night demon who visits a sleeping woman in order to have sex with her (the succubus being the female equivalent who visits sleeping men). This is thought by some to be a manifestation of the disturbed mind, and is linked to suppressed sexuality. Dracula by Bram Stoker is itself linked to the suppression of women’s sexuality, especially in Victorian society when the story takes place. This bedroom scene is also evocative of the Eros and Psyche story, which concerns the overcoming of obstacles to love that stand between the psyche (“soul” or “breath of life”) and Eros/Cupid (love and desire). Initially Eros marries Psyche but, though a good and gentle lover, he does not allow her to see him. He flees when she goes against this rule and looks upon his true nature. The jealous goddess of love, Aphrodite, sets Psyche some tasks. After she accomplishes the tasks, Psyche is thus purified through suffering and is now prepared to enjoy eternal happiness. With the help of Zeus, she is reunited with her husband, Eros.

When, at last, Mina sees Dracula as he really is – a non-living being – she asks what he is. His reply: “I am nothing. Lifeless, soul-less, hated and feared. I am dead to all the world… I am the monster the breathing men would kill. I am Dracula.” Of these two lovers, Mina is the only one with a soul, and now she has seen her true love as he is. She is devastated, realising he is the murderer of her friend Lucy, and therefore of flirtation and freedom. Nevertheless, in spite of his true nature and in spite of herself, Mina finds she still loves this particular monster. Her only desire is to become his partner in eternal life. Even at this point, Dracula attempts to stop Mina from becoming “cursed for all eternity” because he loves her too much to condemn her. The choice to be cursed is entirely Mina’s as she insists on drinking his blood: what would normally be perceived as an unholy communion, were it not for the fact that we understand these two to be true soul mates completely in love with one another. The question should be, why is this love deemed evil by God (or His followers)?

Christianity has always played a role in this story. The men attempt to ward Dracula off by wielding crosses, one of the things that supposedly repel him. He has been damned because he renounced the Christian God at the start of the story. Nevertheless, he seems more empowered now, with the love of Mina, and manages to set fire to the cross Van Helsing is holding, saying “Look what your God has done to me.” Again, following one of the most important scenes of this movie, this is one of the most important lines. It is God, and His followers, that Dracula blames for turning him from a prince into a monster. As any scholar of Christianity knows, as the new religion took over, everything of an erotic nature was condemned. As Van Helsing himself says towards the end: “We’ve all become God’s mad men.”

Finally, it is then up to Mina to give Dracula peace, piercing his heart and reuniting him once more with his soul in heaven. Through her trials and suffering, Mina is at last blessed by God. She is both the Virgin and the Magdalene, as well as Psyche. Eros, in this 20^th century story, has at last found His way into Paradise. So too, possibly has The Magdalene, if that is who Mina is supposed to represent towards the end of the story. Certainly Dracula takes on an almost Christ-like appearance as he ascends to Heaven and is reunited with God, and Mina must always be his counterpart. This might seem a slightly complicated point, but it seems that Eros (erotic love) has been purified and is now innocent and pure enough to enter into Paradise. Mina, in her vampiric state, is wanton and lustful. At one point, she seduces and kisses Van Helsing. In recent years, it has been widely agreed by religious scholars that Mary Magdalene was misidentified (possibly deliberately) as a prostitute. However, there is no evidence of this. If Dracula as Eros has now become the epitomy of pure love (Christ), his lover Mina/Psyche/Magdalene has the mark of shame removed from her forehead and is also purified once more i.e. after many years of being falsely represented by the Church, we know now that The Magdalene was not a promiscuous “sinner” (not, I hasten to add, that I believe prostitution is a sin). I *think* that might be the point of the ending…..

Until next week. As always, your friend, A.D.

P.S. Remember you can sign up to have “Hex in the City” delivered direct to your email inbox via the link on the left of this page.

Sources:

http://www.greekmythology.com/Other_Gods/The_Fates/the_fates.html

My Guilty Pleasures of Horror: The Monsters I Love to Love

07 Friday Jun 2013

Posted by Alyson Dunlop in Uncategorized

≈ 4 Comments

Tags

Anthony Hopkins, Betty White, Bill Pullman, Brad Dourif, Bram Stoker, Brendan Gleeson, Bridget Fonda, cult films, Damien Karass, Dracula, Ellen Burstyn, Exorcist, Gary Oldman, George C Scott, giant worms, Halloween, Horror, Jason Miller, Kevin Bacon, Lake Placid, Linda Blair, Max Von Sydow, Merrin, Oliver Platt, Regan, religious horror, Renfield, science fiction, Tom Waits, Tremors, Van Helsing, William Friedkin, William Peter Blatty

I’ve seen these films so many times I could practically recite their scripts! Yet, often they get slated by critics for one reason or another. We all have our guilty pleasures, so I thought this week I would share mine with you. Comment and tell me what your guilty pleasures are (in film that is! Naughty!).

Lake Placid (1999)

Click to view

What’s not to love about Lake Placid? It’s hilarious and scary all in the same movie. Critics often say that it doesn’t know what it’s trying to be, whether horror or comedy. It has been claimed that the actors haven’t a clue how to say their lines or react because they don’t know if they should be humorous or scared. Rubbish! They know fine well that it’s supposed to be a comedy horror. There are a couple of bits that’ll have you jumping out your seat, but overall it’s a highly entertaining and funny film.

The movie is about a 30-foot man-eating crocodile in New England. The opening credits are very Jaws-like, as is the opening scene. In fact, there are several scenes that are reminiscent of the shark movie. It’s definitely a nod to Spielberg. It’s set in Maine, which is possibly a nod to Stephen King as well.

There are also an abundance of great one-liners from Oliver Platt, Brendan Gleeson (Argh! I didn’t recognise him as Hamish from Braveheart until today!) and a foul-mouthed Betty White.

Lake Placid is definitely one of my top guilty pleasures. I don’t care what anyone says! It’s a cracker.

Tremors (1990)

Click to view.

I haven’t seen this on TV for a few years. Mind you, I don’t have a TV! Nevertheless, every time I saw this was on, I just had to tune in and watch. It’s the kind of film that’s normally on around 1am, and you can just zone out and watch without thinking too much. There’s a lot of humour in it and a chance to see a young Kevin Bacon dressed as a cowboy. My favourite part is the pole-vaulting scene!

This film is a science fiction horror comedy, which has a lot of humour and has emerged as a cult classic. Despite not being successful at the box office, Tremors has continued to appeal to many and became a hit through TV, video and internet viewers.

Tremors is about giant underground worms. If you’ve not seen it, that probably doesn’t sound hugely appealing, but trust me and check it out!

Exorcist (1973)

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I remember a few years ago, when I was setting out to do a post graduate in film and television studies. We were asked to write down what we considered to be the best film of all time. This is such a difficult thing to do. I pondered on the problem for hours. It very much depends on your experience of movies, and whether or not you’ve been shown what is considered to be a “quality” movie, by supposed experts. You also have to take into consideration that not everyone likes every genre. There were so many great films I had yet to see: Metropolis, Citizen Kane etc. Besides, there are all sorts of things to consider such as when a film is set and the impact it has on the audience of that time. The Exorcist had a huge impact on its original audience in 1973. I also have a fair bit of respect for both the writer, William Peter Blatty and the director, William Friedkin (the nutter!), having also watched the making of the film. On a small budget, he used many original ideas for special FX and sound.

Still, I was left with one of my classmates responses ringing in my ears: “Brave choice….”. Diplomatic code for “Are you mental by any chance?” There are, of course, better. I agree. By today’s standard The Exorcist is by no means top of the range, but I still think it’s one of the best and original films made. I never tire of watching it. Years later it still provides timeless entertainment of human fears of the unknown, and epitomises the good vs evil/religious horror sub- genre.

Exorcist III (1990)

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Conveniently missing out the Exorcist II (don’t!), I also loved Exorcist III – some pretty spooky stuff going on. I’ve already mentioned it in a previous blog, so won’t elaborate too much. Despite, George C Scott getting nominated for a Golden Raspberry Award for worst actor – for shame! – Exorcist III still managed to achieve quite a lot of success. William Peter Blatty won a Saturn Award from the Academy of Science Fiction, Fantasy and Horror Films (USA) for Best Writing. It also received nominations for Best Supporting Actor (Brad Dourif, as always, was incredible – if my current book ever gets made into a movie I have a part just crying out for him to play!) and Best Horror Film. Such a shame the disappointing first sequel deterred people from going to see it. It’s definitely one to watch, if you’re a fan of the original.

Halloween (1978)

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Halloween, like all good slashers, is set at a celebratory time of year. In this case, Hallowe’en – originally Samhain, the pagan feast of the (not particularly evil) dead. In Christian times the festival became known as Hallowe’en and children would dress up to scare away evil spirits. In any case, it’s associated with death.

Then we have an almost supernatural-like serial killer, with superhuman strength, who seems to appear and disappear in an instant, killing anyone who has too much sex, smokes or drinks booze.

This is definitely one of my favourite guilty pleasures!

Bram Stoker’s Dracula (1992)

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I’m going to be dedicating a blog to this film as it’s actually a HUGE guilty pleasure of mine!

Bram Stoker’s Dracula stands out for me primarily due to the acting of Gary Oldman, Tom Waits and Anthony Hopkins. The three are all great in their own eccentric way: Oldman, as Count Dracula, Tom Waits as Renfield and Hopkins as Van Helsing. I also love the dark, dream-like quality that runs throughout the film. It’s another movie I never tire of watching. Francis Ford Coppola used various subtexts and folkloric symbolism, which won me over instantly. I see something different in it every time I watch.

Until next week, feel free to love what you love.

Remember to leave a comment below and tell me your favourite guilty pleasure!

Your friend, A.D.

Six Feet Under

06 Thursday Jun 2013

Posted by Alyson Dunlop in Uncategorized

≈ 2 Comments

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666, graveyard, hell, Horror, six feet under, Underworld

Horror film, written, filmed, edited and sound all done within TWO days. Total cost, nothing, using one phone camera, free trial software and expenses were either part of normal travel or foot and bike were used. Four in the cast AND crew….Bruce Biddulph, Alyson Dunlop, Paul Dunlop, Andy Gourlay.

Filmed for the Short Cuts to Hell 666 Horror Channel Competition.

I think we did rather well! What do you think?

We’re looking for a sponsor, production company or agent who can help us produce the slasher horror film I’ve written. Please get in touch if you want to help! Email: glasgowlabyrinth@gmail.com

A.D.

Petrifying Primates: Monkeys and Apes in Science Fiction and Horror

24 Friday May 2013

Posted by Alyson Dunlop in Uncategorized

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Altzheimer's, Andy Serkis, apes, baboon, Bela Lugosi, Brian Cox, Bride of the Gorilla, Caesar, chimp, chimpanzee, Chris Atkins, Congo, curse, Daedalus, Doctor Who, gorilla, Greek, Horror, Icarus, In the Shadow of Kilimanjaro, John Lithgow, King Kong, Link, Lon Chaney, Mars, Monkey Shines, monkeys, monster, mythology, orang-utan, Planet of the Apes, primates, primitive, Ray Harryhausen, Rise of the Planet of the Apes, Roddy McDownall, Roman, sci-fi, science fiction, Shakma, simians, The Ape Man, witchcraft

They are often depicted as the primal and, therefore, frightening face of human nature. Primates, the class of animals to which humans also belong, are often the source of our primitive fear. We sometimes refer to them as our “cousins” in the animal kingdom, but in horror and science fiction they are our nightmares in the flesh. They kill by attacking us or by spreading disease. Either way, they are dangerous or to be feared, because in horror and science fiction, primates are human-like and just as unpredictable as we are.

Stories often involve the shady and bleak world of animal experimentation or exploitation. The humans get the monkeys to perform for entertainment, or force them to endure pain and suffering because it will aid us in some way. Just like in real life. Whatever we want, the primate does it or is forced to do it. Until, that is, it fights back.

Some of the films take on elements of a slasher movie. One victim after another is stalked by the predator, with a final survivor. Sometimes there is more than one, but usually the outcome is bad for the primate.

Several stories are set in Africa. Sometimes, like King Kong, it begins on a primitive island or deep in the jungle where, of course, humans first invaded and captured the wild and free animals.

I first became absolutely fascinated by these stories when I watched King Kong (1933) as a little girl. Monster movies were always televised on a Friday, early evening, and I loved them! Unlike Ray Harryhausen, my fascination was not due to animation. It was due to narrative. It was only later in life, as an adult, that I saw there were even deeper layers to the story. However, King Kong deserves a blog article of its own so I’ll avoid going into depth on the subject until a later date.

As far as I know, King Kong is the first movie to depict primates as monstrous. In 1943, The Ape Man starring Bela Lugosi came out, followed by Might Joe Young (1949).

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Bride of the Gorilla (1951), starring Lon Chaney, is about the jungle (wildness) versus civilised behaviour. When Barney lets a snake kill his boss, an old woman curses him with a “plant of evil”. The old woman is a “wise woman” or “witch” who uses black magic. Barney hears the “call of the wild” from the jungle on his wedding night. He leaves to go into the jungle, which he appears to now be more in love with than he is with his wife. His doctor believes he has been poisoned, and that the natives have many potions that can drive a man out of his mind and cause psychosis. He also thinks Barney killed his boss, and his wife may be a constant reminder of his guilt of killing her first husband. What they don’t know is that the potion has caused Barney to turn into a gorilla!

Click to view.

In 1968, the first Planet of the Apes film came to screens. Surprisingly, the movie got a G rating, for ‘general audience’. When I first saw this film, probably round about the age of six or so, it terrified me on the same level as Doctor Who at that age. Of course, having two big brothers meant that scary science fiction was often viewed in the house, so I spent a lot of time behind the sofa in those early days! I was really surprised to learn it wasn’t more along the lines of an A or even 15 (which, of course, wasn’t a rating that existed back in the sixties).

The film showed us what it would be like if the tables were turned and animals treated us the way we treat them. After crash-landing on an alien planet, Taylor is captured by apes who can talk and act like humans. He is befriended by Cornelius and Zira who help Taylor escape.

However, Doctor Zaius is a religious scientist Taylor calls a “fanatic”. He refuses to listen to reason, especially if it goes against his religious knowledge. On Zaius’ instructions Cornelius reads 29^th Scroll 6^th verse (written by The Lawgiver of the Apes):

Beware the beast Man, for he is the Devil’s pawn. Alone among God’s primates, he kills for sport or lust or greed. Yea, he will murder his brother to possess his brother’s land. Let him not breed in great numbers, for he will make a desert of his home and yours. Shun him; drive him back into his jungle lair, for he is the harbinger of death….

Zaius continues:

From the evidence, I believe his wisdom must walk hand and hand with his idiocy. His emotions must rule his brain. He must be a warlike creature who gives battle to everything around him, even himself… The Forbidden Zone was once a paradise. Your breed made a desert of it ages ago!

The ending proves Zaius to be correct.

It’s a very thought-provoking film, not only about how we treat our planet and how we treat animals, but also how we treat other human beings and the prejudices amongst us.

Planet of the Apes was extremely popular and there were several sequels: Beneath the Planet of the Apes (1970); Escape from the Planet of the Apes (1971); Conquest of the Planet of the Apes (1972) and Battle for the Planet of the Apes (1973). In 1974, there was a TV series and the following year an animated series Return to the Planet of the Apes. In 2001, a remake was made, and in 2011 Rise of the Planet of the Apes came to our screens. However, I will leave the latter until the end, seeing as I am working in chronological order!

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In The Shadow of Kilimanjaro (1986) is based on a true story about a drought in Africa which causes baboons to go ape-shit! The baboons are predators stalking people one by one, first at night from the darkness; next in a gang attacking a lone driver who breaks down. The threat is portrayed like an unruly mob, gang or individual stalker and becomes quite terrifying as the film progresses. You do begin to wonder how on earth everyone will make it to the end of the film, as they appear to be outnumbered by the ferocious creatures who are hungry for their flesh….

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Link (also 1986) is about a college professor who employs one of his female students to look after his house. He shares his house with two chimps, Voodoo and Imp and an orang- utan called Link. The professor gives the girl three rules to live by

1. Humans are dominant.

2. Always forgive the primates, regardless of what they do.

3. Don’t get involved in their squabbles. They sort them out.

Pretty soon the girl wishes she had never taken on the job, as she finds herself trapped in the isolated house on the rocky coast, trying to escape from one of the creatures which turns out to be a dangerous killer! It seems the presence of a female in the house has sent him over the edge. This is really more a story of sexism and male dominance.

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Dominance also features in the film Monkey Shines (1988). It is about paraplegic Alan, who has his own personal monkey helper, Ella. The monkey has been genetically altered by his friend Jeff, a scientist who gives Alan the monkey as a gift. Ella loves Alan and seems to want to do things just for him, but everything starts to go wrong when Ella begins to carry out acts of revenge on behalf of Alan, unbeknownst to him. Alan and Ella seem to be telepathically linked, as Alan begins to take on the monkeys rage and starts to have unusual mood swings. Once he realises what is going on it is a pure battle of will to defeat the nasty little simian.

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In Shakma (1990), we find ourselves in another research lab. Roddy McDowall is the professor and game master (which sounds an awful lot like gay master every time it’s said – I can’t help but think that is deliberate!) who engineers a game for his students. Meanwhile we know that an aggressive baboon called Shakma has not been euthenised and has killed other primates in the lab. The film has elements of the slasher as well as fairytale characters such as a hero, princess and villain. Most of all Shakma is a film about brain vs brawn, but will intelligence win when up against such a vicious enemy? I was honestly a little unnerved by the ferocity of the baboon, but the titles assure the audience that he was well-treated…

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Congo (1995) is an adventure story about a rescue expedition, which is also about finding the ultimate diamond. It also features a rather adorable gorilla called Amy, who can use sign language. She has nightmares about the jungle except when she paints images of it. Amy wishes to return home to the jungle and her keepers decide to take her back to the Congo. They team up with the rescue expedition as they are all going to the same place. Like a traditional adventure film, there is only one woman and a bunch of men.

The story is one of greed for material possessions, and there are many things to thwart the group on their way, not least of all the ultimate threat of the killer silver gorillas that have annihilated the original expedition. The terrifying creatures are ready to defend the temple in the jungle and the diamonds that are the cause of so much greed. If this film hasn’t been made into a game, I’d be very surprised!

Click to view.

Finally, the most recent ape film, Rise of the Planet of the Apes was made in 2011, and began in a laboratory. A doctor thinks he has found a potential cure for Altzheimer’s (ALZ1-12, a virus), but his test subject goes wild and is shot. The programme is closed down. However, the doctor discovers the wild chimp had a baby. The baby chimp, which he rescues and calls Caesar, shows signs of exceptional intelligence.

Caesar is well-named. In captivity, he becomes the general of an army of apes that he trains himself. He steals some ALZ virus to enhance the intelligence of the other apes in order to escape.

Apart from the name “Caesar”, there are a few other little nods to ancient Roman and Greek mythology, including Icarus and Mars, the mention of whom should warn us that there is trouble ahead. Mars is the Roman god of war, and Icarus is the son of Daedalus. Icarus flew too close to the sun and died as a result of his ambitions – for anyone paying attention there’s a helicopter scene near the end where this reference ties in. There’s also a scene very reminiscent of a gladiatorial fight between Caesar and his rather nasty keeper in the “sanctuary”, at which point we also find out something extremely surprising about Caesar! (But I won’t spoil it).

Caesar shows compassion for his good keeper, though, and is reluctant to kill. He is able to make tactical decisions to lead the other apes. You can’t help but admire and respect him, and you hope that he survives the battle.

I’d definitely recommend seeing this film. You’ll love it! In fact, the only thing I didn’t like about this film was that it had to end! Andy Serkis does a fantastic job playing Caesar. There’s apparently another one, Dawn of the Planet of the Apes, due out next year, and I can’t wait! I’ll definitely be going to the movies to watch it on the big screen.

On one hand I love these films, on the other hand, they are sad reminders of the greed and stupidity of homo sapiens. I despair at the treatment of some people towards our animal friends and I despair that we push Nature to a point where She turns round and slaps us very hard in the face…

Until next week, be kind to all creatures, the planet and each other. Your friend, A.D.

Scapegoating “Satanic” Sex Cults in the Sixties and Seventies

17 Friday May 2013

Posted by Alyson Dunlop in Uncategorized

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Aleister Crowley, astrology, atheist, Baphomet, Beelzebub, Beltaine, Beltane, Black Death, Brighid, Britt Ekland, Christopher Lee, City of the Dead, cults, Dennis Wheatley, Dogmas and Rituals of High Magic, dragons, Druids, Edward Woodward, Eliphas Levi, Emily Johnson, esoteric, fertility, Gallic Wars, Gerald Gardner, God, Goddess, Great Plague, Greek, Green Man, healing, Helen Duncan, heterosexual, homosexual, Horror, hypnosis, Imbolc, Jane York, Julius Caesar, Kafka, Knight's Templar, Lucifer, Magi, magic, Malleus Maleficarum, masturbation, May Day, Mendes, Mia Farrow, monotheist, Nods to the Old Gods, occult, pagan, Peaches Geldof, persecution, Persian priests, phallic, polytheist, power, reincarnation, Religion, Rome, Rosemary's Baby, Satan, satanic, scapegoat, Sex, sexually repressed, skyclad, snakes, spiritualist church, Spring Equinox, standing stones, Summer Isle, Summer Solstice, superstition, symbolism, The Devil Rides Out, The Goat of Mendes, The Great Beast 666, The May Pole, The Wicker Man, The Woman Who Came Back, Thelema, Venus, Victorian, Willow, witchcraft, Witchcraft Act, wizard, zodiac

Horror stories have always represented the fears of society, in exactly the same way as religious belief often mirrors the secular world. For example, superstitions changed during the outbreak of the Great Plague, when people began to blame the unexplained deaths on human sin and witchcraft (Malleus Maleficarum Part 1, Q XV)

Human beings have always had a bit of a negative obsession about the Other in society. Time and again we have scapegoated anyone who is different. Since ancient times, we’ve ridiculed and persecuted anyone who does not have the same beliefs as ourselves. The truth is, we are all very similar in all the ways that matter. We are all made up of the same stuff.

Hath not a Jew eyes? Hath not a Jew hands, organs,
dimensions, senses, affections, passions; fed with
the same food, hurt with the same weapons, subject
to the same diseases, heal’d by the same means,
warm’d and cool’d by the same winter and summer
as a Christian is? If you prick us, do we not bleed?
If you tickle us, do we not laugh? If you poison us,
do we not die? (The Merchant of Venice, Shakespeare)

We often give different names for the same things that we each call truth, but decry another for using unusual terminology to describe. It doesn’t take much scratching of the surface to reveal that we are often talking about the same thing. The ancient Greeks coined the phrase ‘magic’ from the Magi, the Persian priests, whose customs were too strange for the Greeks to understand were holy in nature.

I hear Peaches Geldof has joined a sex cult. Shock, horror! She is now a believer in Thelema, the religion founded by occultist Aleister Crowley, who practised sex magic, with apparent “secret sexual techniques for masturbation, heterosexual and homosexual sex” (Guardian, author anonymous). Well…there’s only so much you can do, but I’m guessing we have to take into account the time that Aleister Crowley was practising his esoteric knowledge. This would have been right, slap bang, in the middle of sexually repressed Victorian times. Thank goodness we’ve evolved our notions of sexuality and what constitutes “perverse”.

Aleister Crowley died in 1947, with a reputation as The Great Beast 666, a name he positively lapped up. In 1944, a few years before his death, Helen Duncan, a psychic, was prosecuted and imprisoned under the 1735 Witchcraft Act for revealing wartime secrets. Six months later, in September 1944, Jane York (72) was also prosecuted under the same Act and in December of that year Emily Johnson of Redhill Spiritualist Church was given a severe warning by police. They told her she would be prosecuted if she did not stop her “activities”. The Act actually strove to stamp out the belief in witchcraft amongst the educated in society, but it was possible to prosecute people for pretending to “exercise or use any kind of witchcraft, sorcery, enchantment, or conjuration, or undertake to tell fortunes”.

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The prosecutions sparked off the creative minds in America, and the following year John H Kafka came up with the story for The Woman Who Came Back (1945). The unfortunate heroine, Lorna, finds herself the scapegoat of the townspeople and is accused of witchcraft for everything that goes wrong. It doesn’t help matters that a coincidental meeting and accident has caused Lorna to suspect they could well be right. Thankfully by the end no one believes in witchcraft. Phew!

By 1951, the Witchcraft Act was repealed and replaced by the Fraudulent Mediums Act, and the previously “underground” Craft of Wicca began to flourish, led by Gerald Gardner. Of course, ignorance breeds fear and, as I have mentioned, fear breeds the practice of scapegoating. By the 1960s movies on the subject of the occult began to get filmed, particularly anything to do with covens and Satanic devil-worshippers. A second wave of witchhunts began, this time within horror movies. City of the Dead (1960) with Christopher Lee paved the way for the paranoia about anything to do with witchcraft. In 1968, two very popular films in the genre were screened: Dennis Wheatley’s The Devil Rides Out and Rosemary’s Baby. Five years later, in 1973 The Wicker Man was filmed. Many more followed, but these are the main ones that set witchcraft and paganism against Christian morality and ethics, at least in the minds of the Christian audience.

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The City of the Dead, starring Christopher Lee, is about a student who goes to a small town to find out information about witchcraft for her studies. Little does she realise that the townspeople are all evil devil-worshipping witches, who make lots of sacrifices, especially around about the time of Candlemas. Candlemas is a Christian festival for a start. It is the Feast of the Purification of the Virgin. However, in the pagan religion it is the festival of Imbolc, and marks the beginning of spring. It is associated with the virgin goddess, Brighid. We can clearly see here a distinct similarity between the purified virgin and the virgin goddess.

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Lucifer is also mentioned in this film, and has long been synonymous with the Devil and his many other names: Satan, Beelzebub etc. In Nods to the Old Gods I have explained briefly that Lucifer’s name means “light bearer”, and that it was the name given to the dawn appearance of the planet Venus, which heralds daylight. Early Luciferians – devotees of the god Lucifer – worshipped dragons and snakes, as well as the sun. In more advanced ancient civilisations, dragons and snakes were not perceived as evil. In fact, they were often associated with power and healing.

Click on picture to view “The Devil Rides Out”

The opening sequence to The Devil Rides Out is full of imagery usually associated with magic, Satanism and astrology. Set to the background music, which is horrific and scary, it seems we are to imagine all these images are too. The zodiac signs are used in this sequence, and then again at the end, on the sacrificial altar of the devil worshippers. Also, in the opening sequence we are introduced to Baphomet, who will later appear on the floor of the observatory and again at the orgiastic party. He is a goat-headed being, referred to as “The Goat of Mendes” by Christopher Lee. The reality is that most modern scholars now agree “Baphomet” is a corruption of “Muhammad”. Baphomet was the name of the idol the Knight’s Templars were accused of worshipping in the 14^th century. It is thought that during their occupation of the Outremer, they had begun to incorporate Islamic ideas into their belief system. This, the Inquisition of course declared to be heretical.

In the 19^th century, Baphomet became more associated with the occult (the name occult means “hidden”, as in “hidden knowledge”). In 1854, Eliphas Lévi published Dogmas and Rituals of High Magic in which he drew his image of Baphomet. This image is the best-known picture of Baphomet (see below).

Baphomet by Eliphas Lévi

Lévi considered his Baphomet to be a depiction of the absolute in symbolic form:

The goat on the frontispiece carries the sign of the pentagram on the forehead, with one point at the top, a symbol of light, his two hands forming the sign of occultism, the one pointing up to the white moon of Chesed, the other pointing down to the black one of Geburah. This sign expresses the perfect harmony of mercy with justice. His one arm is female, the other male like the ones of the androgyne of Khunrath, the attributes of which we had to unite with those of our goat because he is one and the same symbol. The flame of intelligence shining between his horns is the magic light of the universal balance, the image of the soul elevated above matter, as the flame, whilst being tied to matter, shines above it. The beast’s head expresses the horror of the sinner, whose materially acting, solely responsible part has to bear the punishment exclusively; because the soul is insensitive according to its nature and can only suffer when it materializes. The rod standing instead of genitals symbolizes eternal life, the body covered with scales the water, the semi-circle above it the atmosphere, the feathers following above the volatile. Humanity is represented by the two breasts and the androgyne arms of this sphinx of the occult sciences.

The appearance of Basphomet in The Devil Rides Out is referred to as The Goat of Mendes, a name which Lévi also used to describe Baphomet. Herodotus described the god of Mendes (in Egypt) as having a goat’s face and legs, and that male goats were held in high regard by the Mendesians. E A Wallis Budge writes:

At several places in the Delta, e.g. Hermopolis, Lycopolis, and Mendes, the god Pan and a goat were worshipped; Strabo, quoting (xvii. 1, 19) …The Mendisians, according to this last writer, paid reverence to all goats, and more to the males than to the females, and particularly to one he-goat, on the death of which public mourning is observed throughout the whole Mendesian district; they call both Pan and the goat Mendes, and both were worshipped as gods of generation and fecundity. Diodorus (i. 88) compares the cult of the goat of Mendes with that of Priapus, and groups the god with the Pans and the Satyrs. The goat referred to by all these writers is the famous Mendean Ram, or Ram of Mendes, the cult of which was, according to Manetho, established by Kakau, the king of the IInd dynasty.

Lévi’s Baphomet became an important figure within Aleister Crowley’s mystical system of Thelema. For Crowley, The Devil is the God of any people that one personally dislikes. Baphomet represents life, love, light and liberty.

There are a couple of interesting points about The Devil Rides Out, particularly the character of Duc de Richleau (Lee), who has knowledge of esoteric scriptures which he has taken the time to memorise. Like the bad guy, Mocata, Richleau also has the ability to use both hypnosis and magic, which he utilises to defeat the powers of darkness. Furthermore, as Mocata raises the angel of death, Richleau manages to raise the dead, bringing Tanith into the body of his niece and commanding her to do his will. He even manages to re-write history and turn back time with his magic. Although not explicit in the film, Richleau, to all intents and purposes, is a most powerful wizard who has the knowledge and ability to use the highest of magic.

Cleverly, and most importantly, however, is the fact that the makers of the film have also brainwashed the audience into believing exactly what they want them to believe with the imagery they use….

Click photo to watch “Rosemary’s Baby”

The same year, Rosemary’s Baby also hit cinemas. The heroine, Rosemary (Mia Farrow), becomes pregnant after having a weird lucid dream in which she imagines herself to copulate with the Devil. Controlled by her doctor and eccentric neighbour, Minnie, Rosemary becomes more and more isolated from all her friends. The climax, as Roman tells her, is that Satan is her son’s father.

In Nods to the Old Gods, I explain that Ha-Satan is usually translated as “adversary” (i.e. of God). In Arabic the term Shaitan means “astray” or “distant”. In the Quran, after Iblis refuses to bow to Adam with the rest of the angels, he becomes known as Shaitan, meaning “enemy”, “evil”, “rebel”, “devil”. In the Baha’i faith, however, Satan is not regarded as an independent evil power, but signifies the lower nature of human beings i.e. the evil ego within us. In conjunction with what we know of his relationship to Pan (the goat-headed fertility god of the ancient Greeks), it would seem that Satan also represents inner sexual instincts. In Rosemary’s Baby he is the sexual force used to impregnate her with the child of the Devil. The ultimate challenge for Rosemary is whether or not her maternal instinct will be powerful enough to overcome the revulsion she feels towards a child whose father is Satan.

Click photo to view “The Wicker Man”

In 1973, The Wicker Man gave an impression of pagan religions which has been hard to get rid of. Edward Woodward plays a cop who goes off to Summer Isle to investigate the disappearance of a little girl, Rowan Morrison. What he encounters are the uncooperative inhabitants of the island who seem intent on thwarting the policeman’s investigation.

He stays at the Green Man’s Inn, where he meets more of the weird townsfolk who proceed to sing a rather raunchy song to the landlord’s daughter, Willow (Britt Ekland), which perturbs the prudish Christian Sergeant Howie. He is further angered and unsettled by seeing couples having sex in a field outside, and a naked woman crying over the grave of her (presumably) dead husband.

The naked Willow sings a Siren’s song to try to entice the sexually suppressed and sweating virgin, Howie. However, he is engaged to another and believes sex before marriage to be wrong. He manages to withstand her charms, but more sex and frivolity are to follow. The following day is May Day Eve, and begins with boys dancing round a Maypole. He overhears the local school teacher explaining that the Maypole symbolises the penis, “venerated in religions such as ours as the generative force in nature” to which Howie makes it clear he is absolutely disgusted. Howie interprets the beliefs and teachings as “degeneracy, indecency, corruption and filth”. On discovering Rowan’s name in the school register, the teacher is forced to explain to Howie that when a person dies the belief of the Summer Isle inhabitants is that they return to nature: to air, to fire, to trees, to water, to animals. She explains that the children find it easier to understand reincarnations rather than resurrection.

Further investigations lead Howie to the residence of Lord Summerisle. On the way, he witnesses a strange ritual with naked women dancing round the fire within a circle of standing stones. Howie argues that the people of the island are practising false religion and false biology by believing in reproduction without intercourse. Lord Summerisle responds that Jesus himself was born of a virgin and a ghost. One belief is no less ridiculous than the other.

As Howie gets more and more angry, Lord Summerisle and the other residents seem to become more and more pleasant and happy. Throughout the film we hear about the sun god, the goddess of the field, the idea of sacrifice in order to gain a good harvest, John Barleycorn (the life of the fields) and the salmon of knowledge. The climax is a virgin sacrifice burned within the confines of a giant wicker man.

Is this what we pagans get up to? Well, no, not quite. Neo-paganism is based on the Old Religions and the practices depicted in the film are either twisted versions of the truth or complete nonsense in the modern age. It is true that the May Pole is a phallic symbol. In many ancient cultures, such as Rome, the penis was venerated as a potent fertility symbol and it wouldn’t have been unusual to see phallic symbols above doors, for example. It is only in modern times that our Christianised culture has forbidden us to worship such things.

The May Pole

Beltaine is an important date in the pagan calendar. It is on 30^th April, the eve before May Day until May Day Night, and it is associated with sex and fertility. It is between the Spring Equinox (21^st March) and the Summer Solstice (21^st June), and it marks the beginning of summer. It was originally a Gaelic festival when symbolic fire rituals were performed to protect the cattle and people, and to encourage crops to grow. Flowers were displayed, and young girls washed their face in the May Day dew. A custom which sometimes still carries on to this day! I remember doing this when I was a young girl.

Nowadays, we generally don’t have much opportunity or requirement for driving cattle between two bonfires for cleansing and protection. We might wish for crops or plants to grow, though, and some pagan rituals might request that the Goddess of the Grain makes our land fertile. Pagans are very individual. Some might take a walk in nature, enjoying the changing seasons and lighting a candle, perhaps saying a prayer, performing a small ritual to mark the occasion or take a trip to Edinburgh to watch the Beltane Fire Festival. Some pagans choose Beltaine to marry, or consummate a relationship, because of its association with love and fertility. A few do carry out rituals naked or ‘skyclad’, but not all. In fact, not many. Most rituals are done robed. However, skyclad rituals are not frowned upon. The pagan ethic tends to be “each to their own”.

Beltane Fire Festival, Edinburgh

We don’t all believe in reincarnation, although some do. Paganism is so varied and there is no dogma to insist that you believe one thing over another. In fact, you can be pagan and a monotheist (one god), polytheist (many gods) or atheist (no god(s)). Paganism allows you to revere nature, and be of a scientific disposition at the same time, but for those who wish to believe in a god they can. This might seem strange, but we once did all live in harmony, with communities deciding which gods they would worship. Just because someone worshipped one god, did not necessarily mean they did not believe in the existence of the other gods. It seems to me that this system makes for a more harmonious existence amongst the cultures of the world. If we could all accept that we each have our own very different perspective of the world, we might at last live in harmony. Live and let live, as the saying goes!

As for the Wicker Man, there is only one account which alleges it was used by the Druids for human sacrifice. This was written by Julius Caesar in his Commentary on the Gallic War. The Druids may have used ritual sacrifice as a means of executing criminals, but whether they used a giant wicker man to do so is highly debateable. Nowadays, no humans are ever sacrificed, and animal sacrifice is frowned upon by the majority of pagan and magical communities and practitioners. Furthermore, most pagans do not believe in the Christian devil, as he is a later invention and stems from many of the early pagan gods who were misunderstood and, therefore, demonised as time went on. However, there are some people who practise both Christian and pagan religion, celebrating both Christian and pagan feast days. This is probably very similar to how it would have been in the early Celtic Christian world, when we learned to live side by side and more in harmony with each other. What went wrong?

If you think scapegoating doesn’t happen nowadays, you are very wrong. Children are named as witches, ostracised and attacked in parts of Africa, blamed for bringing bad luck to their villages. Just as alarming, is the fact that we don’t have to look much further than our own backyard to find that in British society the sick, disabled and immigrants are having the finger of blame pointed in their direction for all the ills of our desperate economic situation. Like in horror films depicting ancient gods as demonic, the public are often not aware of the level of brainwashing they are receiving, whilst innocent people suffer and die. Suicides have risen in the UK, as the poor find themselves more and more in debt, whilst the tax-avoiding rich are become richer. If you don’t see something very wrong with that, then you have indeed been brainwashed; and you are taking part in the age old practise of scapegoating.

Until next week, I hope we all see the light.

Your friend, A.D.

REFERENCES

http://www.guardian.co.uk/culture/shortcuts/2013/apr/15/peaches-geldof-aleister-crowley-sex-cult-oto

http://www.guardian.co.uk/commentisfree/2007/jan/24/comment.comment3 by Vanessa Chambers 24/1/2007

http://en.wikipedia.org/wiki/History_of_Wicca

http://altreligion.about.com/od/symbols/a/baphomet.htm

http://en.wikipedia.org/wiki/Baphomet

http://www.sacred-texts.com/pag/mm/mm01_15a.htm

VIDEOS

http://viooz.co/movies/1721-rosemarys-baby-1968.html

https://www.youtube.com/watch?v=PJXl_gckMiU&wide=1

http://nobuffer.info/pl.php?url=19EE7B1849C4169D

https://www.youtube.com/watch?v=1kw9H6jDrVE

http://viooz.co/movies/1683-the-wicker-man-1973.html

OTHER FILMS

http://www.imdb.com/list/zti3t-aeJME/

CURSE OF WHITECHAPEL: Jack the Ripper

03 Friday May 2013

Posted by Alyson Dunlop in Uncategorized

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3 New Court, A Study in Terror, Aaron Kosminski, Aberline, Anne Chapman, Annie Chapman, Catherine Eddowes, Christopher Plummer, crime, Dark Annie, Dorset Street, Duke of Clarence, Dutfield's Yard, Elizabeth Stride, Fear, freemasonry, From Hell, Ginger, Horror, Jack the Ripper, Jack the Ripper (1988), Jack the Ripper Documentary, James Mason, John Neville, Johnny Depp, Juwes, Leather Apron, Long Liz, macabre, Mary Ann Kelly, Mary Ann Nichols, Mary Jane Kelly, Michael Caine, Mitre Square, murder, Murder by Decree, mutilations, Polly Nichols, prostitutes, Ripperologists, Sex, sex crime, Sir William Gull, terror, the queen's physician, The Real Jack the Ripper, Victorian London, Whitechapel murders

Few events have inspired crime and horror writers as much as the Whitechapel murders of 1888. From August to November of that year, the East End of London lived in complete and utter terror. Though there were other murders that year, five in particular were attributed to the hand of one suspect, known only by what was to become his most infamous name: “Jack the Ripper”. It is a name that should strike fear and loathing in even the bravest of people, for the vilest acts were committed by this one person. If, indeed, it was one person.

His victims were all penniless, alcoholic prostitutes, who walked the foggy streets of London’s East End. In order of murder:

Mary Ann “Polly” Nichols: 31^st August

Mary Ann had gone out on the streets, after an evening of drinking, to earn her lodgings for the night. She was seen by an acquaintance at 2.30am. By 3.15am she was found, in the spot where only half an hour earlier a policeman had passed by. Her throat and abdomen were both cut open, but there was very little blood, leading police to conclude she had been murdered elsewhere.

Anne Chapman (“Dark Annie”): 8^th September

Anne Chapman, also drunk and in need of money for lodgings, went out at 1.45am, was last seen at 5.30am and was found in a back yard at 6am. Her face and tongue were swollen, indicating that she had possibly been gagged or suffocated. Her abdomen had been cut open, intestines lifted out and placed on her shoulder. All her pelvic organs were removed with one clean incision, leading investigators to conclude that The Ripper had knowledge of anatomy. The attending pathologist, Dr George Bagster Phillips, said he himself could not have performed the task in anything less than an hour. If the precise anatomical removal was deliberate, it was done at lightning speed.

Elizabeth Stride (“Long Liz”): 30^th September

Elizabeth had been drinking up until 6.30pm with a friend, before going out on the streets for her lodgings money. She was seen in another pub later, around 11pm, drinking with a man. By 1am she was found in a Dutfield’s Yard, behind the International Working Men’s Educational Club. Her throat had been slit. It is thought that the killer was disturbed by a salesman entering the yard with his horse and cart, and that the mutilation was probably left unfinished. It’s highly likely because simply killing Elizabeth was not enough to satiate the thirst of The Ripper that night.

Catherine Eddowes: 30^th September

Within half an hour of killing Elizabeth Stride, Catherine Eddowes was also murdered. Last seen at about 1.35am, after being let out of her police cell at 1am where she had been taken earlier in the evening to sober up, giving her name as “Mary Jane Kelly”, one of the pseudonyms of the fifth and final victim of the Ripper. Approximately ten minutes later, at 1.45am Catherine was found dead by a policeman in Mitre Square. Her throat was slit, her vocal chords were severed, abdomen ripped open, and intestines placed on her shoulder in a similar manner to that of Annie Chapman. Furthermore, the inside of her thighs had been sliced open. Her left renal artery was cut through, and the left kidney removed. Catherine’s womb was also partially removed. Her face, eyes, nose and ears were mutilated. The pathologist declared that someone with anatomical knowledge must have carried out the murder. It would have been a truly gruesome sight to behold. However, it was nothing to the next, and final, horror the police would encounter.

Mary Jane Kelly aka “Ginger” and “Mary Ann Kelly”: 9^th November

(Artist’s Impression)

Mary Jane Kelly was the only victim who had permanent lodgings. She lived at 3 New Court, an alley off of Dorset Street. Of all the Ripper murders, Mary Jane Kelly’s is the only one that is committed indoors. Because of this it is likely that The Ripper had time to carry out his sick deeds undisturbed. It’s possible that Mary Jane was drinking heavily all evening. There are a couple of unconfirmed sightings between 8 and 11pm, in two different pubs, and in the company of several gentlemen throughout the evening and the early hours of the following morning. By 10.45am her body was discovered. She was mutilated beyond recognition. The surface of her abdomen and thighs had been removed, her abdomen emptied, breasts cut off, arms slashed, face completely mutilated and unrecognisable, her neck was severed to the bone. Her organs were found in various locations in the room: her kidneys, uterus and one breast were underneath the bed, the other breast by her right foot, her liver lay between her feet, her intestines by her right side, her spleen to the right, skin from her abdomen and thighs lay on a table.

The room was a blood bath. The bed was saturated and the floor was a pool of about two feet square. There were several spatter marks on the walls in line with the neck. Her face was gashed all over, many times, as were her arms and calves. It was a truly horrific murder. Of all the macabre killings, Mary Jane Kelly’s murder was probably the most abhorrent and ghastly of them all.

Ripperologists generally agree that out of all the murders going on in London at that time, these five were committed by the same person known as Jack the Ripper. Who he is depends on who you talk to. There are more theories than the five murders he committed! The eyes of suspicion fell upon the Jewish community as Londoners looked for a scapegoat, preferring to believe it to be a foreigner than one of their own people. This may have been the case, but it is far from certain.

The royal and masonic theory is obviously a colourful and exciting angle, and very film-worthy. Several enjoyable movies have been made around this theory. On just a quick research of events, however, it would seem that the evidence is sketchy at best…disappointingly so! Still, never let the truth get in the way of a good story, eh?

So who, then, if not the Queen’s physician, or indeed the prince himself? Well, there was certainly an abundance of dodgy characters roaming the East End of Victorian London. The Ripper murders were not the only ones being committed either. It would be fair to say that the East End was poverty stricken, filthy and no doubt disease-ridden to boot. The fact that so many penniless prostitutes walked the dangerous foggy streets after sunset, looking for money to buy a bed for the night, some food the next day and enough left over to drink away all their troubles, gives us some idea of what kind of life those poor women were leading. They were extremely vulnerable, with few people who would miss them and probably drunk enough that they were incapable of defending themselves very much. Together with their trade, which forced them into the streets, a trade which had to be done in private, in the middle of the night, these women were easy prey for The Ripper.

One popular theory is that he killed them in a carriage before dumping them. One thing I’d say is that he had to be pretty confident of his surroundings and probably lived in the area. Most of the killings were done in what appears to be a very short time frame of 15-20 minutes. He was really very quick. Either he did have access to a carriage, or the killings were done by more than one man. It’s true he may have had a relative knowledge of anatomy, but possibly not any more than he’d read in a book. That he seemed to know where certain organs were, to me, proves nothing about any professional knowledge on the matter.

One of the more plausible theories is that The Ripper was a man called Aaron Kosminski, a Polish Jew. Kosminski had been named as The Ripper by police, but a witness who saw him with one of the victims, would not testify against a fellow Jew. Kosminski could not therefore be tried, but he did suffer from some kind of paranoid psychosis and so was taken to an asylum. There were no more Ripper murders after that, and the police closed down the investigation. This was despite the fact that more time had elapsed in between murders than it had between the last murder and the end of the police investigation, pointing to the suggestion that the police knew something they weren’t saying.

Regardless, everyone has a theory and a belief. 125 years later Jack the Ripper continues to strike fear into the hearts of those who read the story of the Whitechapel murders. He is the ultimate villain and the stereotypically demonic serial killer. His barbaric crimes will no doubt continue to inspire future writers as they always have done, everyone attempting to claim a piece of the truth for posterity, but it really doesn’t matter at the end of the day. What’s important is that the conditions were right for someone to take advantage of those innocent women: squalor and poverty which we should never allow to happen again. What matters most of all is that he stopped. Jack the Ripper’s reign of terror was over, but his rule of only 10 weeks will never be forgotten.

Until next week, hit the road Jack! Your friend, A.D.

BIBLIOGRAPHY

http://www.casebook.org/

FILMS

Murder By Decree (1979) with Christopher Plummer as

Sherlock Holmes

A Study in Terror (1965) with John Neville as Sherlock

Holmes

Jack the Ripper (1988) with Michael Caine as Aberline.

Click here to watch online.

From Hell (2001) with Johnny Depp as Aberline.

Click here to watch online.

DOCUMENTARIES

The Real Jack the Ripper

Jack the Ripper Documentary (Part 1 of 6)

MORTUARY & CRIME SCENE PHOTOGRAPHS

Mary Ann Nichols, died 31st August 1888, aged 43.

Anne Chapman “Dark Annie”, died 8th September 1888, aged 47.

Elizabeth Stride “Long Liz”, died 30th September, aged 45.

Catherine Eddowes, died 30th September 1888, aged 46.

Mary Jane Kelly/Mary Anne Kelly/”Ginger”, died 9th November, aged (approx) 25 years old. In the article above, there is only an artists impression available to ascertain the appearance of Mary Jane. However, with modern technology it has been attempted to reveal what she might have actually looked like.

* With special thanks to Andy Young for introducing me to this subject. Miss you.

FEMINISTS OF HORROR: Final Girls and Their Mad Men

26 Friday Apr 2013

Posted by Alyson Dunlop in Uncategorized

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A Nightmare on Elm Street, Alien, Aliens, All the Boys Love Mandy Lane, Black Christmas, crime, Doctor Loomis, drugs, Ellen Ripley, feminism, feminist, Final Girl, Freddy Krueger, Ghostface, Halloween, Hannibal Lecter, Horror, intelligence, Jason Voorhees, killer, knives, Laurie Strode, Leatherface, Lila, Mad, Mad Man, Madness, Michael Myers, misogynist, Nancy, Norman Bates, psychiatric illness, Psycho, Psychological, resourceful, Sam Loomis, Scream, Sex, Sidney, Sigourney Weaver, Silence of the Lambs, slasher, stabbing, strength, strong women, thriller, twists, victims, virgin, weapons

Slasher movies are a favourite with horror fans. Even if you’re not an outright horror fan, it’s likely you will have seen at least one of these in your life! The slasher has elements of thriller and crime, so can be appealing to audiences who also enjoy these genres too. In turn, some thrillers and other horrors, which are not really slashers as such, may have elements of the slasher in them.

What you may or may not realise is that there is a set of rules that come along with slasher and slasher-type horror films. During my post graduate in film and television, I had fun studying the “Final Girl” in horror. The Final Girl is a strong, independent female protagonist, the peer of the victims, but seen to be virtuous. She does not indulge in the sex and drugs that prove to be the downfall of the others. She also tends to avoid any kind of bullying. She’s just an all-round nice girl, sometimes slightly “put upon” by others who take advantage of her good nature. She is known as the Final Girl because, well, she’s the last one standing at the end of it all. The Final Girl either escapes or overcomes the threat, showing her power, strength and intelligence for whatever scrape she’s managed to land herself in.

Final Girls share many characteristics: they are often sexually unavailable or virgins who avoid any illegal or illicit activity and often, though not always, have a non-gender specific name such as Laurie (Halloween) or Sidney (Scream). The Final Girl can even be found in non-slasher horrors such as Alien, with the masculinised female character of Ellen Ripley (known only as Ripley); although, it has to be said that Alien does have many other characteristics of a slasher too.

The Final Girl is “watchful, intelligent and resourceful”. She is, pretty much, the perfect horror movie heroine. She is a character the audience can admire and she is a survivor. Many critics of the slasher might say that it is a misogynistic genre, as it often has naked and vulnerable women being overpowered by men. However, the Final Girl proves this not to be the case at all, quite the opposite. The Final Girl is a very smart and dignified character, who usually always outwits the killer in the end.

However, the character of the Final Girl has evolved over time. In Halloween Laurie’s ability was to simply remain alive until Doctor Loomis got there to save her. By the time A Nightmare on Elm Street came along the Final Girl was starting to take steps to protect herself, and defeat the threat. In the latter, Nancy is ready to take on Freddy!

Not only do Final Girls take on the killer, they also often protect young children too, showing their maternal side into the bargain. Just as there are monstrous maternal figures to be found in horror, the Final Girl is the complete opposite. Laurie (Jamie Lee Curtis) in Halloween has two young children in her care that she is babysitting for, whilst Ripley (Sigourney Weaver) in Aliens protects Newt with the famous line: “Get away from her, you bitch!”

As time has gone by, various differences have crept into the genre to allow it to evolve, and also to create unexpected twists at the end. The first slashers had the Final Girl discover and help to capture the killer (Psycho), escape the killer until another day (Black Christmas), and finally, killing the killer, after the killer had killed all her peers, so that the Final Girl is also the Final Killer; this has further evolved so that some Final Girls turn out to have been the killer all along, although this is a little bit more unusual.

In slasher horror, usually the weapon used by the killer is a blade of some kind, hence the term ‘slasher’. It could also be argued that in, for example, Halloween, Laurie attacks Michael Myers with weapons that are phallic: a knitting needle; a coat hanger, which she fashions into a spiked object, and a knife – all intended for stabbing. In the final sequence, Laurie takes over the dominant role using very masculine weaponry.

Probably the first Final Girl appeared in Psycho (1960), in the form of Marion’s sister Lila. Lila appears with Marion’s boyfriend Sam Loomis (in Halloween a character bearing that name would also step in to save the day, as has previously been mentioned…!). Along with other conventions that were built up over time, Psycho also saw the appearance of the human monster in the shape of the serial killer. The serial killer is necessarily dangerous and frightening, an almost supernatural killing machine, usually with a severe psychiatric illness and a grudge to bear, often caused by a traumatised childhood. The Final Girl is confronted with her every nightmare in the flesh: Norman Bates, Michael Myers, Jason Voorhees (well, actually, his mother…but his legend lives on regardless!), Leatherface, Freddy Krueger, Ghostface, Hannibal Lecter. Sometimes they have a supernatural side, like Michael Myers. Most often they are the scariest thing of all, real-life people! But, always, always, always, they are not just bad, they are completely and utterly insane. The Final Girl has her work cut out for her, but through it all she prevails.

Every horror fan has got their favourite Final Girl/Psychotic Maniac movies, whether slasher or not. Here are some recommendations. I don’t suppose they are really in any particular order. Silence of the Lambs and Psycho, though not slashers, have my favourite psychotic serial killer characters, whilst Alien has my favourite Final Girl – a good, strong performance from Sigourney Weaver. Black Christmas is actually, to my mind, probably one of the best and earliest of the genre. I really have no idea why I love Halloween so much. I just do. I think it’s the atmosphere, but I just can’t quite put my finger on it. Nevertheless, I have lost count of the number of times I’ve watched it – at least once a year at, yes you’ve guessed, Hallowe’en! And I just loved the twist in All the Boys Love Mandy Lane.

I’ve actually written my own slasher horror movie script! If any budding film directors or production companies wish to get in touch, I’d be delighted to hear from you!

I’d also love to know about readers’ favourite slashers, psychological horrors, Final Girls and serial killing maniacs. Do feel free to post comments!

Until next week. Don’t go anywhere…I’ll be right back! Your friend, A.D.

BIBLIOGRAPHY

Muir, J K (2007) A History of the Dead Teenager Decade in Horror Films of the 1980s McFarland & Co: USA (Chapter 2).

QUEER STORIES: Hidden Homosexuality in Early Horror

20 Saturday Apr 2013

Posted by Alyson Dunlop in Uncategorized

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Anubis, beast, bi-sexual, buggery, Carmilla, Dark Fantasy, Desire, disguise, Dorian Gray, Dracula's Daughter, Egyptian mythology, Finding Delphi, gay, gothic, Greek, homoerotic, homoeroticism, homosexual, homosexuality, Horror, Hyde, jackal, James Corden, Jekyll, Joseph Sheridan Le Fanu, lesbian, Lesbian Vampire Killers, monster, Oscar Wilde, Paul McGann, queer, Robert Louis Stevenson, secrecy, secrets, Sex, sexual, Sexuality, sodomy, Stephen Fry, the love that dare not speak its name, Underworld, Vampire, Victorian, Werewolf of London, Wilde

As I mentioned in a previous article, horror is the perfect place to find a secret subtext. In some parts of human history, it became unfortunately necessary for the subject of homosexuality to remain hidden in the world of literature and film. The UK 1533 Buggery Act made sodomy punishable by death. In 1861, this was changed to life imprisonment rather than hanging. However, in 1885 the laws were extended to include all sexual activities between males (Queen Victoria did not believe there was such a thing as lesbians!). It was in this very dark era that “the love that dare not speak its name” had to find other ways to communicate itself. Gay and bi-sexual writers were able to give expression to the subject of homoerotic desires using the medium of Gothic literature. In fact, many of the early Gothic romance writers were linked to homosexual scandal. “Secret and unlawful desires” became euphemisms for homosexuality. Three such tales, where one may find allusions to homosexuality, are Carmilla (1872) by Joseph Sheridan Le Fanu, The Strange Case of Doctor Jekyll and Mr Hyde (1886) by Robert Louis Stevenson and The Picture of Dorian Gray (1890) by Oscar Wilde. A few years later in 1935, with the advent of film, the gay theme can be found in a couple of horror films such as Werewolf of London (1935) and Dracula’s Daughter (1936).

Carmilla is the story of a young woman’s susceptibility to the attentions of a female vampire called Carmilla. The young woman, Laura, whilst living in a castle in Styria, has a vision of a beautiful woman when she is six years old. She claims later in the story to have been bitten on the chest by the visitor, although no wounds are visible. Perhaps this signifies an initial pang of attraction. Twelve years later, Laura finally meets Carmilla face to face, when Carmilla’s carriage is involved in an accident. The two women recognise each other from the dream.

Carmilla and Laura start to become close friends, although Carmilla has very sudden mood swings, and makes unsettling advances towards Laura. Of course, Carmilla exhibits vampiric tendencies, such as sleeping during the day, being awake at night and becoming enraged at hearing religious songs. Furthermore, Laura sees a portrait of an ancestor from the 17^th century: Mircalla, Countess Karnstein, who looks identical to Carmilla. Laura begins to have nightmares of being bitten on the chest by a fiendish cat, which transforms into a female figure. It would seem Laura’s feelings are being disturbed by an aggressive sexual predator.

Laura becomes very ill following these nightly visitations. Her father is told by a friend that his own, recently deceased, daughter had similar symptoms and goes on to describe the situation which involved a young woman named Millarca, who became friends with his daughter. He came to the conclusion that his daughter was being visited by a vampire, and upon a surprise attack the ‘cat-like creature’ took the form of Millarca and fled.

It all unravels that Carmilla, Mircalla and Millarca are one in the same person. All are anagrams of the same name. Of course, it is clear that lesbian attraction is the force between Carmilla and Laura:

Sometimes after an hour of apathy, my strange and beautiful companion would take my hand and hold it with a fond pressure, renewed again and again; blushing softly, gazing in my face with languid and burning eyes, and breathing so fast that her dress rose and fell with the tumultuous respiration. It was like the ardour of a lover; it embarrassed me; it was hateful and yet overpowering; and with gloating eyes she drew me to her, and her hot lips travelled along my cheek in kisses; and she would whisper, almost in sobs, “You are mine, you shall be mine, and you and I are one for ever”. (Carmilla, Chapter 4). (1)

Carmilla confined her attentions to female victims, was more comfortable at night-time, was very beautiful, able to walk through walls, could shape-shift into a cat and slept in a coffin. She was, most definitely, a lesbian vampire! A few films have been made in her honour. Some attempt to keep to the original story, but you may remember Carmilla making an appearance as the antagonist in Lesbian Vampire Killers (2009), starring James Corden and Paul McGann.

I had never thought of The Strange Tale of Doctor Jekyll and Mr Hyde by Robert Louis Stevenson, as being homoerotic. Up until now, as one of my all-time favourite stories, I had viewed it as a tale of the classic ‘beast’ or monster within. What that monster was, I had put down to some sort of message about insanity and split personalities. However, it is thought that one reading can be interpreted as that of a queer tale, so let’s look at the evidence for homoeroticism within the story. It is said to be a story of disguise – and not only in the form of Jekyll and Hyde: ‘a Gothic tale is disguised as a moral fable; the moral fable is disguised as a monster story’ (1). It might be safe to assume, therefore, that there is much more going on beneath the surface than the initial reading of it might suggest – I’d expect nothing less from such a stylish writer as RLS.

Thanks to a potion invented by Dr Jekyll, he is able to lead a double life in the form of his alter ego, Mr Hyde (obviously the name ‘Hyde’ is the same in sound to the word ‘hide’, which is exactly what both Jekyll and Hyde are doing, depending on who is visible. Hiding. As for Jekyll, well…the only word I can think of is ‘jackal’ and it wouldn’t surprise me if this was indeed the intended meaning. In Egyptian mythology, the jackal-headed Anubis, is the god of the Underworld, protector and judge of the dead. Ultimately, I suppose, Jekyll is a doctor who leads himself to death, but is he also judging himself as well?

The story is commonly thought to be a tale on the horrors of the unleashed sexual appetite, and here is my initial mistake. Having only seen the film, I assumed that the sexual debauchery Hyde demonstrated were towards women. In fact, in the original text there are no female characters, apart from a cook and a housemaid – both peripheral to the story. However, Stevenson himself rejected the notion that Hyde was about sexuality of any kind, maintaining that the only reason people would read it that way is because they can think of nothing else! A trap we should be careful of when reading Gothic fantasy… Nevertheless, some people do believe that Hyde is a closet homosexual and RLS does include some suspicious markers of homoeroticism within the story:

The suspected blackmail of Jekyll by his “young man”, his “favourite”; the “very pretty manner of politeness of Sir Danvers Carew” when approached in the street – terms that may have denoted forbidden liaisons to a Victorian readership. The hidden door by which he enters Jekyll’s house is the “back way”, even “the back passage”. It happens that the year of composition, 1885, was the year in which an amendment to an act of parliament made homosexual acts between men a criminal offence.(3)

On closer examination it looks like there is much more to discover within the pages of the story, and I think it might be worth returning to this subject in full once I’ve had the chance to read the original text thoroughly. It would seem there are several possible interpretations, and I wonder if this in itself was deliberate. Quite often a writer has more than one message he/she wishes to convey.

Most people know of Oscar Wilde and the circumstances which led to his imprisonment, after being convicted of homosexuality. He spent two years in prison for the sake of the “love that dare not speak its name”, famously quoted in Wilde with Stephen Fry playing the lead role. Fry gave a very beautiful and moving speech on being brought to trial for daring to love a man. He explains that in ancient Greek times it was perfectly natural, and the purest of relationships, for a teacher and his student to share a bond.

It has been suggested that the name Dorian, the protagonist in The Picture of Dorian Gray, is a reference to the ancient Greeks, who had a very different and more accepting view of homoeroticism. Both Lord Henry and Basil compete for Dorian’s attention, praising him for his good looks and youthfulness. Basil even states: “as long as I live, the personality of Dorian Gray will dominate me.” Nevertheless, Dorian does claim to have only ever loved one woman in his lifetime: Sibyl Vane. It could be that Dorian, like Wilde himself, was actually bisexually inclined. The fact that he is as attracted to her when she is dressed up as a man, as he is when she is dressed as a woman might point to that. Wilde was very happy and in love with his own wife for the first few years of their married life. Although I do wonder if the use of the word Sibyl is another nod to the Greeks and their prophetess, the Sibyl, the priestess seer who pronounced her oracles in ancient holy places like Delphi. (In Finding Delphi the Sibyl plays an important part in the story). Either way, it would seem the attraction Dorian feels for Sibyl is as a result of her ability to be all things, and as an actress she is well-placed to “mask life”.

Although it remains obscure, Basil asks why Dorian’s “friendship is so fatal to young men” and mentions the “shame and sorrow” of one of the young men’s fathers. Basil also tells Henry how he worships Dorian, begging him not to “take away the one person that makes my life absolutely lovely to me.” In the 1890 edition, Basil is more focused on the love he feels; whereas in the 1891 edition the following year, this has been changed to reflect the influence Dorian has on his art: “the one person who gives my art whatever charm it may possess: my life as an artist depends on him.” (4, 5, 6, 7).

Like Dr Jekyll, Dorian has another side to himself, his hidden sexual menace, which lives in the portrait of himself he keeps locked away. About the secrecy of his portrait, Dorian says: “I have grown to love secrecy. It seems to be the one thing that can make modern life mysterious or marvellous.” In both stories, the protagonists enjoy the pleasures of leading a double life, whilst in Carmilla, the vampire is known as having three different names and with the ability to disguise herself in the form of a cat. Although these are necessarily inexplicit about the subject of homosexuality, in the Victorian era when these stories were written, it is of much use to the interested reader to read them bearing in mind the zeitgeist of 19^th century Britain. To those who don’t see (or wish to see) the homosexual content in these stories, I’m sure you’ll find another interpretation and there is certainly much more to discover.

In the meantime, it is only by studying those dark times that we begin to see the horror of equating any kind of love with evil and ugliness. No character who hides away their repressed natural emotions ever meets a happy end.

Until next week, be true to yourself and love with pride. Your Fag Hag friend, A.D.

BIBLIOGRAPHY

(1) Le Fanu, J S (1872) Carmilla in “In a Glass Darkly” (Kindle edition).

(2) Halberstam, J (2000) Gothic Surface, Gothic Depth: The subject of Secrecy in Stevenson and Wilde in Skin Shows: Gothic Horror and The Technology of Monsters Duke Uni Press: USA.

(3) Campbell, J The Beast Within in The Guardian (13^th December 2008)

(4) The Picture of Dorian Gray Book Notes: http://www.bookrags.com/notes/dg/

(5) Literature (TPODG): http://www.sparknotes.com/lit/index_p.html

(6) TPODG: http://www.novelguide.com/ThePictureofDorianGray/index.html

(7) TPODG: http://www.gradesaver.com/the-picture-of-dorian-gray/study-guide/short-summary/