The Bloody Chamber by Angela Carter
Angela Carter is a master fabulist – a remarkable teller of
tales. This, her second collection of ten gothic short-stories are spin-offs of
traditional fairy tales like that of Bluebeard,
Red Riding Hood, Beauty and the Beast and Puss
in Boots. The many worlds she weaves are magical but they are also dark,
gruesome, fatal.
Angela Carter has an intense visual imagination which makes
for a sensual evocation of the supernatural habitations of her imagined beings.
They are intensely supernatural – unbelievable – yet, intensely real.Carter's inspiration does lie in
Gothic literature’s rich heritage, adapting themes and motifs from classic
tales of terror and giving it a unique twist of her own.
The first tale, The Bloody
Chamber is her version of the Bluebeard’s story – of a man who marries and
then kills off his wives, leaving their bodies in a hidden room. However, his
most recently married young wife opens the door of the forbidden room and finds
his secret.
The story has typical Gothic settings with the dark, broodingly evil castle where the Marquis takes his young pianist wife being cut off from land whenever the tide comes in. A melancholy castle situated in the sea, it is “at home neither on the land nor on the water, a mysterious, amphibious place.” Every detail is drenched with the atmosphere of impending doom. For instance, a stark image that will leave an imprint in one’s mind is the wedding gift he has given to his young bride:
“His wedding gift, clasped around my throat. A choker of
rubies, two inches wide, like an extraordinarily precious slit throat.”
It portends the way in which she will be chosen to be killed
by her husband after he finds out that she
Retrieving the key from the pool of blood - literally, a bloody chamber. |
However, in a twist to the classic tale, as the Marquis
readies to behead his latest bride, it is her widowed mother who comes riding
across the low tide, toting a pistol of her deceased husband and fires the
fatal shot that brings the end of the gruesome but gripping tale. Also, since our
nameless narrator inherits her dead husband’s wealth, she lives happily ever
after.
The next two tales are both a subversive take on the timeless
classic Beauty and the Beast. While
the first tale, The Courtship of Mr. Lyon,
stays quite true to the tale as we know
it, it is the second one that will excite us with the idea of possibilities. In
The Tiger’s Bride, it isn’t the beast
that is transformed, but the girl. Her father loses her to the Beast in a game
of cards and she is forced to live with him, but as she comes to finally accept
him, it is her skin that sheds and reveals the fur underneath.
“And each stroke of his tongue ripped off skin after successive
skin, all the skins of a life in the world….my earrings turned back to water and
trickled down my shoulders; I shrugged the drops off my beautiful fur.”
In the three stories based on Red Riding Hood we have the wolf, the grandmother and little red
herself taking on different dimensions. It is not advisable to think of them as
re-tellings of fairy tales, rather it seems like they are a tale in themselves,
with a life of its own. But the fairy tale narrative gives it a familiar structure
that keeps us spellbound.
For instance, in The Werewolf,
a brutal and short tale, Little Red Riding Hood goes to meet her ailing
grandmother, is met by a werewolf on her way, but being a child who knows how
to use her father’s hunting knife, slashes off the wolf’s right paw. “The child wiped the blade of her knife clean on her apron,
wrapped up the wolf’s paw in the cloth…..and went on towards her grandmother’s
house.”
Clearly it isn’t for the faint-hearted. Nor will you expect the ending as it happens.
But, my favourite story by far would be not based on any
fairy tale but the decadent and deathly tale of Vampirella (as it was first named for a radio play) - The Lady
of the House of Love. It is a Transylvanian vampire tale which tells the
story of last of the descendants of Nosferatu, a flawless and beautiful vampire
continues to live in her ancestral home with only a governess to look after her,
whereas the entire village has been deserted for a long while.
“Wearing an antique bridal gown, the beautiful queen of the
vampires sits all alone in her dark, high house under the eyes of the portraits
of her demented and atrocious ancestors.”
Though she has to drink blood in order to satisfy her
hunger, she seems disgusted and tormented by it. She asks as she drags her rakish
fingernails over the bars of the cage of her pet lark, “Can a bird sing only
the song it knows or can it learn a new song?” She reveals her contemplation on
a possibility of a different way of life. Even as the story progresses, the
readers devouring each word, we will probably not see the end coming.
Gender and power relationships &
structures, fantasy and folklore are all explored in these series of tales that
excavate, question and challenge the 'latent content' of traditional fairy
tales. As Vampirella questions, can a bird learn a new song? - Angela Carter both
asks and answers that question for us.
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