Thursday, March 16, 2017

Angela Carter / The Company of Wolves



The Company of Wolves

By Angela Carter

Angela Carter / En compañía de lobos




One beast and only one howls in the woods by night.
The wolf is carnivore incarnate and he’s as cunning as he is ferocious; once he’s had a taste of flesh then nothing else will do.
At night, the eyes of wolves shine like candle flames, yellowish, reddish, but that is because the pupils of their eyes fatten on darkness and catch the light from your lantern to flash it back to you–red for danger; if a wolf’s eyes reflect only moonlight, then they gleam a cold and unnatural green, a mineral, a piercing colour. If the benighted traveller spies those luminous, terrible sequins stitched suddenly on the black thickets, then he knows he must run, if fear has not struck him stock-still.
But those eyes are all you will be able to glimpse of the forest assassins as they cluster invisibly round your smell of meat as you go through the wood unwisely late. They will be like shadows, they will be like wraiths, grey members of a congregation of nightmare; hark! his long, wavering howl … an aria of fear made audible.
The wolfsong is the sound of the rending you will suffer, in itself a murdering.
It is winter and cold weather. In this region of mountain and forest, there is now nothing for the wolves to eat. Goats and sheep are locked up in the byre, the deer departed for the remaining pasturage on the southern slopes–wolves grow lean and famished. There is so little flesh on them that you could count the starveling ribs through their pelts, if they gave you time before they pounced. Those slavering jaws; the lolling tongue; the rime of saliva on the grizzled chops–of all the teeming perils of the night and the forest, ghosts, hobgoblins, ogres that grill babies upon gridirons, witches that fatten their captives in cages for cannibal tables, the wolf is worst for he cannot listen to reason.
You are always in danger in the forest, where no people are. Step between the portals of the great pines where the shaggy branches tangle about you, trapping the unwary traveller in nets as if the vegetation itself were in a plot with the wolves who live there, as though the wicked trees go fishing on behalf of their friends–step between the gateposts of the forest with the greatest trepidation and infinite precautions, for if you stray from the path for one instant, the wolves will eat you. They are grey as famine, they are as unkind as plague.
The grave-eyed children of the sparse villages always carry knives with them when they go out to tend the little flocks of goats that provide the homesteads with acrid milk and rank, maggoty cheeses. Their knives are half as big as they are, the blades are sharpened daily.
But the wolves have ways of arriving at your own hearthside. We try and try but sometimes we cannot keep them out. There is no winter’s night the cottager does not fear to see a lean, grey, famished snout questing under the door, and there was a woman once bitten in her own kitchen as she was straining the macaroni.
Fear and flee the wolf; for, worst of all, the wolf may be more than he seems.
There was a hunter once, near here, that trapped a wolf in a pit. This wolf had massacred the sheep and goats; eaten up a mad old man who used to live by himself in a hut halfway up the mountain and sing to Jesus all day; pounced on a girl looking after the sheep, but she made such a commotion that men came with rifles and scared him away and tried to track him into the forest but he was cunning and easily gave them the slip. So this hunter dug a pit and put a duck in it, for bait, all alive-oh; and he covered the pit with straw smeared with wolf dung. Quack, quack! went the duck and a wolf came slinking out of the forest, a big one, a heavy one, he weighed as much as a grown man and the straw gave way beneath him–into the pit he tumbled. The hunter jumped down after him, slit his throat, cut off all his paws for a trophy.
And then no wolf at all lay in front of the hunter but the bloody trunk of a man, headless, footless, dying, dead.
A witch from up the valley once turned an entire wedding party into wolves because the groom had settled on another girl. She used to order them to visit her, at night, from spite, and they would sit and howl around her cottage for her, serenading her with their misery.
Not so very long ago, a young woman in our village married a man who vanished clean away on her wedding night. The bed was made with new sheets and the bride lay down in it; the groom said, he was going out to relieve himself, insisted on it, for the sake of decency, and she drew the coverlet up to her chin and she lay there. And she waited and she waited and then she waited again–surely he’s been gone a long time? Until she jumps up in bed and shrieks to hear a howling, coming on the wind from the forest.
That long-drawn, wavering howl has, for all its fearful resonance, some inherent sadness in it, as if the beasts would love to be less beastly if only they knew how and never cease to mourn their own condition. There is a vast melancholy in the canticles of the wolves, melancholy infinite as the forest, endless as these long nights of winter and yet that ghastly sadness, that mourning for their own, irremediable appetites, can never move the heart for not one phrase in it hints at the possibility of redemption; grace could not come to the wolf from its own despair, only through some external mediator, so that, sometimes, the beast will look as if he half welcomes the knife that despatches him.
The young woman’s brothers searched the outhouses and the haystacks but never found any remains so the sensible girl dried her eyes and found herself another husband not too shy to piss into a pot who spent the nights indoors. She gave him a pair of bonny babies and all went right as a trivet until, one freezing night, the night of the solstice, the hinge of the year when things do not fit together as well as they should, the longest night, her first good man came home again.
A great thump on the door announced him as she was stirring the soup for the father of her children and she knew him the moment she lifted the latch to him although it was years since she’d worn black for him and now he was in rags and his hair hung down his back and never saw a comb, alive with lice.
‘Here I am again, missus,’ he said.’ Get me my bowl of cabbage and be quick about it.’
Then her second husband came in with wood for the fire and when the first one saw she’d slept with another man and, worse, clapped his red eyes on her little children who’d crept into the kitchen to see what all the din was about, he shouted: ‘I wish I were a wolf again, to teach this whore a lesson!’ So a wolf he instantly became and tore off the eldest boy’s left foot before he was chopped up with the hatchet they used for chopping logs. But when the wolf lay bleeding and gasping its last, the pelt peeled off again and he was just as he had been, years ago, when he ran away from his marriage bed, so that she wept and her second husband beat her.
They say there’s an ointment the Devil gives you that turns you into a wolf the minute you rub it on. Or, that he was born feet first and had a wolf for his father and his torso is a man’s but his legs and genitals are a wolf’s. And he has a wolf’s heart.
Seven years is a werewolf’s natural span but if you burn his human clothing you condemn him to wolfishness for the rest of his life, so old wives hereabouts think it some protection to throw a hat or an apron at the werewolf, as if clothes made the man. Yet by the eyes, those phosphorescent eyes, you know him in all his shapes; the eyes alone unchanged by metamorphosis.
Before he can become a wolf, the lycanthrope strips stark naked. If you spy a naked man among the pines, you must run as if the Devil were after you.
It is midwinter and the robin, the friend of man, sits on the handle of the gardener’s spade and sings. It is the worst time in all the year for wolves but this strong-minded child insists she will go off through the wood. She is quite sure the wild beasts cannot harm her although, well-warned, she lays a carving knife in the basket her mother has packed with cheeses. There is a bottle of harsh liquor distilled from brambles; a batch of flat oatcakes baked on the hearthstone; a pot or two of jam. The flaxen-haired girl will take these delicious gifts to a reclusive grandmother so old the burden of her years is crushing her to death. Granny lives two hours’ trudge through the winter woods; the child wraps herself up in her thick shawl, draws it over her head. She steps into her stout wooden shoes; she is dressed and ready and it is Christmas Eve. The malign door of the solstice still swings upon its hinges but she has been too much loved ever to feel scared.
Children do not stay young for long in this savage country. There are no toys for them to play with so they work hard and grow wise but this one, so pretty and the youngest of her family, a little late-comer, had been indulged by her mother and the grandmother who’d knitted her the red shawl that, today, has the ominous if brilliant look of blood on snow. Her breasts have just begun to swell; her hair is like lint, so fair it hardly makes a shadow on her pale forehead; her cheeks are an emblematic scarlet and white and she has just started her woman’s bleeding, the clock inside her that will strike, henceforward, once a month.
She stands and moves within the invisible pentacle of her own virginity. She is an unbroken egg; she is a sealed vessel; she has inside her a magic space the entrance to which is shut tight with a plug of membrane; she is a closed system; she does not know how to shiver. She has her knife and she is afraid of nothing.
Her father might forbid her, if he were home, but he is away in the forest, gathering wood, and her mother cannot deny her.
The forest closed upon her like a pair of jaws.
There is always something to look at in the forest, even in the middle of winter–the huddled mounds of birds, succumbed to the lethargy of the season, heaped on the creaking boughs and too forlorn to sing; the bright frills of the winter fungi on the blotched trunks of the trees; the cuneiform slots of rabbits and deer, the herringbone tracks of the birds, a hare as lean as a rasher of bacon streaking across the path where the thin sunlight dapples the russet brakes of last year’s bracken.
When she heard the freezing howl of a distant wolf, her practised hand sprang to the handle of her knife, but she saw no sign of a wolf at all, nor of a naked man, neither, but then she heard a clattering among the brushwood and there sprang on to the path a fully clothed one, a very handsome young one, in the green coat and wideawake hat of a hunter, laden with carcasses of game birds. She had her hand on her knife at the first rustle of twigs but he laughed with a flash of white teeth when he saw her and made her a comic yet flattering little bow; she’d never seen such a fine fellow before, not among the rustic clowns of her native village. So on they went together, through the thickening light of the afternoon.
Soon they were laughing and joking like old friends. When he offered to carry her basket, she gave it to him although her knife was in it because he told her his rifle would protect them. As the day darkened, it began to snow again; she felt the first flakes settle on her eyelashes but now there was only half a mile to go and there would be a fire, and hot tea, and a welcome, a warm one, surely, for the dashing huntsman as well as for herself.
This young man had a remarkable object in his pocket. It was a compass. She looked at the little round glass face in the palm of his hand and watched the wavering needle with a vague wonder. He assured her this compass had taken him safely through the wood on his hunting trip because the needle always told him with perfect accuracy where the north was. She did not believe it; she knew she should never leave the path on the way through the wood or else she would be lost instantly. He laughed at her again; gleaming trails of spittle clung to his teeth. He said, if he plunged off the path into the forest that surrounded them, he could guarantee to arrive at her grandmother’s house a good quarter of an hour before she did, plotting his way through the undergrowth with his compass, while she trudged the long way, along the winding path.
I don’t believe you. Besides, aren’t you afraid of the wolves?
He only tapped the gleaming butt of his rifle and grinned.
Is it a bet? he asked her. Shall we make a game of it? What will you give me if I get to your grandmother’s house before you?
What would you like? she asked disingenuously.
A kiss.
Commonplaces of a rustic seduction; she lowered her eyes and blushed.
He went through the undergrowth and took her basket with him but she forgot to be afraid of the beasts, although now the moon was rising, for she wanted to dawdle on her way to make sure the handsome gentleman would win his wager.
Grandmother’s house stood by itself a little way out of the village. The freshly falling snow blew in eddies about the kitchen garden and the young man stepped delicately up the snowy path to the door as if he were reluctant to get his feet wet, swinging his bundle of game and the girl’s basket and humming a little tune to himself.
There is a faint trace of blood on his chin; he has been snacking on his catch.
He rapped upon the panels with his knuckles.
Aged and frail, granny is three-quarters succumbed to the mortality the ache in her bones promises her and almost ready to give in entirely. A boy came out from the village to build up her hearth for the night an hour ago and the kitchen crackles with busy firelight. She has her Bible for company, she is a pious old woman. She is propped up on several pillows in the bed set into the wall peasant-fashion, wrapped up in the patchwork quilt she made before she was married, more years ago than she cares to remember. Two china spaniels with liver-coloured blotches on their coats and black noses sit on either side of the fireplace. There is a bright rug of woven rags on the pantiles. The grandfather clock ticks away her eroding time.
We keep the wolves outside by living well.
He rapped upon the panels with his hairy knuckles.
It is your granddaughter, he mimicked in a high soprano:
Lift up the latch and walk in, my darling.
You can tell them by their eyes, eyes of a beast of prey, nocturnal, devastating eyes as red as a wound; you can hurl your Bible at him and your apron after, granny, you thought that was a sure prophylactic against these infernal vermin … now call on Christ and his mother and all the angels in heaven to protect you but it won’t do you any good.
His feral muzzle is sharp as a knife; he drops his golden burden of gnawed pheasant on the table and puts down your dear girl’s basket, too. Oh, my God, what have you done with her?
Off with his disguise, that coat of forest-coloured cloth, the hat with the feather tucked into the ribbon; his matted hair streams down his white shirt and she can see the lice moving in it. The sticks in the hearth shift and hiss; night and the forest has come into the kitchen with darkness tangled in its hair.
He strips off his shirt. His skin is the colour and texture of vellum. A crisp stripe of hair runs down his belly, his nipples are ripe and dark as poison fruit but he’s so thin you could count the ribs under his skin if only he gave you the time. He strips off his trousers and she can see how hairy his legs are. His genitals, huge. Ah! huge.
The last thing the old lady saw in all this world was a young man, eyes like cinders, naked as a stone, approaching her bed.
The wolf is carnivore incarnate.
When he had finished with her, he licked his chops and quickly dressed himself again, until he was just as he had been when he came through her door. He burned the inedible hair in the fireplace and wrapped the bones up in a napkin that he hid away under the bed in the wooden chest in which he found a clean pair of sheets. These he carefully put on the bed instead of the tell-tale stained ones he stowed away in the laundry basket. He plumped up the pillows and shook out the patchwork quilt, he picked up the Bible from the floor, closed it and laid it on the table. All was as it had been before except that grandmother was gone. The sticks twitched in the grate, the clock ticked and the young man sat patiently, deceitfully beside the bed in granny’s nightcap.
Rat-a-tap-tap.
Who’s there, he quavers in granny’s antique falsetto.
Only your granddaughter.
So she came in, bringing with her a flurry of snow that melted in tears on the tiles, and perhaps she was a little disappointed to see only her grandmother sitting beside the fire. But then he flung off the blanket and sprang to the door, pressing his back against it so that she could not get out again.
The girl looked round the room and saw there was not even the indentation of a head on the smooth cheek of the pillow and how, for the first time she’d seen it so, the Bible lay closed on the table. The tick of the clock cracked like a whip. She wanted her knife from her basket but she did not dare reach for it because his eyes were fixed upon her–huge eyes that now seemed to shine with a unique, interior light, eyes the size of saucers, saucers full of Greek fire, diabolic phosphorescence.
What big eyes you have.
All the better to see you with.
No trace at all of the old woman except for a tuft of white hair that had caught in the bark of an unburned log. When the girl saw that, she knew she was in danger of death.
Where is my grandmother?
There’s nobody here but we two, my darling.
Now a great howling rose up all around them, near, very near, as close as the kitchen garden, the howling of a multitude of wolves; she knew the worst wolves are hairy on the inside and she shivered, in spite of the scarlet shawl she pulled more closely round herself as if it could protect her although it was as red as the blood she must spill.
Who has come to sing us carols, she said.
Those are the voices of my brothers, darling; I love the company of wolves. Look out of the window and you’ll see them.
Snow half-caked the lattice and she opened it to look into the garden. It was a white night of moon and snow; the blizzard whirled round the gaunt, grey beasts who squatted on their haunches among the rows of winter cabbage, pointing their sharp snouts to the moon and howling as if their hearts would break. Ten wolves; twenty wolves–so many wolves she could not count them, howling in concert as if demented or deranged. Their eyes reflected the light from the kitchen and shone like a hundred candles.
It is very cold, poor things, she said; no wonder they howl so.
She closed the window on the wolves’ threnody and took off her scarlet shawl, the colour of poppies, the colour of sacrifices, the colour of her menses, and, since her fear did her no good, she ceased to be afraid.
What shall I do with my shawl?
Throw it on the fire, dear one. You won’t need it again.
She bundled up her shawl and threw it on the blaze, which instantly consumed it. Then she drew her blouse over her head; her small breasts gleamed as if the snow had invaded the room.
What shall I do with my blouse?
Into the fire with it, too, my pet.
The thin muslin went flaring up the chimney like a magic bird and now off came her skirt, her woollen stockings, her shoes, and on to the fire they went, too, and were gone for good. The firelight shone through the edges of her skin; now she was clothed only in her untouched integument of flesh. This dazzling, naked she combed out her hair with her fingers; her hair looked white as the snow outside. Then went directly to the man with red eyes in whose unkempt mane the lice moved; she stood up on tiptoe and unbuttoned the collar of his shirt.
What big arms you have.
All the better to hug you with.
Every wolf in the world now howled a prothalamion outside the window as she freely gave the kiss she owed him.
What big teeth you have!
She saw how his jaw began to slaver and the room was full of the clamour of the forest’s Liebestod but the wise child never flinched, even when he answered:
All the better to eat you with.
The girl burst out laughing; she knew she was nobody’s meat. She laughed at him full in the face, she ripped off his shirt for him and flung it into the fire, in the fiery wake of her own discarded clothing. The flames danced like dead souls on Walpurgisnacht and the old bones under the bed set up a terrible clattering but she did not pay them any heed.
Carnivore incarnate, only immaculate flesh appeases him.
She will lay his fearful head on her lap and she will pick out the lice from his pelt and perhaps she will put the lice into her mouth and eat them, as he will bid her, as she would do in a savage marriage ceremony.
The blizzard will die down.
The blizzard died down, leaving the mountains as randomly covered with snow as if a blind woman had thrown a sheet over them, the upper branches of the forest pines limed, creaking, swollen with the fall.
Snowlight, moonlight, a confusion of paw-prints.
All silent, all still.
Midnight; and the clock strikes. It is Christmas Day, the werewolves’ birthday, the door of the solstice stands wide open; let them all sink through.
See! sweet and sound she sleeps in granny’s bed, between the paws of the tender wolf.


Wednesday, March 15, 2017

Angela Carter / Nabokov's nymphet novella


Nabokov's nymphet novella


The Enchanter, by Vladimir Nabokov (Picador)


Angela Carter

T
he Enchanter is an erotic fable composed in a perfumed style that affords a queasy contrast to the straightforward brutality of the plot, describing as it does how a paedophile marries a dying woman in order to obtain sexual access to the latter's twelve-year-old daughter. The effect is that of raw liver exquisitely arranged in a pink frilly box.

But not a very large helping of raw liver. So the novella's scant seventy pages have been bulked out with two prefaces culled from Nabokov's assorted prose and some notes by the translater, his son, Dmitri. Much of this impedimenta circles round the question of the relation of the hitherto unpublished The Enchanter to the great novel with which the elder Nabokov first sprang to international fame, Lolita.

The Enchanter was written in Russian in Paris late in 1939; and then, evidently, lost. The much longer, infinitely more complex Lolita was written in English some ten years later, in the US. In 1956, in the note on Lolita reprinted here, Nabokov declared: 'the nymphet ..was really much the same lass and the basic marry-her-mother idea also subsisted but otherwise the thing [ie Lolita] was new and had grown in secret the claws and wings of a novel.'
This suggests that Nabokov was prepared to accept that it was not only length but quiddity that The Enchanter lacked, even if, in 1959, in a letter used as a second preface, he refers to it as 'a beautiful piece of Russian prose. ' All the same, no claws. No wings. It is startling but frail.
The Enchanter begins with a forty-old-jeweller's meditations upon his own paedophiliac tendencies whilst he sits on a bench in a public park. His pondering is interrupted by the arrival of a schoolgirl on roller skates. And he is lost. (So is she, of course; but this is not her story, and her feelings and fate are not taken into consideration by either her would-be seducer or her creator.)
There is a distinction between amour fou and sexual obsession. Humbert Humbert will be a fully self-aware pervert mad with love. The eponymous 'enchanter' is a constantly self-justifying but hitherto thwarted pervert who suddenly spots the possibility of gratification and thereafter pursues it through thick and thin.
Almost as soon as she has been resentfully married, the sick mother dies. The 'enchanter' gleefully carries his stepdaughter off by car to a distant hotel, in a brief, pale, trial run for Humbert Humbert's later wanderings. He seizes the opportunity of masturbating over her sleeping body. She wakes up, catches him at it and screams; he rushes out into the street, to be abruptly terminated by a passing vehicle, a curiously moralistic and awesomely rapid punishment.

Nabokov does not care to give a proper name to any of the characters in The Enchanter, except to allot the ubiquitous name, Marie, to the minimal presence of a maid in the absent-minded manner of one tipping a servant. The nymphet of The Enchanter may have Lolita's russet curls but she has none of her presence on the page. She is an assemblage of dimples, curls and schoolgirl underwear, uncharacterised beyond a reference to her 'slightly vacuous' eyes.
We learn in passing that she has a tendency to car sickness but otherwise are told more about her panties than we are about her personality. She is the hapless object of desire, the pure, anonymous creation of soft core pornography.
The jeweller is a little more three-dimensional; at least, he possesses a few more than merely physical attributes. For example, he is full of self-deceit; the miserable creature reassures himself that at least he made the last months of his wife's life happy. He is a hypocrite, too. He fondly imagines how he will be a good father to her child, as well as a considerate lover. These moral posturing endow him with a certain twitching life.
But there is also a hypocrisy within the narrative itself, in the succulent way in which the child's sexuality is presented. It is not so much that the reader is drawn helplessly into the paedophile's obsession; rather, that obsession is depicted in the conventional language of voluptuousness, 'suede-like fissures' (whatever that means), 'shapely thighs' and all.
The narrative is written in the third person and therefore cannot retain its objectivity when undressing the little girl, so that the paedophile's idea of the little girl's irresistibility is presented as a universal truth that is obviously apparent at the same time as it is castigated as 'unnatural. '
As a result, the paedophile's desire starts to seem as feasible as the next man's, and the moral underpinning of the story falls away, leaving, surely unintentionally, only the infrastructure of pornography.
In Lolita, Nabokov solves the technical problem of the specious objectivity of the third person narrative by telling the story in the person of Humbert Humbert, and Humbert Humbert can constantly remind the reader of the unsanctified nature of his desires.

Vladimir Nabokov

The nameless paedophile of The Enchanter meets his end in the soiled raincoat characteristic of the habitué of dirty bookshops; but, of course, I am not assuming that it was indeed Nabokov's intention to write a dirty book, even if the masturbators consummation is written in such a way that it looks as if he is having his titillatory cake and eating it. Indeed, I would not put it past Nabokov to be parodying a dirty book, though Paris in the winter of 1939 seems an odd place to play this game.
The text is adorned with a number of modernist arabesques. There is a 'black salad devouring a green rabbit' that would have seemed a little dated and expressionist in 1939 but now, thanks to changing fashions, comes up as fresh as paint. Nowhere is the expression less than elegant and the translation reads like an original. The wonder is, that Lolita, in its irony, complexity and verbal felicity, sprang in part from this scanty wee seedlet once it was transferred to the fertile if alien soil of the United States.





Monday, March 13, 2017

Angela Carter / Review of The Satanic Verses by Salman Rushdie

Salman Rushdie

Angels in dirty places

Review of The Satanic Verses by Salman Rushdie 

Angela Carter
Friday 23 September 1988 16.55 BST


S
omebody switches on a tape recorder; a meretricious disco version of a psalm of David, 'How shall I sing the Lord's song in a strange land,' booms and twitters into a semi-apocalyptic version of London. Ellowen Deeowen, as the childrens' rhyme has it. And even in its vicious decay, Salman Rushdie still accords the glamour of a child's dream to this 'great, rotting, beautiful, snow-white, illuminated city, Mahagonny, Babylon, Alphaville.'

But the vexed question of the Lord's song and how to sing it in Mahagonny, Babylon, Alphaville, concerns most of the characters in Salam Rushdie's new novel, for they are mostly displaced persons of one kind or another. Expatriates, immigrants, refugees. Perhaps, finally, the answer lies in the 'satanic verses' of the title; might not the Lord's song be utterly transformed by time and distance, just as the two heroes of this long, complicated, exhilarating novel are transformed in the course of a journey.


Formally, The Satanic Verses is an epic into which holes have been punched to let in visions; an epic hung about with ragbag scraps of many different cultures. In Bombay, another city this novel celebrates, the beautiful Zeenat Vikal, doctor, activist and art critic, seeks 'an ethic of historically validated eclecticism, for was not the entire national culture based on the principle of borrowing whatever clothes seemed to fit, Aryan, Mughal, British, take-the-best-and-leave-the-rest?' Rushdie gleefully follows this prescription. The SatanicVerses, as if in tribute to Zeeny's Indian ethic, is eclectic as hell.
It kicks off in medias res, astonishingly: two brown men, clasped in a reluctant embrace, hurtle out of the clouds towards the English coast, singing at the tops of their voices inraucous discord. They have burst out of the exploded pod of a hijacked aircraft, to miraculously survive impact and be extraordinarily reborn.
Mind you, one of them, Gibreel Farishta, the movie star, has already scraped through a brush with death and is now prey not only to an obsessive, clearly doomed passion for the ice blondmountaineer, Allelia Cone, but also to hauntings from a former mistress who killed herself for love of him. In addition, he suffers from halitosis; and strange, terrible dreams in which he features as his own namesake, the archangel.
These dreams form a phantasmagoric narrative within the novel itself, with themes and characters that echo and reflect the rest of the action and inventions such as the city of Jahilia, 'built entirely of sand,' that gives a nod to Calvino and a wink to Frank Herbert; and a girl who subsists on a diet of butterflies such as might have sprung from the pen of Gabriel Garcia Marquez, himself another archangel.
These dreams have a cineramic quality that befits the unconscious of a Bombay superstar, even if their intellectual content seems pitched high for someone as gloriously, irrepressibly vulgar as Gibreel. Indeed, his vulgarity is so irredeemable, so comic, so full of vitality as to seem a kind of grace, and yet his author punished him for it with madness and a brief incarnation as Azreel, the worst of all possible angels.

Salman Rushdie

Seduced at an early age by the imperial promise of those magic syllables, Ellowen Deeowen, he went to great lengths to tailor himself to fit his adopted city, paring down his hilariously unwieldy name to Saladin Chamcha, only to find the slimline version makes him a laughing stock - chamcha means 'toady' - when he returned to his native Bombay.
Like Gibreel, he is an actor but an actor in England; his face 'is the wrong colour for their colour TV' so he has pursued with success a uniquely late twentieth century career, that of delivering the voiceovers for television commercials. This week, he personates a ketchup bottle; next week, a packet of crisps. It is a bizarre way to sing the Lord's song and that return visit to Bombay has revealed his inner emptiness to him, whilst Gibreel, full of himself, is hastening to meet his love when he sits down beside Saladin on that fateful flight.
After they tumble through the air entwined, they find, when once again on terra firma, that one has grown horns and the other a halo.
At first the devil fares worse. Picked up as an illegal immigrant, Saladin joins in a mass escape from a detention centre - a scene of great power and strangeness. He finds his wife in bed with his best friend. And moment by moment he grows hairier, smellier, goatier. He takes refuge in the Shandaar Cafe, an establishment you might find in a Hanif Kurishi filmscript, or on the next corner - home cooking, skinhead whites who spit in the meals of Sikhs, roomsfull of backrent tenants upstairs, outside the mean streets of a marvellously evoked eighties London.
These means streets team with deracinated flowers who are tough as old boots. Mischal, for instance, the nubile daughter of the cafe, with her enthusiasm for the martial arts. And the clients of the Club Hot Wax, with its effigies of Mary Seacole, and Ignatius Sancho, and other, sometimes anonymous black men and women who once lived by the waters of Babylon. In this wilderness of a city, haloed Gibreel pursues a career as a full-fledged archangel that ends in blood and fire and disaster and a veritable massacre of supporting players before the two actors return, seperately, to Bombay, there to finally engage with the complicated dialectic of good and evil that occasioned their transformations in the first place.
The novel, after its rollercoaster ride over a vast landscape of the imagination, ends calmly - for one of the protagonists, at least - in reconciliation and home-coming and a necessary grief.
As to the fate of the other, and which one of the twinned pair of opposites it is who achieves such wholeness in the teeth of the mess and horror of the world, you must read this populous, loquacious, sometimes hilarious, extraordinary contemporary novel to find out.



Sunday, March 12, 2017

Nights at the Circus by Angela Carter / Review


Daring young woman


Review of Nights at the Circus 
by Angela Carter

Robert Nye
Thursday 27 September 1984 16.54 BST



Angela Carter goes from strength to strength. She has made something of a speciality of novels and stories in which rusty Gothic weapons are repolished and then employed to open up some pretty modern wounds, finding new and intelligent uses for fantasy. The Infernal Desire Machines of Dr Hoffman (1972), The Passion of New Eve (1977), and the shorter fairy - tale fictions collected in The Bloody Chamber (1979) were all interesting, amusing, irritating, and impressive in about equal degrees.

Saturday, March 11, 2017

Angela Carter / Voces of the dead / Shosha by Isaac Bashevis Singer

Voices of the dead

Shosha by Isaac Bashevis Singer


By Angela Carter
Wednesday 15 February 1978 13.09 GMT



Isaac Bashevis Singer begins with a disconcerting irony: "I was brought up in three dead languages - Hebrew, Aramaic, Yiddish." This ironic statement functions as an invocation of those dead who spoke, specifically, the Yiddish of Poland. He invites us to a seance to hear their voices; Shosha is a haunting rather than a novel.

Friday, March 10, 2017

What would Mark Twain think of Donald Trump?

Mark Twain
What would Mark Twain think of Donald Trump?


Professor of Chinese and World History, University of California, Irvine

Thanks to the criticisms they’ve leveled in articles, interviews, tweets and letters to the editor, we know that many contemporary authors, from Philip Roth to J.K. Rowling, have a dim view of Donald J. Trump.
But what would leading writers of the past have made of him?

Thursday, March 9, 2017

William Boyd / Why John le Carré is more than a spy novelist

John le Carré
Poster by T.A.

William Boyd: Why John le Carré is more than a spy novelist

What Joseph Conrad started, John le Carré enshrined and made modern. 


25 OCTOBER 2015



In 938 W H Auden wrote a poem entitled “The Novelist”, in which he contrasts the figure of the Poet, “encased in talent like a uniform”, who “can amaze us like a thunderstorm”, with the Novelist who, alternatively, must “struggle out of his boyish gift and learn/How to be plain and awkward . . . among the Just/Be just” and –

Wednesday, March 8, 2017

Who owns your tattoo? Maybe not you



Mike Tyson
Who owns your tattoo? Maybe not you



Professor of Intellectual Property Law, Drake University

More than 20 percent of all Americans have at least one tattoo, and for millennials that number jumps to almost 40 percent. What could be more intimately a part of you than a work of body art permanently inked into your skin? You probably assume that the tattoo on your body belongs to you. But, in actuality, somebody else might own your tattoo. Recent lawsuits and events have shown that tattoo artists and companies can have intellectual property rights in tattoos worn by others, including both copyright and trademark rights.

Tuesday, March 7, 2017

HP Lovecraft / The writer out of time

Howrd Phillips Loveraft

HP Lovecraft: the writer out of time


He had one of the bleakest worldviews ever committed to paper, was racist – and could be a terrible writer. So why is HP Lovecraft more popular than ever?


David Barnett
Monday 3 June 2013 15.25 BST

N
ot only was the work of Howard Phillips Lovecraft uniformly bleak, but what he did write was sometimes execrable. Take this random passage from a 1985 HP Lovecraft omnibus: "But oddly enough, the worthy gentleman owned himself most impalpably disquieted by a mere minor detail. On the huge mahogany table there lay face downward a badly worn copy of Borellus, bearing many cryptical marginalia and interlineations in Curwen's hand."

Friday, March 3, 2017

John Lennon and the Remembered Photograph




John Lennon
and the Remembered Photograph

John Lennon’s death on the 8th of December 1980, 30 years ago to the day, evokes one of the most iconic photographs of American popular culture. On that tragic day, the photographer Annie Leibovitz met Lennon and his wife Yoko Ono at their flat in The Dakota building in New York to shoot a photo for the cover of Rolling Stone magazine. Five hours after the image was taken, Lennon was killed by Mark David Chapman. The subsequent publication of the photograph on the cover of Rolling Stone and in the mass media thus caused a tragic, almost morbid sensation since it was one of the last images ever taken of Lennon.

Thursday, March 2, 2017

When the samurai met the cowboy / Why Japan welcomes Hollywood remakes





When the samurai met the cowboy: why Japan welcomes Hollywood remakes



With Scarlett Johansson’s live-action Ghost in the Shell and a new version of The Magnificent Seven, Hollywood hasn’t stopped looking east for inspiration. But it’s not the Japanese who are getting uptight about cultural plundering


Friday 1 July 2016 09.27 BST

T
he story goes that Akira Kurosawa was none too impressed by The Magnificent Seven, John Sturges’ rip-roaring 1960 reworking of the Japanese director’s 1954 classic Seven Samurai, labelling efforts to relocate the epic to old west-era Mexico, a “disappointment”, albeit an “entertaining” one.

Scarlett Johansson / Ghost in the Shell / Posters


Scarlett Johansson
GHOST IN THE SHELL
Posters



Wednesday, March 1, 2017

Scarlett Johansson / Playboy Interview

Scarlett johansson

Interview




Playboy Interview: Scarlett Johansson Talks Monogamy, Women’s March & ‘Ghost in the Shell’

Photography by Jake Chessum

PLAYBOY INTERVIEW
The opening sequence of Lost in Translation, Sofia Coppola’s 2003 film about two spiritually adrift, jet-lagged Americans finding each other in Tokyo, features a sustained shot of Scarlett Johansson’s behind, swaddled in a pair of nearly translucent pink underwear, as she lies on a bed, gazing at a window with the curtains drawn. Johansson plays Charlotte, a recent college graduate lamenting the trajectory of her life from inside an opulent Japanese hotel; the actress was just 17 when she landed the role. Although she had already been working for almost a decade, her quiet, deliberate performance turned her into one of Hollywood’s most sought-after actresses, and in the 14 years since Lost in Translation was released, she has served as a muse to auteurs including Woody Allen and the Coen brothers and propped up massive commercial franchises such as Captain America and The Avengers. Her creative choices have been vast and varied, a mix of blockbusters and art-house experiments: a computer operating system in Spike Jonze’s Her (a character she gave life to using only that dusky, twilight voice), a 17th century servant to the painter Johannes Vermeer in Girl With a Pearl Earring, the girlfriend of a porn addict in Don Jon.