Dale Townshend and MMU Gothic Festival

Two great news items from the Manchester Centre for Gothic Studies at Manchester Metropolitan University.

First, the brilliant Dale Townshend, who has moved from Stirling to become Professor at MMU, will be giving his inaugural lecture, From ‘Castles in the Air’ to the ‘Topographical Gothic’: Architecture, History, Romance, 1760–1840 on 20 October, 2016.

Then, there is the annual Gothic Manchester Festival in October, with some very exciting events including a symposium on The Gothic North, film screenings, a guided walks, and a Gothic pub quiz.

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Curtis Runstedler, ‘Alchemy, the Philosopher’s Stone, and the Holy Grail’

Durham University’s Department of English Studies will proudly host the annual Late Summer Lectures Series, which features postgraduate researchers presenting their topics of interest to non-specialised audiences in Durham. This year’s series features topics ranging from post-apocalyptic worlds to alchemy and the Holy Grail to Gothic theology in Frankenstein.

Lecture 7 (28 September): ‘Alchemy, the Philosopher’s Stone, and the Holy Grail’

Curtis Runstedler, Durham University

The Philosopher’s Stone and the Holy Grail are both legendary yet elusive objects in late medieval literature. This lecture examines the nature of their roles in three medieval texts, including Chaucer’s The Canon’s Yeoman’s Tale, John Lydgate’s The Churl and the Bird, and Thomas Malory’s Morte Darthur. While the Stone and the Grail share affinities as metaphors in terms of their power and potential, they are not the same. There are, however, clear parallels between them. In these examples, I will examine their similar metaphorical function, addressing human fallibility, moral blindness, and the desire to attain the impossible.

This lecture takes an interdisciplinary approach, using film to explore these key themes, namely Harry Potter and the Philosopher’s Stone (2001), in which the Stone is not only a force of creation but also one of destruction, and Indiana Jones and the Last Crusade (1989), where the power of the Holy Grail can be either everlasting or corruptive. This duality is further explored in The Dark Crystal, where the Skeksis exist as a decaying, corrupt race as opposed to the enlightened and benevolent Gelflings. In further consideration of Malory’s Grail quest, I will also examine Monty Python and the Holy Grail (1976), which parodies the failure to attain the Grail, and its implication for Arthur and his knights.

This lecture reassesses the role of the Philosopher’s Stone and the Holy Grail in medieval literature as well as its depictions in contemporary film. Moreover, it reconsiders the relationship between the occult, literature, and film. In examining the relationship between medieval and contemporary ideals, it encourages us to think about our own ideals, imperfections, and quests for the impossible.

Full list here and details here:

https://latesummerlectures.wordpress.com/2016/07/27/2016-late-summer-lectures/

The lectures will take place every Wednesday from 17 August – 5 October in Alington House, Durham from 5:30 pm. All are welcome.

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Mermaids and Goth music

We at OGOM love mermaids, selkies, and other suchlike fantastic creatures from the ocean’s depths. And I love musicals. So this is one film I’d certainly go and see–click below for the review:

Review: ‘The Lure’ Is The Best Goth Musical About Man-Eating Mermaids Ever Made

 

Imagine if Gaspar Noé and (the late) Andrzej Zulawski collaborated on a remake of “The Little Mermaid” and you’ll have a faint idea of what to expect from Agnieszka Smoczynska’s “The Lure,” a wonderfully demented new musical that bridges the gap between Hans Christian Andersen and Nine Inch Nails.

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Folk Horror Revival

Folk Horror is a category of Gothic which seems to be getting a lot of attention these days. There’s an exciting new web site, Folk Horror Revival, devoted to the topic, paying particular attention to the musical aspects of this genre, with a playlist. I’ve added this to the Related Links.

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The Wolf: BBC Radio 4 Natural Histories Programme

Brett Westwood meets a wolf and considers the role of the wolf in our culture in this BBC Radio 4 Natural Histories programme which also features OGOM Company of Wolves plenary Garry Marvin and the UK Wolf Trust which we visited at the conference. OGOM contributed a great many ideas to this programme but unfortunately I was unable to make the rehearsals in Bristol due to a combination of illness and marking which is a very great shame indeed. I see it as a continuation of the great work we did at OGOM CoW however and Garry is contributing a chapter to the forthcoming Company of Wolves book.  This brings back a lot of memories of our wonderful event. I hope you enjoy it. You can revisit the first BBC story on Company of Wolves here

OGOM Events

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Angela Carter and Christopher Frayling

Some more resources on the ever-fascinating Angela Carter here. There’s a (not entirely enthusiastic) review by Kate Webb in the TLS of Sir Christopher Frayling’s recent collection of essays, Inside the Bloody Chamber: On Angela Carter, the Gothic, and Other Weird Tales, and of Carter’s book of poems, Unicorn: The Poetry of Angela Carter. Christopher Frayling has been a very generous collaborator with OGOM in the past.

Then there’s a radio programme by Charlotte Crofts, Writing in Three Dimensions: Angela Carter’s Love Affair with Radio which discusses Carter’s radio plays such as Vampirella.

And, finally, a short clip of Angela Carter herself talking to Lisa Appignanesi.

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‘Some Curious Disquiet’: Troubled Teens Turn Vampire in St Albans @AbbeyTheatreStA

vampire play image

I was at the Abbey Theatre in St Albans last week with a friend to see a play entitled  ‘A Vampire Story’ written by Moira Buffini and directed by Phillip Reardon.  Buffini has collaborated with Damon Albarn and this play was adapted as a screen play for Neil Jordan’s Byzantium in 2013.

The rights to the play belong to Samuel French Ltd, a company I remember well from my bookselling days at Gower Street and beyond. The theatre is a short walk through the park from my house so it was easy to attend and the subject matter is very appropriate to the Open Graves, Open Minds project. The fact that the play was going to be acted by teens made me even more keen to see it as it seemed pertinent to the level 6 module I have developed at the University of Hertfordshire (Generation Dead: Young Adult fiction and the Gothic  and I liked the theme of vampirism and adolescence. The production was in the studio adjacent to the main theatre and we were pleased to see there was a full house and a very mixed audience.

The play begins with a memoir being read in a nineteenth-century setting then flips to a train journey in which two young women are travelling to a new town. The youngest, a disenchanted teen, will enrol in drama class in an attempt to assimilate and detract attention from her true identity. We learn that the older girl Claire (Tasha O’Donnell), has rescued the younger girl Ella (Grace Carson), from an orphanage, casting her in a maternal role, though in reality they are more like sisters, close in age.

At the drama workshop in the next scene Ella undergoes a truth exercise and alienates her classmates by self-identifying as a vampire, and that is not all, she has ‘false’ memories of a life of abuse in a nineteenth-century workhouse. From this point onwards she is ‘the other’ but she finds solace in another outsider, a troubled young man named Frank (Frank N. Stine, in fact, pun intended). Frank is the victim of controlling and overbearing parents and the traits of these damaged adolescents begin to sound a lot like vampirism. Ella‘s refusal to eat at Frank’s birthday supper leaves her open to speculations of anorexia, rather than vampirism, but there is enough ambiguity to keep the audience guessing. Frank struggles to find a voice that others can understand, though he is something of a young philosopher. We might see his struggle as a metaphor for the autism spectrum, a different way of engaging with the world. The two ‘geeks’ form a bond but the popular kids seek revenge on them for ‘weirding out’ the drama class and there is the suggestion of hate crime and bullying.

At this point we return to the orphanage where a young girl is made a physical resource by a visiting Lord and the past intrudes on the present in true gothic fashion.  The abuser Lord Ruthven seeks revenge on the girl because her mother has betrayed his dark secret. The name of Ruthven will signify to vampire fans of any age that the play is now in an intertextual relationship with Byron’s vampire fragment (published by Polidori as ‘The Vampyre’ in 1819). Lord Ruthven is the archetype of the Romantic Byronic vampire, something of a lady killer. As the teens plan their escape in the present we are back in the orphanage/asylum in the nineteenth century where the girl recounts her history in the presence of a doctor. Such tropes suggest this may have been an elaborate charade or a crazy day dream but there is something darker at the play’s heart and we all ‘fall victim to some curious disquiet’ in homage to the original vampire story.

This is a thoughtful and well-acted production, one written in a contemporary gothic mode. There is sympathy for the ‘monster’ and the freaks and geeks are no longer pushed to the margins in fact they become the main protagonists (Catherine Spooner would approve). Auerbach famously says that ‘each age embraces the vampire it needs’ and the twenty-first century sees those who are marginalised as metaphorical vampires, their otherness at odds with the society in which they find themselves. Like Ella they perpetually re-enact the role of the repressed, caught up in an eternal return.

The teenage actors understand this and they excel in telling their story, particularly Joe Wackett playing Frank, and the boy who is the drunken Lord (and doubles as a mouthy teen), Eloise Wathen. If anything this shows that exciting things can happen on your doorstep and you don’t have to pay a fortune to see good drama. We certainly had lots to talk about on the way home.

Thanks to everyone involved at the Abbey Theatre..and now where’s my Byron and Polidori..time for a re-read…I’ll be checking out Byzantium on DVD too.

 

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Andrew Smith, ed., The Cambridge Companion to Frankenstein

Andrew Smith of the University of Sheffield has edited this exciting new collection of essays on Frankenstein in the always-useful Cambridge Companions series–out in September 2016. It approaches the classic Gothic novel from a variety of perspectives and considers adaptations in different media.

The Cambridge Companion to Frankenstein consists of sixteen original essays on Mary Shelley’s novel by leading scholars, providing an invaluable introduction to Frankenstein and its various critical contexts. Theoretically informed but accessibly written, this volume relates Frankenstein to various social, literary, scientific and historical contexts, and outlines how critical theories such as ecocriticism, posthumanism, and queer theory generate new and important discussion in illuminating ways. The volume also explores the cultural afterlife of the novel including its adaptations in various media such as drama, film, television, graphic novels, and literature aimed at children and young adults. Written by an international team of leading experts, the essays provide new insights into the novel and the various critical approaches which can be applied to it. The volume is an essential guide to students and academics who are interested in Frankenstein and who wish to know more about its complex literary history.

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Fairy Tale Art

A lovely site, Art Passions Fairy Tales, full of fairy tale art and children’s books illustration, featuring all the classic artists such as Arthur Rackham, William Morris, Kay Nielsen, Edmund Dulac, Gustave Doré, and many more, with full versions of famous tales. I’m adding this to the Related Links in the sidebar.

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How Old Are Vampires Really? Body of 500 Year Old Vampire Inspires New Debate

The body of a five hundred year old ‘vampire’ will go on display in an ancient cemetery in the town of Kamien Pomorski this month. The vampire corpse was discovered two years ago in Northern Poland and is currently being debated again in the British Press. Archaeologists have confirmed that it has a stake through its leg (presumably to prevent it from leaving its coffin) and a rock in its mouth (to stop any unfinished blood sucking).

PAY-Vampire-Skeleton

The discovery of this vampire corpse interests me on a number of accounts. One of the first questions I ask my ‘Reading the Vampire’  MA students when embarking on our journey into literary vampirism is how old are vampires really? Do they have a country of origin? When was the first literary vampire? When did the word ‘vampire’ first enter the English language? Also how does one become a vampire according to early folk belief?

In the earliest accounts vampires are revenants or returners, often taking the form of a diseased family member who reappears in the unfortunate guise of a vampire. ‘Unfinished business’, even something so trivial as the want of clothing or shoes, is enough to make the dead return to the world of the living. Agnes Murgoci (1926) argues that the journey from death to the afterlife is a perilous one and there is a belief in Romania that it takes forty days for the soul of the deceased to enter paradise. In some cases it may even linger for years, the thought of which creates great anxiety within families and during this time there are a myriad of ways that deceased family members can succumb to vampirism. A number of which are listed by Petrovici in his study of the Romanian folkloric vampire (1982).  Dying unmarried, dying unforgiven by one’s parents, dying a suicide, a murder victim, having a breeze blow across a corpse before burial, having a dog or cat walk under or over a corpse before burial, leaving a mirror facing into a room, not turned to the wall at this precarious time, or even simply being a bad person. Any of these factors can lead to a person returning as a vampire.

The precautions taken in the recently discovered vampire burial in Poland do cohere with practices that I know about, such as piercing the corpse, nailing down the tongue, putting a needle in the heart and placing small stones and incense in the mouth and under the finger nails to stop blood sucking and clawing. This vampire corpse dates back to the 1500s and it might go some way towards answering the question how old are vampires really? I have always wondered if vampires are ‘as old as the world’, as Frayling has claimed or whether they are born in the eighteenth century when the first European accounts by Dom Augustine Calmet and Joseph Pitton de Tournefort appear. Calmet’s Treatise on the Vampires of Hungary and Surrounding regions was published in French in 1746 and in London in 1759, eventually appearing as The Phantom World in 1850. Tournefort’s Voyage to Levant  dates back to 1702. This text always excites my imagination as it combines my three research strands, botany, vampirism and eighteenth-century literature in ways I had never imagined (apart from maybe in the work of Rousseau).  In Myconos a botanising man of science comes face to face with a plague of bloodsucking vampires. Greece, and Hungary feature prominently in early accounts and this is mirrored in Romantic literature when Byron makes Greece the setting of his unfinished vampire story A Fragment published in 1819.

The British Vampirologist Montague Summers (1880-1948) referred to vampires as ‘citizens on the world’, a phrase taken from Goldsmith. They exist for him outside of temporal or geographical boundaries, but many recent accounts such as Erik Butler’s (2010), contradict this, locating the vampire in Eastern Europe in the eighteenth century. We do know that 1732 was the vampire’s annus mirabilis. There were twelve books and four dissertations on the subject published over that year, as well as the term’s enshrinement in the English language (though this date again is disputed).  Fifteen years after Tournefort the London Journal reported some enquiries into ‘vampires’ at Madreyga in Hungary (a story later referred to by John Polidori) and thus was recorded the first use of the word in English (according to Roger Luckhurst). The earliest known reference to ‘vampyres’ in English prior to this was thought to be in Travels of Three English Gentleman in 1734 (rpr. 1745) [OED claim]. It is worth noting that Tournefort uses ‘vroucolacas’ (re-animated corpse) but the term ‘vampire’ does appear in English translations of Calmet.  The number of different words for ‘vampire’ can be frustrating for scholars but it provides rich source material for writers. Here are just a few of them:

Krvoijac, vukodlak, wilkolak, varcolac, vurvolak, liderc nadaly, liougat, kullkutha, moroii, strigoi, murony, streghoi, vrykolakoi, upir, dschuma, velku, dlaka, nachzehrer, zaloznye, nosferatu

The history of the vampire is a disputed and uncertain one but the recently authenticated vampire corpse in Poland provides evidence for vampire beliefs and burials as early as the sixteenth century. In providing the links to real life practices of deviant burials archaeology is making a vital contribution to the future of gothic studies. There is little appeal or attraction for these early revenant figures and unlike the English aristocratic vampire (Frayling’s ‘Satanic Lord’) early folkloric vampires are peasants and tend to appear en mass like modern day zombies. Paul Barber describes the folkloric European vampire as

A plump Slavic fellow with long fingernails and a stubbly beard, his mouth and left eye open, his face ruddy and swollen. He would wear informal attire – a linen shroud – and would look for all the world like a dishevelled peasant (Vampires, Burials and Death, 1988)

At this moment in history the troubling sexuality of the nineteenth-century vampire is as yet unexplored.  The story of how the seductive Romantic Byronic vampire comes to leave his calling card in polite society in London in the nineteenth century is beyond intriguing and I just can’t wait to get started on the history of the literary vampire with my new students. If you are beginning the course in the autumn do comment or add any thoughts.

If you’d like to know how vampires transition from dishevelled peasants into alluring aristocrats and how they are then reborn as today’s beautiful undead why not study vampires as part of your MA? There is still time to apply for the MA Modern Literary Cultures online at www.go.herts.ac.uk/maliterature. You can register your interest via the MA Programme Leader Dr Anna Tripp at a.f.tripp@herts.ac.uk. You need to do this by the end of July or beginning of August at the latest and remember don’t leave home without your garlic!

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