THE DEEP ONES: "Carmilla" by J. Sheridan Le Fanu

"Carmilla" by J. Sheridan Le Fanu

Discussion begins April 12, 2017.

First serialized in The Dark Blue (December 1871-March 1872)



ONLINE VERSIONS

http://www.gutenberg.org/files/10007/10007-h/10007-h.htm

BIBLIOGRAPHY

http://www.isfdb.org/cgi-bin/title.cgi?96251

SELECTED PRINT VERSIONS

The Vampire Archives: The Most Complete Volume of Vampire Tales Ever Published
In a Glass Darkly
Masterpieces of Terror and the Supernatural
The Penguin Book of Vampire Stories
Wolf's Complete Book of Terror
Writing Vampyr

MISCELLANY

https://en.wikipedia.org/wiki/Carmilla
http://wormwoodiana.blogspot.com/2010/10/lovecraft-on-le-fanu.html
http://www.irishtimes.com/culture/heritage/sheridan-le-fanu-s-haunting-legacy-1....
https://www.theguardian.com/books/booksblog/2014/aug/28/sheridan-le-fanu-two-cen...
https://en.wikipedia.org/wiki/Sheridan_Le_Fanu
http://tinyurl.com/k7re5fn

I'll be reading "Carmilla" from Writing Vampyr, an informative book included with the Criterion DVD release of VAMPYR.

I'll be reading this out of Carmilla: A Vampyre Tale, an annotated edition from Valancourt Books.

I'll be reading from Kaye's omnibus, Masterpieces of Terror and the Supernatural, but curious indeed about the observations gleaned from both the Criterion DVD and the Valancourt annotations.

I'll be reading from In a Glass Darkly.

Some preliminary thoughts (and many not even my own).

Most striking was the odd structure of the ending. As a modern reader, I was expecting some sort of final act with the General and Carmilla and her father dashing back to the castle to slay Carmilla after realizing her awful identity. Or, alternately, Carmilla being pursued after she sees the General.

Instead, we get the penultimate chapter where Carmilla is found in her coffin and staked. No pursuit or final confrontation with an awake vampire.

I read this out of the Valancourt Books edition annotated and introduced by Jamieson Ridenhour. He notes the inconsistencies in Laura's account about how old she was when she first encountered Carmilla and how long it's been after the events that she's narrating her tale.

I'm not sure what to make of that. Bad proofreading by Le Fanu? Some sort of indication that Carmilla's rationality or recall has been affected by Carmilla? A subconscious manifestation that maybe Laura seeks a reunion with the "playful, languid, beautiful girl" and "writhing fiend" that us Carmilla.

I'd often heard about the lesbian themes in the story. They certainly seem fairly obvious and probably about as explicit as Le Fanu could make them at the time. Laura seems aroused by her inchoate desires, "a strange and tumultuous excitement that was pleasurable", and repelled too. She even considers the possibility that Carmilla is a disguised man -- presumably because then such sexual attraction would be normal.

It's interesting that Carmilla seems to have peasant victims she doesn't toy with sometimes kills quickly and the genteel class, like the General's ward and Laura, she fixates on. Ridenhour compares this to Polidori's Lord Ruthven who likes to ruin the best sort of women.

Ridenhour notes that Carmilla fuses three strands of preexisting vampires together: the femme fatale, the Byronic, and folklore.

Ridenhour notes the Eastern European folklore The books in Baron Vordenburg's library are real works. Le Fanu particularly seems familiar with Calmet.

An interesting Ridenhur observation is how Irish culture shows up in Le Fanu.

The "black woman" with a turban, seen just once in the story in the coach, may be the Hekate/hag part of the trinity of women and the goddess -- Mother/Demeter, Lover/Aphrodite, Old Age/Death/Hekate -- but, in a particularly Irish context.

Mrs. Karnstein is a version of the Old Woman of Beare, Mother Ireland. Matska, the black woman, is Ireland as perceived through English eyes and plays off English political cartoons portraying the savage Irish man and woman. In this symbolic reading, Carmilla is "Ireland personified", a figure of attraction/repulsion for the Anglo-Irish and Protestant Le Fanu.

Matska, incidentally, is very much like a figure in Le Fanu's "The Child that Went with the Fairies" (1870). She is the fairy woman who steals a boy and take it with her in her supernatural coach.

Ridenhour also talks about the Irish idea of "blood sacrifice" used by Irish Gaelic poets and the Irish revolutionaries of the failed 1916 uprising. In Irish aisling verse blood sacrifice is necessary for Irish purification and liberation. There is a "vision-woman" in these poems who looks a great deal like Carmilla.

I'm not sure I buy this theory since it doesn't suggest what Laura's place is in this mix of political and horror symbols. Is she supposed to give in to Carmilla? Though I'll note that, if Laura represents Le Fanu's ambivalence about English occupation of Ireland and his relationship to it, Laura is equally ambivalent about Carmilla. Also, Laura is the daughter of an Englishman but her mother was of the local area which may mirror Le Fanu's relationship to Ireland.

Of course, we got the femme fatale here going back to Coleridge's "Christabel" as well as Keats' "Lami" and "La Belle Dame Sans Merci". (And forward, in the early 20th century, a certain type of woman was called a "vamp").

On the vampire lore side, Carmilla walks about in daylight and seems to have a glamorous and hypnotic air about her. Only the visiting "mountebank" notices her teeth are odd.

Re class, while Carmilla may not trouble her head with peasants, Laura herself speaks of the castle servants as nameless and interchangeable - they literally don't count when she enumerates the household (unlike the governesses).

This struck me as since reading this last time, I've​ seen analyses of vampires as symbolic of the "parasitic" upper classes of Central Europe. Doesn't seem an apt reading here where the heroine is of that very class, and apparently perfectly untroubled about it.

(Neither am I sure the aristocrats of the Habsburg empire were particularly more parasitic than any other upper class - both the general and Laura's father (a civil servant?) worked for a living - but I guess literary analysis works with perceptions rather than realities.)

>7 AndreasJ: Carmilla is an affinity predator. She and her mother go to great lengths with the General's ward and Laura to set up these fake scenarios where Carmilla can insinuate herself into a household for an extended period of time. The General notes that, at the party where he meets Carmilla, he's a low ranking aristocrat.

Carmilla's mother gets away with her demands with their secrecy and vague explanations because she's dealing with a lower class that instinctively feel obligated to comply but have some thing the possible peasant prey doesn't.

So, I agree the vampire as aristocrat preying on society as a whole isn't here. In this case, the prey is a very small and select group of people. After all, the mountebank seems to be able to see something is wrong with Carmilla's teeth. Maybe Carmilla and her social status blind her hosts from perceiving her whole feature. Or maybe it's some sort of glamour she has.

I understand that Polidri's The Vampyre started the notion (at least in English) of aristocratic, urbane, well kept vampires as opposed to peasant slob vampires.''

I wonder if we are to take anything from the fact that both houses Carmilla insinuates herself into don't have mothers or wives. Is one of the lessons here that only a woman can perceive the threat one of her daughter's friends poses, can recognize the signs of attraction and dangerous secrecy, that a mother ismost likely to ask about blood and breeding whereas a male aristocrat only looks to gentlemanly hospitality and chivalry and is dangerously naïve to a hidden dimension of women?

>8 RandyStafford:

You'd think the governesses would provide any required feminine insight.

I like this story more every time I read it. There are all these little mysteries that lie within. Many clues are provided, but no real answers. You're on your own. What actually did happen when Laura encountered Carmilla that first time around? Was Carmilla scoping out the neighborhood? Is Laura a tad clairvoyant? The image of Carmilla suddenly disappearing under Laura's bed is uncanny and in my imagination rivals Dracula's wall-walk.

This time around I particularly enjoyed Carmilla's hissy fits when the hunchback (thanks, Le Fanu!) offers to file her fangs down and when the funeral procession marches by. So much for her "languid" quality at those points!

Carmilla's clan seems to have really perfected their elaborate vampiric cuckoo-scheme. I'm certain it's sport to them.

>10 semdetenebre: I like this story more every time I read it. Me too, I think. At the very least the story stands up to re-reading (this is the fourth time I've read it, I think).

Talking of unsolved mysteries, there's a final one provided by the prologue added to the story for it's publication in this book. It reveals that Laura has now died - leaving the reader to wonder (after reading the story proper) whether this early death was as a result of her experiences, and is she now a vampire, or even, did Carmilla somehow come back for her, or she somehow go to Carmilla?

I recently saw Carmilla and her clan described as being engaged in a "long con" with the households containing suitable victims, and it alerted me, on this re-reading, to those passages where Carmilla has to come up with explanations of her behaviour to keep the deception going. This is probably something that Le Fanu does more of in his gothic/suspense novels (although to date I've only read Uncle Silas).

>6 RandyStafford: I'm also of the opinion that Le Fanu used the reports by Calmet as a basis for his tale, but fleshed out his vampire(s) (or vampire and other unearthly beings) with borrowings from Irish folklore (Robert Tracy's introduction to the Oxford University Press edition of In a Glass Darkly goes to some length to detail the elements of the Irish banshee or ban sí that Le Fanu combined with the Central European vampire mythology (on the Sí he says "they crave human beings especially children, but also young men and women, luring them away to live a kind of half-life under the earth. In some way they live on - or through - those captives, as vampires live on blood. The sí themselves are not easily classified as living or dead. Like vampires, they are undead and hungry. Yeats calls them 'the unappeasable host'). A third element is possibly the scientist, philosopher, theologian, revelator and mystic (for so he is billed in his Wikipedia entry) Emanuel Swedenborg, whose ideas of the afterlife and the spirit world.

Robert Tracy explains that Le Fanu "turned to Swedenborg's writings, which are reassuring about death by describing it as merely a change, to some extent a continuation of ordinary life" after the death of his wife. It's the ghost or spirit of Laura's dead mother that gives a warning and forestall's Carmilla's final attack.

Colonialism may be more pertinent than class in this story, and in Le Fanu's work more generally. Robert Tracy again: "{The family's} insistent Englishness, their social isolation, strongly suggest the lives of many Anglo-Irish landowners in the eighteenth and nineteenth centuries. The abandoned village suggests Ireland after the Great Famine of 1845-9. The people have been removed by what Laura's father calls the 'infection' of superstition, their fear of vampires - a recollection of the fever that accompanied the famine. Many have chosen exile." Le Fanu was dissuaded from setting his later fiction in Ireland by the publisher Richard Bentley who insisted on stories "of an English subject and in modern times". Even before this correspondence came to light, Elizabeth Bowen had perceived that Uncle Silas despite ostensibly being set in Yorkshire, is an Irish novel "the hermetic solitude and the autocracy of the great country house, the demonic power of the family myth, fatalism, feudalism and the "ascendancy" outlook are accepted facts of life for the race of hybrids from which Le Fanu sprang."

Turning back to Robert Tracy's notes on the ban sí/banshee, he notes that "in comparatively late tradition" it becomes "a highly respectable appanage of certain old families, a wailing spirit who foretells or announces and laments the deaths of family members". The older more sinister aspects of the sí combined with this attachments to particular families, provides a parallel to the way the Central European vampire particularly targets those it loved in life, especially family.

Finally, Tracy suggests that the edition of Calmet that Le Fanu would have read, was an edition translated by Henry Christmas as The Phantom World, brought out by his own publisher, Richard Bentley, in 1850.

First reading for me, and I find it far from a perfect story but overall impressive. There's certainly a lot of interesting lore about vampires, but the pacing is odd. At first I wasn't sure of the con, wondering if Carmilla was aware of her mother's "plan" or just took advantage of where she found herself. This was interesting in terms of tension and keeping me guessing in what was otherwise obviously a vampire to the reader. But I kept wondering if there would be a final confrontation between Laura and Carmilla -- why else drag this out? The closest we come is Laura's dawning realisation in the coach and on the Karnstein grounds, listening to the General's story. While it was perhaps a climax for her, it wasn't particularly strong for the reader. The odd ending noted in >6 RandyStafford: only emphasises that.

My version (in Kaye's anthology, Masterpieces of Terror and the Supernatural) apparently doesn't have the prologue: but maybe I just don't recall, this was a long read! I"ll check on that later.

Thanks for the notes above on the "literary history" of the vampire, I was curious while reading as to which elements Le Fanu invented or was responsible for introducing to English literature, and which were already tropes or types he played with in the story.

Another observation came by happenstance in reading this article on the "vogue" of pale countenances among Victorian elites. "How a generation of consumptives defined 19th-century Romanticism."

>12 elenchus: I wonder if Bram Stoker read this one and said, "Well, that's not how my vampire story is going to end! I'm going to supply the missing parts."

"... perhaps a climax for her" is an interesting observation, the idea that the emotionally climactic point in a story for a narrator may not be the same for a reader or leaves the reader wanting. We expect the two usually to be combined, the usual intent of the plotting where as Le Fanu's story may be more emotionally realistic but maybe less satisfying for the reader.

"Bringing you into THE MIDNIGHT ZONE!"

https://www.youtube.com/watch?v=jhQWVOuONQs

I was just reading the second part of a loooong overview of "Carmilla" in film and I learned that the 2002 novel The Moth Diaries by Rachel Klein is essentially a meditation on Le Fanu's story. Has anyone here ever read it? It sounds intriguing. According to the author of the article, the 2011 movie adaptation is a miserable failure that betrays many of the core tenets of the book.

Interesting find. I'm familiar with the title of Klein's book but never looked closely.