I was glancing over CampBlood (check out the link to the right) and they ran a contest for a new symbol for gay horror fans. There used to be one, of a rainbow flag with the red stripe bleeding all over the rest of it, that I found rather alarming. The first time I saw it, I wasn't sure if it was meant to be gay-positive or gay-bashing. But then this new image won the vote...and I kinda like it.
Not much of a slasher fan, but I do like the fact that it's a more empowered symbol than the bleeding flag.
They talk a lot about TRUE BLOOD over there, and while I haven't watched it, I may have to start, now that I know it has actors like Joe Manganiello on it...
Wednesday, June 30, 2010
An odd title, and a sometimes lurid story, belie a backstage controversy with this novel. Written in 1839 as Maria Schweidler: Die Bernsteinhexe, it was translated into English in 1844 and was an immediate sensation, largely because it was being passed off as a genuine account of a witchcraft trial!
Meinhold, a Lutheran clergyman, claimed to have discovered a forgotten manuscript by Abraham Schweidler, a pastor in the German town of Koserow, on the Pomeranian coast of Baltic Sea near the Polish border, during the Thirty Years' War (1618-1648). He even provided space for "missing" pages at the beginning and end that don't interfere with the story.
Koserow is overrun with troops and THE AMBER WITCH starts off as a tale of wartime survival, as enemy soldiers destroy houses and ruin crops. There's one run of bad luck after another, and when things finally settle down again, there's problems with suspected witchcraft and possible supernatural activity, including the lurid "Gallows Ghost" episode:
(THE AMBER WITCH was a great favorite of the Pre-Raphaelites, and this is one of a set of illustrations by Philip Burne-Jones.)
It's amusing for this to turn out to be totally mundane, a case of highway brigands using peasant superstitions against them, and the culprit identified as mortal when his foot flattens a horse turd while he's chasing a wagon.
Anyway, Pastor Schweidler and his impossibly virtuous and pious daughter Maria happen on unexpected wealth when they chance upon a rich vein of amber in the hills near town. They take it into the nearest city to sell, and buy good clothes for themselves and food for the poor townspeople. However, this attracts the attention of the local sheriff, whose attentions Maria spurns, and a bitter, jealous old woman of the town.
Soon, bizarre things begin to happen. Animals die, crops fail, and a pregnant woman gives birth to a winged imp (offstage, and never presented as anything other than a rumor). And Maria is accused of consorting with specters in the hills.
The resulting trial, and the revelations that come after, are the real thrust of the story.
It's a bit hard to read; Meinhold took great care to duplicate the phrasing and style of someone of the period, (effectively translated by Lucy, Lady Duff Gordon) which can make for turgid reading at times. And Pastor Schweidler is not always very likable; while well-intended, he's also judgmental and snobbish. When a noble dismisses the notion of witchcraft as superstition, the Pastor immediately dubs him an "atheist." And he's something of a hypocrite; while they do provide food for the poor with their gains from amber, they keep most of the money for themselves and keep the location of the vein secret.
But it's the witchcraft you read this for, and it's sometimes a bit of an adventure to figure out if it's really happening or just superstitious interpretations of natural phenomena.
THE AMBER WITCH was a hit in its time and it wasn't until Meinhold was quizzed about it by King Frederick William IV of Prussia that he admitted it was a hoax. Until then, the novel was taken seriously by historians and was being dramatized for stage, and even made into an opera by composer William Vincent Wallace and librettist Henry Fothergill Chorley. Meinhold's popularity crashed in Germany after he admitted the hoax and his second significant novel, SIDONIA VON BORK, was ignored in his native country (but published in a deluxe edition by William Morris' Kelmscott Press). Meinhold passed away in 1851 in Berlin.
This is one of the books in E. F. Bleiler's collection FIVE VICTORIAN GHOST NOVELS, although it's not really a ghost novel....
Thursday, June 10, 2010
A law firm's difficult client has a difficult problem: a house that she hopes to have an income from is increasingly a problem. Tenants keep leaving, and eventually there's a lawsuit over whether the house is haunted. Finally, one of the law firm's clerks undertakes to live in the house and uncover its secrets...
I'm reading this as part of a collection of Victorian ghost novels, and it's quite enjoyable. It's got some of the failings of Victorian popular lit, in that it's occasionally flowery and quite sentimental. However...it's notable in one significant aspect. While many Victorian novels have characters who are either independently wealthy or seem to live on air, Riddell's characters have well-established economic lives. There's law clerks, real-estate developers, and pensioners, and many struggle to simply get by. Everyone is solidly middle-class; there's no dukes or earls.
The hauntings in this are eerie enough, and Riddell's concepts of the supernatural are fairly restrained. The ghosts are here for a reason, and once that reason is met, they move on. No Lovecraftian cosmic horror here, or that nasty randomness of Wakefield's later work.
And some of the book's goings-on parallel Mrs. Riddell's life. Charlotte Riddell (1832-1906) was an enormously prolific author, and while popular in her time she was never rich and died in near-poverty. Much of her writing was done to pay the debts incurred by her financially irresponsible and feckless husband...and that's something that characters in THE UNINHABITED HOUSE face. One character is left in poverty when his father dies after losing the family savings in an ill-judged investment, and the house of the title is haunted by the specter of a man who supposedly committed suicide when faced with financial ruin.
Alas, Mrs. Riddell is largely forgotten today, except for the occasional story in anthologies. About a third of her work was in the supernatural vein, including the novels FAIRY WATER, THE HAUNTED RIVER, THE DISAPPEARANCE OF MR. JEREMIAH REDWORTH, and THE NUN'S CURSE, in addition to a slew of short stories. The rest was of the Victorian "social novel" genre. As I said, she's largely forgotten, but her work is still readable.
I'll be reading more Victorian ghost novels as I work my way through the collection...