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The English novelist Angela Carter is best known for her 1979 book "The Bloody Chamber," which is a kind of updating of the classic European fairy tales. This does not mean that Carter's Little Red Riding Hood chews gum or rides a motorcycle but that the strange things in those tales-the werewolves and snow maidens, the cobwebbed caves and liquefying mirrors-are made to live again by means of a prose informed by psychoanalysis and cinema and Symbolist poetry. In Carter's version of "Beauty and the Beast," retitled "The Tiger's Bride," the beast doesn't change into a beauty. The beauty is changed into a beast, a beautiful one, by means of one of the more memorable sex acts in twentieth-century fiction. At the end of the tale, the heroine is ushered, naked, into the beast's chamber. He paces back and forth:

I squatted on the wet straw and stretched out my hand. I was now within the field of force of his golden eyes. He growled at the back of his throat, lowered his head, sank on to his forepaws, snarled, showed me his red gullet, his yellow teeth. I never moved. He snuffed the air, as if to smell my fear; he could not.

Slowly, slowly he began to drag his heavy, gleaming weight across the floor towards me.

A tremendous throbbing, as of the engine that makes the earth turn, filled the little room; he had begun to purr. . . .

He dragged himself closer and closer to me, until I felt the harsh velvet of his head against my hand, then a tongue, abrasive as sandpaper. "He will lick the skin off me!"

And each stroke of his tongue ripped off skin after successive skin, all the skins of a life in the world, and left behind a nascent patina of shiny hairs. My earrings turned back to water and trickled down my shoulders; I shrugged the drops off my beautiful fur.

Imagine that: a great, warm, wet, abrasive tongue licking off skin after skin, down to the bottommost one, which starts to sprout shiny little animal hairs.

Because Carter took on fairy tales, she was sometimes pigeonholed as a "white witch," the sort of person who reads Tarot cards and believes that the earth speaks to her. It didn't help that she favored an outré look, with long, flowing skirts and, in her late years, a great, disorderly mane of white hair. (Andrew Motion said she looked like "someone who'd been left out in a hurricane.") So it's good to see that "The Invention of Angela Carter" (Oxford), by Edmund Gordon, a lecturer in English at King's College London, is a notably levelheaded book. The first thorough account of Carter's life, it is an authorized biography-Gordon had the coöperation of Carter's intimates, and access to her letters and diaries. It shows the faults endemic to that genre: too much detail, together with a suspicious vagueness about family members who are still alive. But it reclaims Carter from the fairy kingdom and places her within what sounds like a real life. Unsurprisingly, we find out that the white witch cared about her reviews and sales.

Carter was born in 1940 and grew up in a quiet, middle-class suburb of London, the second child of a straitlaced mother, Olive-she turned off the TV if a divorced actor came on the screen-and a father, Hugh, who was the night editor of London's Press Association. Both parents spoiled Angela outrageously. She was crammed with treats, bombarded with kittens and storybooks. Her mother never put her to bed until after midnight, when Hugh got back from work-she wanted her company-and, even then, often let her stay up. Hugh brought home long rolls of white paper from the office for her, and as her parents chatted she wrote stories in crayon.

She grew to be a tall, pudgy child, with a stammer. Between those disadvantages and extreme shyness, which she covered with an aloof and frosty manner, she had few friends. Olive redoubled her attentions. Angela was not allowed to dress herself, or to go to the bathroom alone. Finally, she rebelled, went on a diet, and changed from a fat, obliging girl to a skinny, rude girl. She slouched around in short skirts and fishnet stockings, smoking and saying offensive things to her mother.

She was a good student, though, in a good school. The 1944 Butler Act, riding the same democratic wave as the American G.I. Bill, provided grants for gifted children from regular backgrounds to go to élite private schools. Carter, as an adult, had a theory that this created Britain's first real intelligentsia, a group of people who had no interest in using education to maintain the class system but who simply wanted to operate in a world of ideas. If so, she was one of them. Her teachers urged her to apply to Oxford. Olive, hearing this, pronounced it an excellent idea, and said that she and Hugh would take an apartment there, to be close to her. Angela thereupon dropped all thought of going to university. Marriage, she realized, would be the only way to escape her parents.

Through her father's connections, she got a job as a reporter. She started writing record reviews and liner notes and getting involved in London's music scene. In an independent record store, she met a serious-minded young man, Paul Carter, an industrial chemist who moonlighted as a producer and seller of English folk-song records. Gordon thinks that Paul was the first man to take a romantic interest in Angela. Or, as Angela put it, "I finally bumped into somebody who would . . . have sexual intercourse with me." But Paul insisted that they get engaged first, and so Angela found herself, at twenty, a married woman.

They seem to have been happy at the beginning. Paul taught Angela to love English folk music, thereby giving her a great gift. The folk iconography, in time, offered her an escape hatch from the rather gray realism dominant in British fiction of the period. Folklore also presented her with a set of emotions that, while releasing her, eventually, from sixties truculence, nevertheless felt true, not genteel.

But soon the marriage was failing. Paul suffered engulfing depressions. Sometimes he and Angela barely spoke for days. She felt swollen with unexpressed emotion. "I want to touch him all the time, with my hands & my mouth," she wrote in her diary. "(Poor luv, it annoys him.)" The note of sarcasm here is interesting. Through some miracle, Angela, who had little sexual self-confidence-she once described herself as "a great, lumpy, butch cow . . . titless and broadbeamed"-did not allow Paul's withdrawal to demoralize her. She wanted to save herself. On her twenty-second birthday, her Uncle Cecil, knowing that she was unhappy, invited her to lunch at an Italian restaurant and told her to apply to university. As she recalled, he said to her, "If you've got a degree you can always get a job. You can leave your husband any time you want."

She took his advice. The couple had recently moved to Bristol for Paul's work, and she enrolled in the university there, studying English. Gordon, who is always good at contextualizing, says that Bristol's English department was not ideal for her; it was dominated by the principles of F. R. Leavis, who was intent on rescuing English fiction's "great tradition" from the showy, the sentimental, and the bizarre. Carter, who called this the "eat up your broccoli" school of criticism, managed to hide out in medieval studies, which she loved. She also encountered Freud, gaining, she thought, a scientific support for the world of shock, dream, and eros that she now saw as the realm of art. A little later, she discovered the Surrealists, and learned from them that the goal of art was not truth (as the Leavisites would have it) but the marvellous-indeed, that the marvellous was the truth.All of this fed into her developing feminism. She became an ardent feminist, but not an orthodox one. Her concern was not with justice; she hated the idea of put-upon, suffering women, and implied that they had it coming, by being such weaklings. She wanted women to seize what they needed-power, freedom, sex-and she saw no fundamental difference between the sexes that could prevent that. As she wrote to a friend, Carole Roffe:

Somebody asked me who my favorite women writers were the other day, meaning, I guess, some kind of writers who expressed a specifically feminine sensibility-I said Emily Bronte, who's pure butch, and cursed myself afterwards because the greatest feminine writer who's ever lived is Dostoevsky, followed closely by Herman Melville, who has just the kind of relish of beautiful boys that emancipated ladies such as yourself express. And D. H. Lawrence is infinitely more feminine than Jane Austen, if one is talking about these qualities of sensitivity, vulnerability and perception traditionally ascribed by male critics to female novelists. . . . D. H. Lawrence's tragedy is that he thought he was a man.

I don't know what she means about Dostoyevsky, but her general statement should sound familiar in our day of loose gender definitions.

Energized by her discoveries, she became a bustling presence in her department and the co-editor of its literary magazine. Gordon has gone through the stapled-together pages of this publication, and reports that the best items were pseudonymous poems by Carter. He quotes one called "Unicorn." In the Middle Ages, there was a belief that the only way to catch a unicorn was to send a virgin, alone, into the woods. The unicorn, spying the girl, would come and lay his head in her lap. Such a virgin is the speaker in Carter's poem, but she is not a tender little thing. She is naked, with breasts "like carrier bags" and "curious plantations of pubic hair." The unicorn is drawn to her by "the fragrance of her moist / garden plot." He will be sorry. "I have sharp teeth inside my mouth," she says. "Inside my dark red lips."

At the same time, Carter was producing the first novels that she would be willing to publish. She wrote at a furious speed, turning out narratives of violence that were sometimes layered with comedy, sometimes not. In "Shadow Dance" (1966), her first novel, a man named Honeybuzzard carves up the face of an annoyingly virtuous girl, Ghislaine. (After she gets out of the hospital, he finishes the job, strangling her and leaving her naked corpse in an attic.) A year after that came "The Magic Toyshop," in which the orphaned heroine is sent to live with her uncle, a sadistic puppeteer. In one scene, he forces her to play Leda to a mechanical swan. Her next two efforts were in a similar vein. There are excellent things in all these books, but there is also a strong suggestion that Carter is still trying to drive her mother crazy. Even when the material is not shocking, the treatment is often self-indulgent. An editor once forwarded to her a reader's report describing a novel of hers as "a queer little book." Carter, always lovably forthright, replied that the person who wrote that "put her finger on my weakest spot, which is a tendency to a batty kind of whimsicality." She said she was sure she would work out some satisfactory solution.

She did. In 1969, Carter received a Somerset Maugham Award, worth five hundred pounds, to be used for foreign travel. She decided that she would grant herself an old wish, to go to Japan. She arrived in September of that year, without Paul.

"I arrived by air, in the dark," she wrote, two years later. "When night descended over the ocean, many unfamiliar stars sprang out in the sky; as we approached land, there began to blossom below me such an irregular confusion of small lights it was difficult to be certain if the starry sky lay above or below me. So the aeroplane ascended or descended into an electric city where nothing was what it seemed at first and I was absolutely confused." There she is-dizzy, suspended between two beds of light. It is like a painting of a conversion experience, and, by the time she wrote it, she surely knew that.

Within a few weeks, at a Tokyo coffeehouse a Japanese man, Sozo Araki, twenty-four years old-six years her junior-stopped at her table. She described the scene in a later, unpublished story: " 'Where are you from?' he asked her. 'England,' she said. 'That must be terribly boring,' he said & gave her the great international seducer's smile." They ended up, that evening, in a "love hotel," the kind that rents rooms by the hour. The next morning, she went back to where she was staying, to take a shower, while he played pachinko, a Japanese version of pinball. Then they met again, had breakfast, and went to another hotel. Gordon tries hard to determine what Carter and Araki talked about when they weren't having sex. Araki had recently dropped out of a university program in political science, intending to write a novel, and they apparently did discuss fiction. He liked Faulkner and Dostoyevsky. It seems, though, that he liked Elvis Presley and pachinko better.

But literary companionship was not what she was looking for. Nor, it appears, were her interests merely, or even primarily, sexual. Carter seems to have been seeking a sort of rapture, a sensation of being carried to a new place, or to an old, ideal one. "His face did not, when I first met him, seem to me the face of a stranger," she wrote of Araki. "His image was already present somewhere in my head, & I was seeking to discover him in reality, searching every face for the right face." She later said that in Japan she had "taken certain ideas (like living for love) as far as they will go." Gordon feels that she doesn't seem to mean love, exactly, but something like love-an idea, a Platonic idea.

As for the husband who was waiting for her in England, "I can't live with him anymore," she wrote to a friend, "or I'll kill myself & that's that." Two weeks after she met Araki, she had to go to Hong Kong briefly. In the airport's departure lounge, she took off her wedding ring and left it in an ashtray. (She wrote to Paul soon after, asking for a divorce. He took it badly. More than forty years later, he refused to speak to Gordon.) That was one captor disposed of. The other did the job herself. While Angela was back in England that winter, renewing her visa, Olive suffered a pulmonary embolism. Angela went to the hospital, but Olive, upon seeing her, turned her face to the wall. (She had always disliked Paul, but she disliked divorce more.) She died a few days later.

Carter returned to Tokyo, set up house with Araki, and soon found that she had to acquire an additional sort of freedom. Araki liked to go out with his friends at night, and Carter's joining them was not convenient. For one thing, she never learned to speak more than a few words of Japanese. Furthermore, as she soon realized, he was seeing other women-lots of them. (She came to describe him as an "ambulant penis.") One night, as they were undressing, Carter saw a smear of lipstick on Araki's underpants. She didn't wear lipstick. Describing the episode to a friend, she wrote that she burst out laughing.

Carter always said that the two years she spent in Japan were what radicalized her as a feminist. The young women of Tokyo, she wrote, acted as though they had "become their own dolls." Her rejection of that position, and of the enforced gender identity that lay behind it, meant, to her, that she could put up with Araki's infidelities. Gordon believes that she began to enjoy having the night to herself; she could write in quiet and then go to bed with Araki when he came home at five in the morning, once the trains started running again. But, if she could tolerate this routine, he couldn't. While he was out tomcatting, she was earning their daily bread, and, as he told Gordon, "I didn't want to be a gigolo anymore." He left her.

She was brokenhearted, and furious. She had panic attacks. She couldn't eat. Finally, she comforted herself with a young Korean, Mansu Kō. She relieved him of his virginity. In gratitude, he brought her a can of pineapple. He moved in with her almost immediately, and did all the cooking and cleaning. He was two inches shorter than her, and nineteen years old, though she wrote that he looked fourteen: "Every time I pull down his underpants I feel more and more like Humbert Humbert." (She was thirty-one.) He spoke less English than Araki had and didn't have much to say, anyway. "Apart from the sheer delight, he does bore me," she wrote. The boredom didn't cancel out the delight: "the childlike delicacy and precision with which he stirs sugar into his coffee; his small sign of content . . . the way he carries his head, like a bird." But, after five months with him, she went back to England."Apart from the sheer delight, he does bore me." That was what Carter discovered in Japan: the mixed, middle states of the heart. Having thrown pretty much everything else away, she had time to pay attention to this, and, with the clarity she had gained, to present it in very stark imagery. In Japan, her best work went into short fiction-tales, she called them-which she later published in the collection "Fireworks" (1974). The finest of them, "Souvenir of Japan," is a tribute to Araki. Here is the "pleasure hotel" they went to on their first night:

We were shown into a room like a paper box. It contained nothing but a mattress spread on the floor. We lay down immediately and began to kiss one another. Then a maid soundlessly opened the sliding door and, stepping out of her slippers, crept in on stockinged feet, breathing apologies. She carried a tray which contained two cups of tea and a plate of candies. She put a tray down on the matted floor beside us and backed, bowing and apologizing, from the room whilst our uninterrupted kiss continued. He started to unfasten my shirt and then she came back again. This time, she carried an armful of towels. I was stripped stark naked when she returned for a third time to bring the receipt for his money.

There love is mixed with comedy. Three paragraphs later, it is mixed with death, a beautiful death: "I should have liked to have had him embalmed and been able to keep him beside me in a glass coffin, so that I could watch him all the time and he would not have been able to get away from me." A glass coffin: "Snow White." And that's where she was headed-to fairy tales.

In 1976, she accepted a commission to translate Charles Perrault's fairy tales. She had been back in England for four years, but she was still living off the psychological tank dive of her Japanese period. After the Perrault volume was published, she embarked on "The Bloody Chamber," with her own, reconceived versions of Perrault and the Brothers Grimm. This is her great book, the one that only she could have written, the one in which everything that was good in her came to the fore and everything that had been bad became good. She was always best in the short form, as her friend Salman Rushdie noted. In her novels, he wrote, her voice, "that moonstone-and-rhinestone mix of opulence and flim-flam, can be exhausting. In her stories, she can dazzle and swoop, and quit while she's ahead."

The truth is that she never cared much about character development or plot, which are the meat of the novel. In a tale, she could dispense with them, and just go for emotion and image. We get Bluebeard smoking a cigar as "fat as a baby's arm," and the Erl-King gathering his dinner in the woods: "He knows which of the frilled, blotched, rotten fungi are fit to eat; he understands their eldritch ways, how they spring up overnight in lightless places and thrive on dead things." In "The Company of Wolves," Carter's famous version of "Little Red Riding Hood," the heroine doesn't struggle with the wolf. She goes to bed with him. Her grandmother's bones rattle beneath the bed. She doesn't hear them.

That was her peak, "Fireworks" and "The Bloody Chamber." Strange to say, she wrote most of those unsettling stories in a period of relative contentment. Maybe she needed that in order to get past the aggressive luridness of her early work. In any case, she told an interviewer that she had a rather nice time in her thirties: "I started doing things like foreign travel and having a house, and you know, watching television and things like that." Soon she had someone steady to do those things with. One day, two years after her return from Japan, one of her water faucets burst. She had seen a construction worker in the house opposite, and she ran to get him. His name was Mark Pearce, another nineteen-year-old. (She was now thirty-four.) "He came in," Carter said, "and never left."

He was strikingly handsome. Friends said he looked like Jesus; tellingly, she claimed that he looked like a werewolf. He was silent most of the time, but she didn't mind, because she liked to do the talking, just as she liked being older. He went on doing construction work, she went on writing-and that was their life, except for one big change, in 1983: Carter, at the age of forty-three, gave birth to a son, Alexander. This made her very happy-repeatedly, she had had phantom pregnancies-but Mark was really the one who raised Alex. It was a bohemian household, with dirty dishes stacked in the sink, but they liked having people over. Carter was a good cook. Rushdie told Gordon that, when he was in hiding, after the Ayatollah Khomeini issued the fatwa against him, his bodyguards always enjoyed it when he went to visit Carter, because she invariably had a nice meal for them to eat, and they could watch TV.A recurrent theme of Gordon's book is Carter's position as a woman in her profession. This is tiresome but unavoidable: in the nineteen-eighties, there was a much-trumpeted spurt of energy in English fiction, with the rise of a number of talented young men, notably Rushdie, Ian McEwan, Martin Amis, and Julian Barnes. In 1981, Rushdie's second novel, "Midnight's Children," won the Booker Prize, and McEwan's second, "The Comfort of Strangers," was short-listed. Barnes was short-listed in 1984. Carter was never short-listed, let alone given the prize, and she did feel that this was, in part, because she was a woman. In 1984, she told an interviewer:

It would be whingeing to say that men who are no better than I are very much more famous and very much richer and also regarded as . . . the right stuff. It would ill become me. But it's amazing what the Old Boys' club does for itself. They list the "important British contemporary writers," and they'll list Malcolm Bradbury and Kingsley Amis, and they'll leave out Doris Lessing, who's the only one with a really huge international reputation.

There was a generational aspect, too. Carter was most of a decade older than the others, born a few months into the Second World War rather than after it, and her Freudian-influenced, "mythic" subject matter was out of step with their more postmodern concerns, their explorations of language, narrative, and representation. Still, there is no question that being female was part of the reason that Carter received less attention. Rushdie says that though she did wish for greater recognition, "she was not ever envious of other people's success." That must have been a comfort to them.

Soon after her son was born, Carter started to age quickly, as she recorded in her diary: "I catch myself in the mirror looking like my father." She resented this, and reacted defiantly, adopting, according to one friend, "a madwoman-in-the-attic look." Yet Gordon seems to think that, on balance, she got happier as she got older. This is certainly suggested by her final novel, "Wise Children," in which a seventy-five-year-old woman, Dora Chance, tells of the life that she and her identical-twin sister had as music-hall artists. In a sense, "Wise Children" is about what happens to women when they're no longer salable, but it's hard to locate a note of regret, because the book contains so much life and fun-nice dresses and memorable fornications and wild parties and theatre, theatre, theatre. ("We were wet for it," Dora recalls.) The sisters now live in a basement apartment with an ex-wife of their father's, drinking tea out of chipped mugs until six, when they switch to gin. The whole thing is as lovable and comfortable as an old shoe.

Early in 1991, just before "Wise Children" was published, Carter went to the doctor with a pain in her chest and was told that she had a cancerous tumor on her right lung which had spread to her lymph nodes, making it inoperable. Strong-minded woman that she was, she laid aside her plans for a new novel-"Adela," about Jane Eyre's pupil, Mr. Rochester's daughter-and went to work, fast, with an assistant, on a collection of her nonfiction. (Over the years, needing the money, she had written many magazine articles.) She and Mark got married, as they had neglected to do previously, and, week after week, she got dressed and sat up straight to have goodbye teas with her friends. In February, 1992, she died at home, at the age of fifty-one. She was young, and she had had only a few years of absolutely first-rank work, but that is true of many writers, including some of the greatest. She had her time, and it was wonderful. ♦

An earlier version of this article misstated Angela Carter's age at the time of her death.

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A new biography shows how the British author made fairy tales psychological and sexy.

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Analysis of Angela Carter's The Bloody Chamber

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The Bloody Chamber collects 10 of Angela Carter's short stories, linked by their common source material, familiar tales from the folk tradition including "Bluebeard," "Snow White," "Beauty and the Beast," "Puss in Boots," and "Little Red Riding Hood." As the volume's title suggests, in Carter's hands these tales often bear little resemblance to the generally tamer versions best known to contemporary readers and moviegoers. The combination of sex and violence implied by The Bloody Chamber gestures back to the often gruesome nature of the ancient oral tales that began to enter the literary realm only when they were gathered and recorded by such early folklorists as Charles Perrault and Jacob and Wilhelm Grimm. The title also highlights some of the other kinds of narratives informing Carter's tales: the gothic fictions of writers such as Poe, Hoffman, and Lefanu and, most controversially, the pornographic writings of the Marquis de Sade.

Carter's interest in fairy tales was an abiding one, evident throughout her body of fictional writing for both adults and children, and even more so in her work as an editor and translator, which yielded The Fairy Tales of Charles Perrault (1977), Sleeping Beauty and Other Favourite Fairy Tales (1982), The Virago Book of Fairy Tales (1990), and The Second Virago Book of Fairy Tales (1992). As she wrote in the preface to her edition of Perrault, these old tales represent "the great mass of infinitely various narrative that was, once upon a time and still is, sometimes, passed on and disseminated through the world by word of mouth-stories without known originators that can be remade again and again by every person who tells them." However, Carter had little interest in fairy tales as vehicles for mere fantasy and escapism. In an interview with John Haffenden published in 1985, Carter abruptly and comically dispatched Hans Christian Anderson and J. R. R. Tolkien with his "horns of elfl and faintly blowing," arguing that "too much imaginative richness makes Jack a dull boy; and no good at killing giants" Carter's tales are not about escape but about confrontation and critique. In her afterword to Fireworks (1974), she praised the tale for its unsettling, antimimetic qualities, which-unlike the more realistic tendencies of the short story-prevent readers from discovering in it "a false knowledge of everyday experience" (122).

The Bloody Chamber appeared in the same year as Carter's controversial polemic The Sadeian Woman and the Ideology of Pornography, which was her contribution to a deeply divisive debate among feminist thinkers at the time on the subject of pornography. In a phrase that became notorious, she envisioned a "moral pornographer" who "might use pornography as a critique of current relations between the sexes" (20-21). Carter regarded Sade as a "terrorist of the imagination" whose shocking representations of sexual cruelty made glaringly apparent the power imbalance underlying both the sexual and the broader social relations between men and women in his society.

Fairy tales, too, reflect the unequal relations of power brought to light by Sade and so afforded Carter the opportunity to engage in some imaginative terrorism of her own. Marriages of young maidens to handsome princes are to be found in her collection, but Carter's tales leave little of the more accustomed romantic idealism intact. Marital relationships in The Bloody Chamber tend to involve negotiations between unequal partners. The title story, for instance, is Carter's version of "Bluebeard," but her revised title shifts attention from the monstrous groom to both his chamber of horrors and the marital chamber into which he brings his bride, an innocent who married not for love but to "banish the spectre of poverty from its habitual place at our meagre table." Her husband, the Marquis, receives in turn her eroticized virginity in an exchange whose imbalance of power is signified by his wedding gift, "a choker of rubies, two inches wide, like an extraordinarily precious slit throat."

This theme of patriarchal marriage as an economic exchange involving unequal partners is picked up again in the collection's two versions of "Beauty and the Beast," "The Courtship of Mr. Lyon" and "The Tiger's Bride." Carter described these tales as a partial response to Bruno Bettelheim, author of the landmark study The Uses of Enchantment: The Meaning and Importance of Fairy Tales (1976), who viewed "Beauty and the Beast" in a positive light, as an account of a young woman transferring her emotional attachment from father to lover. In her tales, Carter is keen to highlight the economic underpinnings of this transfer, as Beauty becomes a commodity exchanged between a debtor father and a creditor Beast. However, such limiting patriarchal constructions of the feminine are not shown here to be inescapable. Although "The Courtship of Mr. Lyon" ends with Beauty having been manipulated into accepting the role of the bourgeois Mrs. Lyon, "The Tiger's Bride" ends very differently, with the unnamed Beauty figure embracing her own bestial nature, refusing the status of victim and engaging with the Beast as a lustful equal-a pattern that recurs in "The Company of Wolves," Carter's version of "Little Red Riding Hood."

For many of Carter's readers, The Bloody Chamber marks a pivotal point in her career, standing between the incisive feminist and postmodern critiques of her earlier work and the yoking of that critical approach to the new narrative exuberance and playfulness so obviously present in her final novels, Nights at the Circus (1984) and Wise Children (1991). Certainly, the volume that led one commentator to nominate Carter the "high priestess of post-graduate porn" (Bristow and Broughton, 1) cemented her reputation as a bold explorer of our common cultural inheritance who takes the familiar and renders it strange and startling.

Analysis of Angela Carter's Novels

BIBLIOGRAPHY
Bacchilega, Cristina. Postmodern Fairy Tales: Gender and Narrative Strategies. Philadelphia: University of Pennsylvania Press, 1997.
Bristow, Joseph, and Trev Lynn Broughton, eds. The Informal Desires of Angela Carter. London: Longman, 1997.
Carter, Angela. The Bloody Chamber and Other Stories. London: Gollancz, 1979.
---. Fireworks: Nine Profane Pieces. London: Quaitet, 1977.
---. The Sadeian Woman and the Ideology of Pornography. London: Virago, 1979.
Hafferden, John. Novelists in Interview. London: Methuen, 1985.
Roemer, Danielle M., and Cristina Bacchilega, eds. Angela Carter and the Fairy Tale. Detroit: Wayne State University Press, 1998.

Categories: British Literature, Literature, Short Story

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Analysis of Angela Carter's The Bloody Chamber

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The Bloody Chamber collects 10 of Angela Carter's short stories, linked by their common source material, familiar tales from the folk tradition including "Bluebeard," "Snow White," "Beauty and the Beast," "Puss in Boots," and "Little Red Riding Hood." As the volume's title suggests, in Carter's hands these tales often bear little resemblance to the generally...

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📚 The Bloody Chamber - Part 1 of 6 📚 {ExLibris}

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Sand painting Retelling of "The Courtship of Mr Lyon",Angela Carter's adaption

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Scary vampire story: The lady of the house of love

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The Werewolf by Angela Carter read by A Poetry Channel

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The Company of Wolves by Angela Carter. Read by Sharon O'Leary.

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Wolf-Alice by Angela Carter read by A Poetry Channel

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Angela Carter: Far from the Fairytale - Edmund Gordon - PRINT ME!

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Angela Carter: Far from the Fairytale - Edmund Gordon - PRINT ME!

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Angela Carter: Of Wolves & Women (2018) | BBC

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Born in 1940, Angela Carter has published eight novels including The Magic Toyshop (1967, John Llewellyn Rhys Prize), Several Perceptions (1968, Somerset Maugham Award), Love (1971), The Infernal Desire Mach i nes of Doctor Hoffman (1972), and The Passion of New Eve (1977); two collections of short stories, Fireworks (1974) and The Bloody Chamber (1979, Cheltenham Festival of Literature Award). One of the stories in the second volume is 'The Company of Wolves', which she recently scripted for the movie directed by Neil Jordan - and two works of non-fiction, The Sadeian Woman: An Exercise in Cultural H i story (1979) and Nothing Sacred (1982), a collection of her journalism. 'Notes from the Front Line', her essay on the cultural context of her work, appears in On Gender and Writing (Pandora Press, 1983).

Angela Carter lives in a rumpled terrace house to the north of Clapham in London. In the colourful kitchen-and-sitting-room a gaily-painted ex-fairground horse stands in for a fire-guard. She has just returned from giving 150 signatures at Mowbrays Bookshop, and settles down by the tape-recorder on the floor; her baby Alexander consumes the room and threatens the interview with healthy hubbub. 'Shall we put him in his lobster pot?' (the play-pen), she wonders. His father quietly and effectively takes control of the child. Alexander likes best of all to eat The Guard i an, but come 'tea-time' he busies himself with better nourishment, and I retreat to the street.

Angela Carter's latest novel is the fabulous and critically acclaimed Nights at the Circus, published by Chatto & Windus (£8.95).
In the first autobiographical essay of Nothing Sacred you characterise your upbringing - first as an evacuee with your grandmother in Yorkshire, then as a child in Balham - in a

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Born in 1940, Angela Carter has published eight novels including The Magic Toyshop (1967, John Llewellyn Rhys Prize), Several Perceptions (1968, Somerset Maugham Award), Love (1971), The Infernal Desire Mach i nes of Doctor Hoffman (1972), and The Passion of New Eve (1977); two collections of short stories, Fireworks (1974) and The Bloody Chamber (1979, Cheltenham Festival of Literature Award).

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Angela Carter talks beauties and beasts with Terry Jones

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Angela Carter talks beauties and beasts with Terry Jones

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The influential author Angela Carter died on 16 February 1992.

Despite her early death at the age of 51, Carter forged a reputation as a serious writer - working across fiction, non-fiction, essays and journalism.

However, it was her interpretation of classic fairy tales in the 1979 anthology, The Bloody Chamber, which sealed her reputation as an author. Teasing out the darker, sexualised elements of the original tales, Carter tackled sex, gender, and relationships head-on.

In this clip, Carter discusses her take on Beauty and the Beast - and its erotic undercurrents - with former Monty Python star Terry Jones.

Extract from Paperbacks, 17 June 1981.

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BBC Arts - BBC Arts, Angela Carter talks beauties and beasts with Terry Jones

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The influential author Angela Carter died on 16 February 1992. Despite her early death at the age of 51, Carter forged a reputation as a serious writer - working across fiction, non-fiction, essays and journalism. However, it was her interpretation of classic fairy tales in the 1979 anthology, The Bloody Chamber, which sealed her reputation as an author.

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Angela Carter by Rosemary Carroll - BOMB Magazine

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British novelist and short story writer Angela Carter talks to Rosemary Carroll about The Company of Wolves, Neil Jordan’s film adaptation of her short story.

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When Angela Carter died - aged just 51, on 16 February 1992 - her reputation changed from cultish to canonical. Her obituaries in the British press received more space than any others that year except Francis Bacon, Willy Brandt and Marlene Dietrich. Their tone was rhapsodic. "Angela Carter ... was one of the most important writers at work in the English language." "She interpreted the times for us with unrivalled penetration." "Her imagination was one of the most dazzling of this century." Three days after she died, Virago, the publishing house with which her name was most closely associated, sold out of her books. Over the course of the next academic year, the British Academy received 40 proposals for doctoral research into her work - compared with three on the literature of the entire 18th century.

Her friends and long-term admirers regarded this torrent of posthumous acclaim with a touch of exasperation. For more than 25 years Carter had been producing novels, short stories, drama and journalism that stood defiantly apart from the work of her contemporaries. At a time when English literature was dominated by sober social realists, she played with disreputable genres - gothic horror, science fiction, fairytale - and gave free rein to the fantastic and the surreal. Her work is funny, sexy, frightening and brutal, and is always shaped by a keen, subversive intelligence and a style of luxuriant beauty. She was concerned with unpicking the mythic roles and structures that underwrite our existences - in particular the various myths of gender identity - and by the end of her life she was starting to acquire a devoted following. But only once her voice had been silenced was she accorded the status of a great novelist and feminist icon.

At a time when English literature was full of sober social realists, she gave free rein to the fantastic and the surreal

As Carter's first biographer, a large part of my task has been trying to look beyond some of the certainties that have settled around her since her death - to see her once again as mutable, vulnerable, unfinished. "I'm in the demythologising business," she once wrote, and as I worked on my book, my purpose increasingly became to demythologise her: to recapture the fluidity of her identity and the unpredictability of her mind, and in doing so, to tell a story about how she came to write some of the liveliest and most original books of the last hundred years.

ne of the central themes of Carter's writing is the contingency of personal identity. She believed that our selves are neither false nor true, but merely roles we either master or are mastered by. Her characters wear their personalities like fancy dress costumes. She was explicit about viewing femininity as a "social fiction", part of a culturally choreographed performance of selfhood. She wasn't the first to make this observation - but she may have been the first to greet it so warmly, as a licence for boundless self-invention.

The story of her life is the story of how she invented herself, of how she progressed from a shy, introverted childhood, through a nervy, defiantly unconventional youth, to a happy, self-confident middle age. She consistently flouted expectations of women, creating instead, by sheer force of will, the lifestyle and circumstances that suited her. It wasn't a straightforward process. Born in 1940 - just before the Luftwaffe unleashed its first wave of bombs over Britain - she grew up in the shabbily respectable south London district of Balham, the second child of an eccentric journalist father and a neurotic housewife mother. As a young girl she was spoiled and zealously sheltered by her parents, and in particular by her mother, who placed a handkerchief behind Angela's head whenever she sat down in a public place, rubbed so much Zam-Buk ointment on her chest that her top was permanently stained green, and indulged her with so many edible treats that by the time she left primary school she was extremely overweight. (Not an easy thing to achieve in a decade when meat, sugar, chocolate, butter, cheese and cooking fat were all strictly rationed.)

As she approached adolescence, her mother's obsessive cosseting only became more pronounced. Even when she was 10 or 11, Angela wasn't allowed to go to the lavatory on her own. She was made to wash with the bathroom door open well into her teens. Her mother was terrified that some catastrophe would befall her if she let her out of her sight: she would slip and injure herself, or drown in the tub.

Tom Bell as Uncle Philip in the film adaptation of The Magic Toyshop (1987). Photograph: ITV / Rex Features

When she was 17 decided that the time had come to put some emotional distance between herself and her mother. She sought a doctor's advice about losing weight and was put on a rigorous diet: at the start of 1958, she weighed something between 13 and 15 stone; by that summer, she was around 10 stone. She also took up swearing and smoking, both of which dismayed her socially conservative parents (as she had calculated that they would), and began choosing her own clothes, opting for close-fitting black garments that were "a positive sign of depravity" in the late 1950s (a typical outfit consisted of "black-mesh stockings, spike-heeled shoes, bum-hugging skirt, jacket with a black fox collar"). It was the first of many times when, faced with adverse or repressive circumstances, she forcibly asserted her identity.

But on that first occasion she may have exerted too much force: her weight loss seems to have accelerated into anorexia shortly after she left school. By then she was working as a journalist - an overwhelmingly male profession in the late 1950s - on a local south London paper, which, she wrote, "functioned as a kind of benign day-clinic, where my patent insanity was taken in good part". One of her duties was writing the paper's music reviews: that was probably how she first encountered Paul Carter, an industrial chemist by profession, but also an amateur producer and recordist of folk records, whom she later remembered as being "a simple, artsy Soho 50s beatnik". Through him, she became involved in the English folk revival (she wrote sleeve notes to several of the records he produced, performed with him at singarounds, and even briefly ran a folk club with him) and the Campaign for Nuclear Disarmament. He represented a clear escape route from her parents' home: shortly after her 19th birthday, she accepted his proposal of marriage.

When Paul was offered a lectureship in chemistry at the newly formed Bristol Technical College in 1961, Carter quit her job and went with him. But the marriage soon faltered. Paul had a depressive streak, and had quickly begun to exhibit what Carter came to know as his "indrawn moods", which could last for days at a time. These moods were extremely difficult for her, not least because she felt (or was made to feel) that she was responsible for them. And after she began publishing novels (her first, Shadow Dance, a gothic murder story set in a distinctly Bristol-like city, appeared in 1966), his silences lengthened: she told a friend that he didn't speak to her for three weeks after one of her books came out. "I admit it," she wrote in her journal less than two years after their wedding. "Marriage was one of my typical burn-all-bridges-but-one acts; flight from a closed room into another one." By her mid-20s, she was already plotting her second escape from an oppressive domestic situation.

In 1969 she received the Somerset Maugham award for her third novel, Several Perceptions. The rules (laid down by Maugham himself) stipulated that the money had to be spent on foreign travel. Carter decided to visit Japan. Shortly after arriving in Tokyo (which she thought was "the most absolutely non-boring city in the world"), she met a 24-year-old Japanese man who was hoping to become a novelist. After breaking up with Paul by letter, she lived with the man for the best part of a year. When the relationship ended she moved in with a 19-year-old Korean man, while working for a period in a hostess bar. The two years that she spent in Japan were among the most crucial periods of Carter's life, one of the great hinges on which her story turns: she wrote two of her most dazzling books, The Infernal Desire Machines of Dr Hoffman (1972) and Fireworks (1974) while living there. Her new sense of personal independence had given rise to a new artistic freedom.

After returning to Britain in 1972, she lived in London (renting the spare room of the poet Fleur Adcock for a while) and became increasingly interested in the emerging women's liberation movement. She always felt happier "sniping from the sidelines" than toeing the party line, however. "I suspect," she told an interviewer, "that when my sisters think of me, they see me as a bit of an Uncle Tom. I think it's all terrible. I think it's terrible for everyone, not just women." Carter's 1979 work of cultural history, The Sadeian Woman - in which she used the Marquis de Sade as her exemplar of a "moral" pornographer - was dismissed by the radical critic Andrea Dworkin as "pseudofeminist". (It was also stickered by the Federation of Alternative Bookshops for having an offensive cover: a painting by the surrealist artist Clovis Trouille featuring several half-naked women, some of whom are being whipped.) Even so, she found one of her closest friends and most ardent supporters in Carmen Callil, the founder of the feminist publishing house Virago.

At the same time as writing for Spare Rib she was selling erotic short stories to men's soft porn magazines

During this period, Carter had a series of disastrous love affairs, and at least one abortion, while living hand to mouth on the proceeds of journalism and the odd royalty cheque from her early novels. After one particularly tempestuous relationship ended she fled London for Bath, and her father loaned her the money to buy herself a small house in the city (her mother having died in 1969).

She eventually found domestic happiness with her second husband, Mark Pearce. He was a builder, 15 years her junior; they met when he was constructing an extension for the house opposite hers in Bath. She ran across the street to ask for his help with a plumbing emergency. "He came in," she told her friends, "and never left."

arter was deliberately messy, awkward, even paradoxical in her behaviour: she never allowed herself to settle into any predictable guise or attitude for long. At the same time in the 1970s as she was writing for the feminist magazine Spare Rib, she was also contributing smutty articles and erotic short stories to the soft porn magazines Men Only and Club International. She voted Labour and loathed Margaret Thatcher, but when she attended a meeting of leftwing writers and intellectuals in 1988, she felt badly out of place, and barely said a word. She refused identification with any movement, and resisted attempts to absorb her work into any genre (she always denied that she was a magical realist, for example, arguing that the phrase was meaningless when used outside the specific context of Latin American literature). She believed that "integration means giving up one's freedom of being, in that one becomes mastered by one's role".

Micha Bergese and Sarah Patterson in the film adaptation of The Company of Wolves (1984). Photograph: Sportsphoto Ltd./Allstar

But if we invent ourselves, we also invent one another - and writers' personalities can quickly solidify in the popular imagination, especially once they're no longer around to surprise us with new work. As Auden wrote of Yeats's death: "he became his admirers". Carter has become hers in ways that have often ignored her wish not to be defined by her roles. Her obituaries demonstrated an impulse towards myth-making and sanctification. They emphasised her gentleness, her wisdom and her "magical" imagination, at the expense of her intellectual sharpness, her taste for violent and disturbing imagery, and her exuberant sensuality.

"She had something of the faerie queene about her," wrote Marina Warner in the Independent, "except that she was never wispy or fey." In the New York Times, Salman Rushdie identified her straightforwardly with "the fairy queen", adding that "English literature has lost its high sorceress, its benevolent white witch". Margaret Atwood, writing in the Observer, went even further: "The amazing thing about her, for me, was that someone who looked so much like the fairy godmother ... should actually be so much like the fairy godmother. She seemed always on the verge of bestowing something - some talisman, some magic token you'd need to get through the dark forest, some verbal formula useful for the opening of charmed doors."

This mythic version of Carter soon became the prevailing one. But the otherworldly figure conjured by her obituarists doesn't do justice to her complexity. Her fundamental vigour, determination and courage all emerge powerfully from the story of her life; her wild, often gleefully crass sense of humour and her strong sexual energy are both conspicuous in her books; and her quick wit and personal charm are apparent in surviving TV footage. In her 40s, newly confident, Carter allowed her hair to turn grey, and grew it down to her shoulders. She became a mother just as she began to look like the cartoon image of a grandmother: her son, Alexander, was born in 1983. He brought her a great deal of joy, and the last decade of her life was also the happiest. She returned to live in south London, not far from where she had grown up, and between teaching stints in Australia and the US she produced some of her richest and most affecting work, including the screenplay for the Neil Jordan film The Company of Wolves (1984), which was based on one of her short stories, and the novels Nights at the Circus (1984) and Wise Children (1991). As her friend Lorna Sage observed: "by the end her life fitted her more or less like a glove. But that's because she put it together, by trial and error, bricolage, all in the (conventionally) wrong order."

Edmund Gordon's The Invention of Angela Carter: A Biography is published by Chatto & Windus on 13 October. To order a copy for £20.50 (RRP £25) go to bookshop.theguardian.com or call 0330 333 6846. Free UK p&p over £10, online orders only. Phone orders min p&p of £1.99.

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The otherworldly figure conjured after her death in 1992 doesn't do Angela Carter justice. Her biographer Edmund Gordon attempts a more accurate portrayal of a complex, sensual and highly intellectual woman

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Literary Criticism

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During the time that Angela Carter taught at the University of East Anglia, her reputation underwent a series of small transformations. The first of these came with the publication of The Sadeian Woman, which was scheduled in both the UK and the USA for 28 March 1979. As the date approached, Angela recalled the doubts and anxieties that had dogged the writing of the book. "I am now about to be incarnated by the media as No. 1 Lash Lady," she wrote to Lorna Tracy. "I feel very ambivalent about this, obviously, and rather ambivalent about the book, though a very nice lady from , who interviewed me, assured me that anybody who bought it for a quick thrill would find it a long haul." The lady from Gay News (whose name was Marsaili Cameron) may have been underestimating the stamina of thrill-seekers. For the rest of Angela's life, a proportion of her fan mail came from people whose primary interest in her doesn't appear to have been literary:

Dear Ms. Carter,
I suppose all the boys say this to you. I am Tony and of course I would like to be your slave . . .

A few reviewers, mostly for the mainstream left-wing press, did see what The Sadeian Woman was getting at. Hermione Lee wrote in the New Statesman that while "few women would feel inclined to treat the Marquis de Sade with affectionate familiarity . . . Angela Carter is neither ordinary nor timid. The tone is one of intellectual relish . . . rational, refined . . . witty." Margaret Walters, writing in New Society, described the book as "provocative, always readable . . . illuminating, witty, freewheeling," and Francis Huxley, reviewing it alongside Michel Foucault's newly translated History of Sexuality in the Guardian, declared himself "grateful to Miss Carter" for showing how men "might free themselves from some habitual tyrannies and become human."

More frequently, though, the reviews were marked by peevish incomprehension. John Weightman, writing in the Observer, admitted that he was baffled by Angela Carter's project: "I fail to see why she has tried to harness Sade to the cause of Women's Lib . . . The bewildered reader is kept going only by an occasional, surprising aside." At least he was candid; others settled for reviewing the book they had been expecting, rather than the one they had read. Richard Gilman in the New York Times, while conceding that The Sadeian Woman contained "a number of shrewd insights," presented it as a tirade against pornographers in general and against Sade in particular, describing its position as "fierce, unaccommodating and aggressively stated," and its author as "a rigid ideologue, fervidly feminist, furiously antireligious and against transcendence of any kind."

The most vehement reaction, though, came from other feminists. The paperback edition was stickered by the Federation of Alternative Bookshops for having a cover that was offensive to women (a painting by the surrealist artist Clovis Trouille featuring several half-naked women, some of whom are being whipped). Carmen wrote to Eileen Fairweather, a representative of the federation: "I don't know if you realise how upset Angela Carter has been about this . . . The cover was chosen by her with us. Without wishing to sound sanctimonious, she is someone who has been committed to feminism for many years, and obviously neither she-nor us-would have used the cover if we had thought it sexist." Fairweather responded with a somewhat mollifying letter, but said that she wouldn't read a book like that on the Tube, "for fear some man would think I was reading porn, and use that as an excuse to respond accordingly."

The book's content was just as offensive to some sections of the women's movement, appearing at a time when the debate about pornography was growing increasingly heated, and writers such as the American radical feminist Andrea Dworkin were condemning Sade as the misogynist extraordinaire.

Dworkin herself described The Sadeian Woman as "a pseudofeminist literary essay." Susanne Kappeler-another prominent anti-pornography feminist-conducted a masterclass in missing the point when she accused Angela of treating Sade as nothing but "a Cultural Edifice . . . A literary artefact, removed by convention of the literary beyond the reach of political (or feminist) critique." Angela was rather pleased with these denunciations: "If I can get up Susanne Kappeler's nose, to say nothing of the Dworkin proboscis, then my living has not been in vain."

Angela's next book was also a semi-calculated affront to Dworkin, who in 1974 had argued that the fairy-tale form entrenches gender stereotypes and so holds women back. But on this territory, Angela-who knew considerably more about folklore than Dworkin did-was at a definite advantage. The Bloody Chamber was published in May 1979 to glowing full-page reviews. Janice Elliott, writing in the Sunday Telegraph, called it "a dazzling collection . . . Miss Carter leads us not so much into hallucination or illusion, as through the mirror into a parallel reality." "Ms. Carter's stories are too rich and heady for casual consumption," warned Patricia Craig in the New Statesman, "but they do provide, at a very high level, romantic nourishment for the imagination." Lorna Sage, reviewing the book for the Observer, explained that "the main theme is the collusion between artificial and animal nature . . . But I mustn't make The Bloody Chamber sound too solemnly planned. It's a splendidly funny, erotic and adventurous book."

Lesley Garner, writing in Cosmopolitan, didn't seem to see the funny side, but she was impressed by the collection nonetheless: "The stories . . . are presented to us like poisoned fruits, blooming, perfumed, delicious and rotten . . . They all make a horrid kind of sense, and they are painstakingly, exquisitely told." Auberon Waugh, in a long review for the Evening Standard, felt that 'The best story in the book, "Puss-in-Boots," deserves to be included in every prose anthology of this century or any other . . . [it] had me gasping with admiration . . . If she can ease off a slight tendency to self-indulgence in nature descriptions, if she can hold back on the occasional lapse into coarseness-I don't think we really need biological case-histories of female puberty-and watch against the risk of repeating unusual effects in the same volume, nobody will be able to deny her the title of Great British Writer." Guido Almansi, writing in the Literary Review, by contrast to Waugh, especially liked the "moments of superb bad taste" and "carnal humour," saying that the book was "miles away from the drab of the Drabblian world of British female writers." And Susan Kennedy, writing in the Times Literary Supplement, pronounced that with The Bloody Chamber "Angela Carter extends her control over an area of the imagination on which she has already left her mark. Her re-telling of European folk and fairy tales has the power, not only to cause us to think again, and deeply, about the mythic sources of our common cultural touchstones, but to plunge us into hackle-raising speculation about aspects of our human/animal nature."

Angela's publicity schedule for The Bloody Chamber was considerably heavier than it had been for previous books: she made a number of television and radio appearances to promote it. On BBC2's Word for Word programme, she read "The Snow Child," a story derived from an obscure variant of "Snow White," in which a count and countess are riding through a wintry landscape, the count wishing for a girl, who soon appears, only to be murdered by the countess, and then have her corpse defiled by the count. When Angela had finished reading, the journalist and broadcaster Arthur Marshall bluntly told her that "on the whole, I don't really like stories of fantasy . . . I like stories that begin: "Mrs Henderson walked slowly into Sainsbury's and purchased a pound of cod." Angela cocked her head amusedly: "I'd like to know the Sainsbury's where you can buy cod. You fantasist."

Reprinted from THE INVENTION OF ANGELA CARTER: A Biography by Edmund Gordon with permission from Oxford University Press. Copyright © 2017 by Edmund Gordon.

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During the time that Angela Carter taught at the University of East Anglia, her reputation underwent a series of small transformations. The first of these came with the publication of The Sadeian Woman, which was scheduled in both the UK and the USA for 28 March 1979.

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In 1985, the legendary Angela Carter sat down for an interview with Lisa Appignanesi. In the video below, they discuss Freud, work, politics, The Bloody Chamber, motherhood, and de Sade, among other things-including Carter's socialism, which she argues works in tandem with her fabulist sensibility.

LA: You say, you have said, that you're a socialist, and yet-

AC: Absolutely! What do you mean?

LA: [Laughs] Yet I mean, the kind of writing that you do has very little to do with that kind of gritty naturalism that one associates normally with socialist writing.

AC: You mean that Stalinist deviation? Soviet social realism? Well, that's true. . . Restructuring of the way that we perceive reality is an essential part of being a socialist. Or why bother? You're not a socialist because you think that it's a good idea for the world to be endlessly recapitulated just as it is this very minute.

True enough. And if you're on a Carter kick (it's her birthday, after all) you may also enjoy this Angela Carter fan art and/or an excerpt from her biography in which she definitely gives no fucks. We stan.

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Your favorite writer Angela Carter was a socialist too!

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In 1985, the legendary Angela Carter sat down for an interview with Lisa Appignanesi. In the video below, they discuss Freud, work, politics, The Bloody Chamber, motherhood, and de Sade, among other things-including Carter's socialism, which she argues works in tandem with her fabulist sensibility.

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Log In ‹ The Gothic Imagination - WordPress

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Laura Norris

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The Invention of Angela Carter: A Biography by Edmund Gordon – review

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The Invention of Angela Carter: A Biography by Edmund Gordon – review

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adicalism was in Angela Carter's blood. Her grandfather, Walter Farthing, was a soldier whose career took him around the Raj to Malabar, Rangoon and the Andaman Islands, a particularly brutal penal colony. What he saw there made him a revolutionary and he once chaired a meeting at which Lenin spoke. Except he didn't.The truth was less glamorous:Carter's grandfather, who died five years before she was born, was commended as an "exemplary" soldier, promoted to sergeant and eventually invalided out with an eye injury. The exciting life and times of Walter Farthing was a story by Carter. He was, as Edmund Gordon puts it in his finely judged and elegantly written biography, the "grandfather she would have designed for herself". "I exaggerate terribly," she once warned a friend: "I'm a born fabulist."

Though known for her novels and her journalism, it was as a fabulist that she found her widest readership with the reimagined fairytales of The Bloody Chamber - readers who have generated their own myths about her since her death in 1992. All in all, she is something of a biographer's nightmare, but, as the double meaning of his title suggests, Gordon is up for the challenge.

Born in 1940, Angela Olive Stalker was the "intensely loved and thoroughly spoiled" daughter of Hugh, a journalist, and his wife, Olive. During the war she lived in Yorkshire with her grandmother, who told her stories. Grandmothers generally come out well in her fiction; mothers less so. Olive was a clinging presence who kept her daughter dependent by fattening her up until she was, her sister-in-law remembers, "enormous". Carter's rebellion took the form of anorexia, and it left her with a complicated relationship to food. Gordon makes no trite elisions between the fiction and the life, but it is hard not to look at his illustrations in which Carter balloons and shrinks, becoming by turns vampish, boyish, girlish and bohemian, without thinking of all the metamorphoses and chimeras that recur in her work.

Her writing life began in her early 20s in Bristol, where she and her first husband, Paul Carter, were part of the folk scene. The 60s were only just starting to swing and her early novels are set against a landscape more postwar than pop, of derelict houses and bombsites turning to waste ground. The first, Shadowdance, came out in 1966. Two more followed, establishing her as a promising writer, albeit not one likely to prop up the literary establishment. Shy, with a slight stammer, she veered from gauche to wildly outspoken. After a reading by Stevie Smith in 1968 she buttonholed AS Byatt, who recalled: "This very disagreeable woman stomped up to me and she said, 'My name's Angela Carter ... and I wanted to stop and tell you that the sort of thing you're doing is no good at all.'" The "sort of thing" she meant was the realist novel in which "people drink tea and commit adultery".

That year Carter won the Somerset Maugham Award, which funds young writers to travel. She went to Japan and on the way back left her wedding ring in an ashtray at Tokyo airport. The gesture was dramatically simple, the collapse of her marriage necessarily more complex, and Gordon faces thorny ethical questions in dealing with a life in living memory. Paul Carter, who declined to talk to him, has since died, and Gordon teases out the tangled facts with gentle even‑handedness, setting aside some of what Angela said as bravado, for she had been much in love when she got married. Unfortunately, what she said was often more vivid than the truth: her dismissal of Paul as a man "with a kiddie's windmill for a heart" is as unforgettable as it is unfair.

The visit to Japan marked a caesura in her writing and her life. She had love affairs, read Borges and found in Japanese culture a combination of delicacy and violence that fed her imagination, opening a way out of the constraints of realism. The work that followed divided critics, though her claim to have gone from being "promising" to "ignored" in two novels was another exaggeration. She became instead something of a cult writer and, as such, was at the mercy of her admirers. Gordon feels free to take issue with the doctrinaire strain of feminist critique that attempts to shoehorn Carter into a politically correct shape she doesn't fit.

In her lifetime, relations with "the sisters", as she called them in inverted commas, were volatile. She was a feminist but her views were too peculiarly her own for any orthodoxy, and she was often accused of letting down a side she never joined. The biggest uproar came with her book on Sade, The Sadeian Woman, in which she aimed to "give the old monster his due" for putting "pornography at the service of women". Gordon thinks more highly of her argument than I do, but the book is certainly a daring raid on areas of sexual experience normally handled with the sterilised tongs of academic theory.

Eventually she found herself in a curious situation whereby, as she told the Sunday Times: "I get a lot of stuff asking me to subscribe to anti-pornography groups and others asking me to subscribe to pro-pornography groups, but very little actual pornography." Her wit is one aspect of Carter that Gordon brings out in contrast to the ethereal Wise Witch myth that grew around her in middle age. Another is the sheer hard work it took to survive as a freelance writer. At times she seems to have spent almost all her waking hours hunched over a typewriter next to an overflowing ashtray, writing the journalism that made ends meet.

Eventually the fiction paid, but it was years before shared houses and friends' spare rooms gave way to a home of her own. If she was a little acerbic about the vast enthusiasm and even vaster advances given to the men of the rising Amis generation and thought "poor Ian" McEwan had been "dreadfully overrated", that was understandable: it was not jealousy. She admired Salman Rushdie, who became a close friend.

Despite the need to be in control in relationships, she was in many ways helpless. She couldn't ride a bicycle, and on her third and last driving lesson she demolished a brick wall. It was repaired by Mark Pearce, the builder whom she met when he came to mend a pipe and who became her second husband. They had a son in 1983, and, to the disappointment of some of her admirers, she settled happily into family life until she was diagnosed with lung cancer in 1991. She died the following year. "The fin," as she put it, had "come rather early in the siècle ". Gordon knows he has caught his subject on the wing of posterity, that it will take another generation to see her "in the round" and other biographies will appear; but they will not supplant this one, which has the irreplaceable imprint of a life still warm to the touch of memory.

* Unicorn: The Poetry of Angela Carter, with an essay by Rosemary Hill, is published by Profile. The Invention of Angela Carter by Edmund Gordon (Chatto & Windus, £25). To order a copy for £20.50, go to bookshop.theguardian.com or call 0330 333 6846. Free UK p&p over £10, online orders only. Phone orders min. p&p of £1.99.

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The Invention of Angela Carter: A Biography by Edmund Gordon - review

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adicalism was in Angela Carter's blood. Her grandfather, Walter Farthing, was a soldier whose career took him around the Raj to Malabar, Rangoon and the Andaman Islands, a particularly brutal penal colony. What he saw there made him a revolutionary and he once chaired a meeting at which Lenin spoke.

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Magic realism or magical realism is a style of literary fiction and art. It paints a realistic view of the world while also adding magical elements, often blurring the lines between fantasy and reality. Magic realism often refers to literature in particular, with magical or supernatural phenomena presented in an otherwise real-world or mundane setting, commonly found in novels and dramatic performances. Despite including certain magic elements, it is generally considered to be a different genre from fantasy because magical realism uses a substantial amount of realistic detail and employs magical elements to make a point about reality, while fantasy stories are often separated from reality. Magical realism is often seen as an amalgamation of real and magical elements that produces a more inclusive writing form than either literary realism or fantasy.

The term magic realism is broadly descriptive rather than critically rigorous, and Matthew Strecher (1999) defines it as "what happens when a highly detailed, realistic setting is invaded by something too strange to believe." The term and its wide definition can often become confused, as many writers are categorized as magical realists. The term was influenced by a German and Italian painting style of the 1920s which were given the same name. In The Art of Fiction, British novelist and critic David Lodge defines magic realism: "when marvellous and impossible events occur in what otherwise purports to be a realistic narrative-is an effect especially associated with contemporary Latin American fiction (for example the work of the Colombian novelist Gabriel García Márquez) but it is also encountered in novels from other continents, such as those of Günter Grass, Salman Rushdie and Milan Kundera. All these writers have lived through great historical convulsions and wrenching personal upheavals, which they feel cannot be adequately represented in a discourse of undisturbed realism", citing Kundera's 1979 novel The Book of Laughter and Forgetting as an exemplar." Michiko Kakutani writes that "The transactions between the extraordinary and the mundane that occur in so much Latin American fiction are not merely a literary technique, but also a mirror of a reality in which the fantastic is frequently part of everyday life." Magical realism often mixes history and fantasy, as in Salman Rushdie's Midnight's Children, in which the children born at midnight on August 15, 1947, the moment of India's independence, are telepathically linked.

Irene Guenther (1995) tackles the German roots of the term, and how an earlier magic realist art is related to a later magic realist literature; meanwhile, magical realism is often associated with Latin-American literature, including founders of the genre, particularly the authors Gabriel García Márquez, Isabel Allende, Jorge Luis Borges, Juan Rulfo, Miguel Ángel Asturias, Elena Garro, Mireya Robles, Rómulo Gallegos and Arturo Uslar Pietri. In English literature, its chief exponents include Neil Gaiman, Salman Rushdie, Alice Hoffman, Louis De Bernieres, Nick Joaquin, and Nicola Barker. In Bengali literature, prominent writers of magic realism include Nabarun Bhattacharya, Akhteruzzaman Elias, Shahidul Zahir, Jibanananda Das and Syed Waliullah. In Kannada literature, the writers Shivaram Karanth and Devanur Mahadeva have infused magical realism in their most prominent works. In Japanese literature, one of the most important authors of this genre is Haruki Murakami. In Chinese literature the best-known writer of the style is Mo Yan, the 2012 Nobel Prize laureate in Literature for his " hallucinatory realism." In Polish literature, magic realism is represented by Olga Tokarczuk, the 2018 Nobel Prize laureate in Literature.

The term first appeared as the German magischer Realismus ('magical realism'). In 1925, German art critic Franz Roh used magischer Realismus to refer to a painterly style known as Neue Sachlichkeit ('New Objectivity'), an alternative to expressionism that was championed by German museum director Gustav Hartlaub. Roh identified magic realism's accurate detail, smooth photographic clarity, and portrayal of the 'magical' nature of the rational world; it reflected the uncanniness of people and our modern technological environment. He also believed that magic realism was related to, but distinct from, surrealism, due to magic realism's focus on material object and the actual existence of things in the world, as opposed to surrealism's more abstract, psychological, and subconscious reality.

19th-century Romantic writers such as E. T. A. Hoffmann and Nikolai Gogol, especially in their fairy tales and short stories, have been credited with originating a trend within Romanticism that contained "a European magical realism where the realms of fantasy are continuously encroaching and populating the realms of the real". In the words of Anatoly Lunacharsky:

Unlike other romantics, Hoffmann was a satirist. He saw the reality surrounding him with unusual keenness, and in this sense he was one of the first and sharpest realists. The smallest details of everyday life, funny features in the people around him with extraordinary honesty were noticed by him. In this sense, his works are a whole mountain of delightfully sketched caricatures of reality. But he was not limited to them. Often he created nightmares similar to Gogol's . Gogol is a student of Hoffmann and is extremely dependent on Hoffmann in many works, for example in Portrait and . In them, just like Hoffmann, he frightens with a nightmare and contrasts it to a positive beginning ... Hoffmann's dream was free, graceful, attractive, cheerful to infinity. Reading his fairy tales, you understand that Hoffmann is, in essence, a kind, clear person, because he could tell a child such things as The Nutcracker or The Royal Bride - these pearls of human fantasy.

German magic-realist paintings influenced the Italian writer Massimo Bontempelli, who has been called the first to apply magic realism to writing, aiming to capture the fantastic, mysterious nature of reality. In 1926, he founded the magic realist magazine 900.Novecento, and his writings influenced Belgian magic realist writers Johan Daisne and Hubert Lampo.

Roh's magic realism also influenced writers in Hispanic America, where it was translated in 1927 as realismo mágico. Venezuelan writer Arturo Uslar-Pietri, who had known Bontempelli, wrote influential magic-realist short stories in the 1920s and 30s that focused on the mystery and reality of how we live. Luis Leal attests that Uslar Pietri seemed to have been the first to use the term realismo mágico in literature, in 1948. There is evidence that Mexican writer Elena Garro used the same term to describe the works of E. T. A. Hoffmann, but dismissed her own work as a part of the genre. French-Russian Cuban writer Alejo Carpentier, who rejected Roh's magic realism as tiresome pretension, developed his related concept lo real maravilloso ('marvelous realism') in 1949. Maggie Ann Bowers writes that marvelous-realist literature and art expresses "the seemingly opposed perspectives of a pragmatic, practical and tangible approach to reality and an acceptance of magic and superstition" within an environment of differing cultures.

Magic realism was later used to describe the uncanny realism by such American painters as Ivan Albright, Peter Blume, Paul Cadmus, Gray Foy, George Tooker, and Viennese-born Henry Koerner, among other artists during the 1940s and 1950s. However, in contrast with its use in literature, magic realist art does not often include overtly fantastic or magical content, but rather, it looks at the mundane through a hyper-realistic and often mysterious lens.

The term magical realism, as opposed to magic realism, first emerged in the 1955 essay "Magical Realism in Spanish American Fiction" by critic Angel Flores in reference to writing that combines aspects of magic realism and marvelous realism. While Flores named Jorge Luis Borges as the first magical realist, he failed to acknowledge either Carpentier or Uslar Pietri for bringing Roh's magic realism to Latin America. Borges is often seen as a predecessor of magical realists, with only Flores considering him a true magical realist. After Flores's essay, there was a resurgence of interest in marvelous realism, which, after the Cuban revolution of 1959, led to the term magical realism being applied to a new type of literature known for matter-of-fact portrayal of magical events.

Literary magic realism originated in Latin America. Writers often traveled between their home country and European cultural hubs, such as Paris or Berlin, and were influenced by the art movement of the time. Cuban writer Alejo Carpentier and Venezuelan Arturo Uslar-Pietri, for example, were strongly influenced by European artistic movements, such as Surrealism, during their stays in Paris in the 1920s and 1930s. One major event that linked painterly and literary magic realisms was the translation and publication of Franz Roh's book into Spanish by Spain's Revista de Occidente in 1927, headed by major literary figure José Ortega y Gasset. "Within a year, Magic Realism was being applied to the prose of European authors in the literary circles of Buenos Aires." Jorge Luis Borges inspired and encouraged other Latin American writers in the development of magical realism - particularly with his first magical realist publication, Historia universal de la infamia in 1935. Between 1940 and 1950, magical realism in Latin America reached its peak, with prominent writers appearing mainly in Argentina. Alejo Carpentier's novel The Kingdom of This World, published in 1949, is often characterised as an important harbinger of magic realism, which reached its most canonical incarnation in Gabriel García Marquez's novel One Hundred Years of Solitude (1967). García Marquez cited Kafka's " The Metamorphosis" as a formative influence: "The first line almost knocked me out of bed. It begins: 'As Gregor Samsa awoke from uneasy dreams, he found himself transformed in his bed into a gigantic insect.' When I read that line I thought to myself I didn't know anyone was allowed to write things like that. If I had known, I would have started writing a long time ago." He also cited the stories told to him by his grandmother: "She told me things that sounded supernatural and fantastic, but she told them with complete naturalness. She did not change her expression at all when telling her stories, and everyone was surprised. In previous attempts to write One Hundred Years of Solitude, I tried to tell the story without believing in it. I discovered that what I had to was believe in them myself and them write them with the same expression with which my grandmother told them: with a brick face."

The theoretical implications of visual art's magic realism greatly influenced European and Latin American literature. Italian Massimo Bontempelli, for instance, claimed that literature could be a means to create a collective consciousness by "opening new mythical and magical perspectives on reality", and used his writings to inspire an Italian nation governed by Fascism. Uslar Pietri was closely associated with Roh's form of magic realism and knew Bontempelli in Paris. Rather than follow Carpentier's developing versions of "the (Latin) American marvelous real", Uslar Pietri's writings emphasize "the mystery of human living amongst the reality of life". He believed magic realism was "a continuation of the vanguardia [or avant-garde] modernist experimental writings of Latin America".

The extent to which the characteristics below apply to a given magic realist text varies. Every text is different and employs a smattering of the qualities listed here. However, they accurately portray what one might expect from a magic realist text.

Magical realism portrays fantastical events in an otherwise realistic tone. It brings fables, folk tales, and myths into contemporary social relevance. Fantasy traits given to characters, such as levitation, telepathy, and telekinesis, help to encompass modern political realities that can be phantasmagorical.

The existence of fantastic elements in the real world provides the basis for magical realism. Writers do not invent new worlds, but rather, they reveal the magical in the existing world, as was done by Gabriel García Márquez, who wrote the seminal work One Hundred Years of Solitude. In the world of magical realism, the supernatural realm blends with the natural, familiar world.

Authorial reticence is the "deliberate withholding of information and explanations about the disconcerting fictitious world." The narrator is indifferent, a characteristic enhanced by this absence of explanation of fantastic events; the story proceeds with "logical precision" as if nothing extraordinary had taken place. Magical events are presented as ordinary occurrences; therefore, the reader accepts the marvelous as normal and common.

In his essay "The Baroque and the Marvelous Real", Cuban writer Alejo Carpentier defines the baroque by a lack of emptiness, a departure from structure or rules, and an "extraordinary" abundance ( plenitude) of disorienting detail. (He cites Mondrian as its opposite.) From this angle, Carpentier views the baroque as a layering of elements, which translates easily into the postcolonial or transcultural Latin-American atmosphere that he emphasizes in The Kingdom of this World. "America, a continent of symbiosis, mutations... mestizaje, engenders the baroque," made explicit by elaborate Aztec temples and associative Nahuatl poetry. These mixing ethnicities grow together with the American baroque; the space in between is where the "marvelous real" is seen. Marvelous: not meaning beautiful and pleasant, but extraordinary, strange, and excellent. Such a complex system of layering-encompassed in the Latin-American "boom" novel, such as One Hundred Years of Solitude-aims towards "translating the scope of America."

Magical realism plot lines characteristically employ hybrid multiple planes of reality that take place in "inharmonious arenas of such opposites as urban and rural, and Western and indigenous."

This trait centers on the reader's role in literature. With its multiple realities and specific reference to the reader's world, it explores the impact fiction has on reality, reality on fiction, and the reader's role in between; as such, it is well suited for drawing attention to social or political criticism. Furthermore, it is the tool paramount in the execution of a related and major magic-realist phenomenon: textualization. This term defines two conditions-first, where a fictitious reader enters the story within a story while reading it, making them self-conscious of their status as readers-and secondly, where the textual world enters into the reader's (real) world. Good sense would negate this process, but "magic" is the flexible convention that allows it.

Something that most critics agree on is this major theme. Magic realist literature tends to read at an intensified level. Taking One Hundred Years of Solitude, the reader must let go of pre-existing ties to conventional exposition, plot advancement, linear time structure, scientific reason, etc., to strive for a state of heightened awareness of life's connectedness or hidden meanings. Luis Leal articulates this feeling as "to seize the mystery that breathes behind things," and supports the claim by saying a writer must heighten his senses to the point of " estado limite" ('limit state' or 'extreme') in order to realize all levels of reality, most importantly that of mystery.

Magic realism contains an "implicit criticism of society, particularly the elite." Especially with regard to Latin America, the style breaks from the inarguable discourse of "privileged centers of literature." This is a mode primarily about and for "ex-centrics:" the geographically, socially, and economically marginalized. Therefore, magic realism's "alternative world" works to correct the reality of established viewpoints (like realism, naturalism, modernism). Magic-realist texts, under this logic, are subversive texts, revolutionary against socially-dominant forces. Alternatively, the socially-dominant may implement magical realism to disassociate themselves from their " power discourse." Theo D'haen calls this change in perspective "decentering."

In his review of Gabriel Garcia Márquez' novel Chronicle of a Death Foretold, Salman Rushdie argues that the formal experiment of magic realism allows political ideas to be expressed in ways that might not be possible through more established literary forms:

"El realismo mágico", magic realism, at least as practised by Márquez, is a development out of Surrealism that expresses a genuinely "Third World" consciousness. It deals with what Naipaul has called "half-made" societies, in which the impossibly old struggles against the appallingly new, in which public corruptions and private anguishes are somehow more garish and extreme than they ever get in the so-called "North", where centuries of wealth and power have formed thick layers over the surface of what's really going on. In the works of Márquez, as in the world he describes, impossible things happen constantly, and quite plausibly, out in the open under the midday sun.

Mexican critic Luis Leal summed up the difficulty of defining magical realism by writing, "If you can explain it, then it's not magical realism." He offers his own definition by writing, "Without thinking of the concept of magical realism, each writer gives expression to a reality he observes in the people. To me, magical realism is an attitude on the part of the characters in the novel toward the world," or toward nature.

Leal and Guenther both quote Arturo Uslar-Pietri, who described "man as a mystery surrounded by realistic facts. A poetic prediction or a poetic denial of reality. What for lack of another name could be called a magical realism."

The critical perspective towards magical realism as a conflict between reality and abnormality stems from the Western reader's disassociation with mythology, a root of magical realism more easily understood by non-Western cultures. Western confusion regarding magical realism is due to the "conception of the real" created in a magical realist text: rather than explain reality using natural or physical laws, as in typical Western texts, magical realist texts create a reality "in which the relation between incidents, characters, and setting could not be based upon or justified by their status within the physical world or their normal acceptance by bourgeois mentality."

Guatemalan author William Spindler's article, "Magic realism: A Typology", suggests that there are three kinds of magic realism, which however are by no means incompatible:

European "metaphysical" magic realism, with its sense of estrangement and the uncanny, exemplified by Kafka's fiction;

"ontological" magical realism, characterized by "matter-of-factness" in relating "inexplicable" events; and

"anthropological" magical realism, where a Native worldview is set side by side with the Western rational worldview.

Spindler's typology of magic realism has been criticized as:

[A]n act of categorization which seeks to define Magic Realism as a culturally specific project, by identifying for his readers those (non-modern) societies where myth and magic persist and where Magic Realism might be expected to occur. There are objections to this analysis. Western rationalism models may not actually describe Western modes of thinking and it is possible to conceive of instances where both orders of knowledge are simultaneously possible.

Alejo Carpentier originated the term lo real maravilloso (roughly 'the marvelous real') in the prologue to his novel The Kingdom of this World (1949); however, some debate whether he is truly a magical realist writer, or simply a precursor and source of inspiration. Maggie Bowers claims he is widely acknowledged as the originator of Latin American magical realism (as both a novelist and critic); she describes Carpentier's conception as a kind of heightened reality where elements of the miraculous can appear while seeming natural and unforced. She suggests that by disassociating himself and his writings from Roh's painterly magic realism, Carpentier aimed to show how-by virtue of Latin America's varied history, geography, demography, politics, myths, and beliefs-improbable and marvelous things are made possible. Furthermore, Carpentier's meaning is that Latin America is a land filled with marvels, and that "writing about this land automatically produces a literature of marvelous reality."

Alejo Carpentier

"The marvelous" may be easily confused with magical realism, as both modes introduce supernatural events without surprising the implied author. In both, these magical events are expected and accepted as everyday occurrences. However, the marvelous world is a unidimensional world. The implied author believes that anything can happen here, as the entire world is filled with supernatural beings and situations to begin with. Fairy tales are a good example of marvelous literature. The important idea in defining the marvelous is that readers understand that this fictional world is different from the world where they live. The "marvelous" one-dimensional world differs from the bidimensional world of magical realism because, in the latter, the supernatural realm blends with the natural, familiar world (arriving at the combination of two layers of reality: bidimensionality). While some use the terms magical realism and lo real maravilloso interchangeably, the key difference lies in the focus.

Critic Luis Leal attests that Carpentier was an originating pillar of the magical realist style by implicitly referring to the latter's critical works, writing that "The existence of the marvelous real is what started magical realist literature, which some critics claim is the truly American literature." It can consequently be drawn that Carpentier's "lo real maravilloso" is especially distinct from magical realism by the fact that the former applies specifically to América (the American content). On that note, Lee A. Daniel categorizes critics of Carpentier into three groups: those that do not consider him a magical realist whatsoever (Ángel Flores), those that call him "a mágicorealista writer with no mention of his 'lo real maravilloso' (Gómez Gil, Jean Franco, Carlos Fuentes)", and those that use the two terms interchangeably (Fernando Alegria, Luis Leal, Emir Rodriguez Monegal).

Ángel Flores states that magical realism is an international commodity but that it has a Hispanic birthplace, writing that "Magical realism is a continuation of the romantic realist tradition of Spanish language literature and its European counterparts." There is disagreement between those who see magical realism as a Latin American invention and those who see it as the global product of a postmodern world. Guenther concludes, "Conjecture aside, it is in Latin America that [magic realism] was primarily seized by literary criticism and was, through translation and literary appropriation, transformed." Magic realism has been internationalized: dozens of non-Hispanic writers are categorized as such, and many believe that it truly is an international commodity.

Some have argued that connecting magical realism to postmodernism is a logical next step. To further connect the two concepts, there are descriptive commonalities between the two that Belgian critic Theo D'haen addresses in his essay, "Magical Realism and Postmodernism". While authors such as Günter Grass, Thomas Bernhard, Peter Handke, Italo Calvino, John Fowles, Angela Carter, John Banville, Michel Tournier, Willem Brakman, and Louis Ferron might be widely considered postmodernist, they can "just as easily be categorized...magic realist." A list has been compiled of characteristics one might typically attribute to postmodernism, but that also could describe literary magic realism: " self-reflexiveness, metafiction, eclecticism, redundancy, multiplicity, discontinuity, intertextuality, parody, the dissolution of character and narrative instance, the erasure of boundaries, and the destabilization of the reader." To further connect the two, magical realism and postmodernism share the themes of post-colonial discourse, in which jumps in time and focus cannot really be explained with scientific but rather with magical reasoning; textualization (of the reader); and metafiction.

Concerning attitude toward audience, the two have, some argue, a lot in common. Magical realist works do not seek to primarily satisfy a popular audience, but instead, a sophisticated audience that must be attuned to noticing textual "subtleties." While the postmodern writer condemns escapist literature (like fantasy, crime, ghost fiction), he/she is inextricably related to it concerning readership. There are two modes in postmodern literature: one, commercially successful pop fiction, and the other, philosophy, better suited to intellectuals. A singular reading of the first mode will render a distorted or reductive understanding of the text. The fictitious reader-such as Aureliano from 100 Years of Solitude -is the hostage used to express the writer's anxiety on this issue of who is reading the work and to what ends, and of how the writer is forever reliant upon the needs and desires of readers (the market). The magic realist writer with difficulty must reach a balance between saleability and intellectual integrity. Wendy Faris, talking about magic realism as a contemporary phenomenon that leaves modernism for postmodernism, says, "Magic realist fictions do seem more youthful and popular than their modernist predecessors, in that they often (though not always) cater with unidirectional story lines to our basic desire to hear what happens next. Thus they may be more clearly designed for the entertainment of readers."

When attempting to define what something is, it is often helpful to define what something is not. Many literary critics attempt to classify novels and literary works in only one genre, such as "romantic" or "naturalist", not always taking into account that many works fall into multiple categories. Much discussion is cited from Maggie Ann Bowers' book Magic(al) Realism, wherein she attempts to delimit the terms magic realism and magical realism by examining the relationships with other genres such as realism, surrealism, fantastic literature, science fiction and its African version, the animist realism.

Realism is an attempt to create a depiction of actual life; a novel does not simply rely on what it presents but how it presents it. In this way, a realist narrative acts as framework by which the reader constructs a world using the raw materials of life. Understanding both realism and magical realism within the realm of a narrative mode is key to understanding both terms. Magical realism "relies upon the presentation of real, imagined or magical elements as if they were real. It relies upon realism, but only so that it can stretch what is acceptable as real to its limits." Literary theorist Kornelije Kvas wrote that "what is created in magic(al) realism works is a fictional world close to reality, marked by a strong presence of the unusual and the fantastic, in order to point out, among other things, the contradictions and shortcomings of society. The presence of the element of the fantastic does not violate the manifest coherence of a work that is characteristic of traditional realist literature. Fantastic (magical) elements appear as part of everyday reality, function as saviors of the human against the onslaught of conformism, evil and totalitarianism. Moreover, in magical realism works we find objective narration characteristic of traditional, 19th-century realism."

As a simple point of comparison, Roh's differentiation between expressionism and post-expressionism as described in German Art in the 20th Century, may be applied to magic realism and realism. Realism pertains to the terms "history", " mimetic", "familiarization", "empiricism/logic", "narration", "closure-ridden/reductive naturalism", and " rationalization/ cause and effect." On the other hand, magic realism encompasses the terms "myth/legend", "fantastic/supplementation", " defamiliarization", " mysticism/magic", " meta-narration", "open-ended/expansive romanticism", and "imagination/negative capability."

Surrealism is often confused with magical realism as they both explore illogical or non-realist aspects of humanity and existence. There is a strong historical connection between Franz Roh's concept of magic realism and surrealism, as well as the resulting influence on Carpentier's marvelous reality; however, important differences remain. Surrealism "is most distanced from magical realism [in that] the aspects that it explores are associated not with material reality but with the imagination and the mind, and in particular it attempts to express the 'inner life' and psychology of humans through art". It seeks to express the sub-conscious, unconscious, the repressed and inexpressible. Magical realism, on the other hand, rarely presents the extraordinary in the form of a dream or a psychological experience. "To do so," Bowers writes, "takes the magic of recognizable material reality and places it into the little understood world of the imagination. The ordinariness of magical realism's magic relies on its accepted and unquestioned position in tangible and material reality."

"Imaginary realism" is a term first coined by Dutch painter Carel Willink as a pendant of magic realism. Where magic realism uses fantastical and unreal elements, imaginary realism strictly uses realistic elements in an imagined scene. As such, the classic painters with their biblical and mythological scenes, can be qualified as 'imaginary realists'. With the increasing availability of photo editing software, also art photographers like Karl Hammer and others create artistic works in this genre.

Fabulism traditionally refers to fables, parables, and myths, and is sometimes used in contemporary contexts for authors whose work falls within or relates to magical realism.

Though often used to refer to works of magical realism, fabulism incorporates fantasy elements into reality, using myths and fables to critique the exterior world and offer direct allegorical interpretations. Austrian-American child psychologist Bruno Bettelheim suggested that fairy tales have psychological merit. They are used to translate trauma into a context that people can more easily understand and help to process difficult truths. Bettelheim posited that the darkness and morality of traditional fairy tales allowed children to grapple with questions of fear through symbolism. Fabulism helped to work through these complexities and, in the words of Bettelheim, "make physical what is otherwise ephemeral or ineffable in an attempt...of understanding those things that we struggle the most to talk about: loss, love, transition."

Author Amber Sparks described fabulism as blending fantastical elements into a realistic setting. Crucial to the genre, said Sparks, is that the elements are often borrowed from specific myths, fairy tales, and folktales. Unlike magical realism, it does not just use general magical elements, but directly incorporates details from well known stories. "Our lives are bizarre, meandering, and fantastic," said Hannah Gilham of the Washington Square Review regarding fabulism. "Shouldn't our fiction reflect that?"

While magical realism is traditionally used to refer to works that are Latin American in origin, fabulism is not tied to any specific culture. Rather than focusing on political realities, fabulism tends to focus on the entirety of the human experience through the mechanization of fairy tales and myths. This can be seen in the works of C.S. Lewis, who was once referred to as the greatest fabulist of the 20th century. His 1956 novel Till We Have Faces has been referenced as a fabulist retelling. This re-imagining of the story of Cupid and Psyche uses an age-old myth to impart moralistic knowledge on the reader. A Washington Post review of a Lewis biography discusses how his work creates "a fiction" in order to deliver a lesson. Says the Post of Lewis, "The fabulist...illuminates the nature of things through a tale both he and his auditors, or readers, know to be an ingenious analogical invention."

Italo Calvino is an example of a writer in the genre who uses the term fabulist. Calvino is best known for his book trilogy, Our Ancestors, a collection of moral tales told through surrealist fantasy. Like many fabulist collections, his work is often classified as allegories for children. Calvino wanted fiction, like folk tales, to act as a teaching device. "Time and again, Calvino insisted on the 'educational potential' of the fable and its function as a moral exemplum," wrote journalist Ian Thomson about the Italian Fabulist.

While reviewing the work of Romanian-born American theater director Andrei Şerban, New York Times critic Mel Gussow coined the term "The New Fabulism." Şerban is famous for his reinventions in the art of staging and directing, known for directing works like "The Stag King" and "The Serpent Woman," both fables adapted into plays by Carl Gozzi. Gussow defined "The New Fabulism" as "taking ancient myths and turn(ing) them into morality tales." In Ed Menta's book, The Magic Behind the Curtain, he explores Şerban's work and influence within the context of American theatre. He wrote that the Fabulist style allowed Şerban to neatly combine technical form and his own imagination. Through directing fabulist works, Şerban can inspire an audience with innate goodness and romanticism through the magic of theatre. "The New Fabulism has allowed Şerban to pursue his own ideals of achieving on sage the naivete of a children's theater," wrote Menta. "It is in this simplicity, this innocence, this magic that Şerban finds any hope for contemporary theatre at all."

Prominent English-language fantasy writers have said that "magic realism" is only another name for fantasy fiction. Gene Wolfe said, "magic realism is fantasy written by people who speak Spanish," and Terry Pratchett said magic realism "is like a polite way of saying you write fantasy."

However, Amaryll Beatrice Chanady distinguishes magical realist literature from fantasy literature ("the fantastic") based on differences between three shared dimensions: the use of antinomy (the simultaneous presence of two conflicting codes), the inclusion of events that cannot be integrated into a logical framework, and the use of authorial reticence. In fantasy, the presence of the supernatural code is perceived as problematic, something that draws special attention-where in magical realism, the presence of the supernatural is accepted. In fantasy, while authorial reticence creates a disturbing effect on the reader, it works to integrate the supernatural into the natural framework in magical realism. This integration is made possible in magical realism as the author presents the supernatural as being equally valid to the natural. There is no hierarchy between the two codes. The ghost of Melquíades in Márquez's One Hundred Years of Solitude or the baby ghost in Toni Morrison's Beloved who visit or haunt the inhabitants of their previous residence are both presented by the narrator as ordinary occurrences; the reader, therefore, accepts the marvelous as normal and common.

To Clark Zlotchew, the differentiating factor between the fantastic and magical realism is that in fantastic literature, such as Kafka's The Metamorphosis, there is a hesitation experienced by the protagonist, implied author or reader in deciding whether to attribute natural or supernatural causes to an unsettling event, or between rational or irrational explanations. Fantastic literature has also been defined as a piece of narrative in which there is a constant faltering between belief and non-belief in the supernatural or extraordinary event.

In Leal's view, writers of fantasy literature, such as Borges, can create "new worlds, perhaps new planets. By contrast, writers like García Márquez, who use magical realism, don't create new worlds, but suggest the magical in our world." In magical realism, the supernatural realm blends with the natural, familiar world. This twofold world of magical realism differs from the onefold world that can be found in fairy-tale and fantasy literature. By contrast, in the series " Sorcerous Stabber Orphen" the laws of natural world become a basis for a naturalistic concept of magic.

Animist realism is a term for conceptualizing the African literature that has been written based on the strong presence of the imaginary ancestor, the traditional religion and especially the animism of African cultures. The term was used by Pepetela (1989) and Harry Garuba (2003) to be a new conception of magic realism in African literature.

While science fiction and magical realism both bend the notion of what is real, toy with human imagination, and are forms of (often fantastical) fiction, they differ greatly. Bower's cites Aldous Huxley's Brave New World as a novel that exemplifies the science fiction novel's requirement of a "rational, physical explanation for any unusual occurrences." Huxley portrays a world where the population is highly controlled with mood enhancing drugs, which are controlled by the government. In this world, there is no link between copulation and reproduction. Humans are produced in giant test tubes, where chemical alterations during gestation determine their fates. Bowers argues that, "The science fiction narrative's distinct difference from magical realism is that it is set in a world different from any known reality and its realism resides in the fact that we can recognize it as a possibility for our future. Unlike magical realism, it does not have a realistic setting that is recognizable in relation to any past or present reality."

Although critics and writers debate which authors or works fall within the magical realism genre, the following authors represent the narrative mode. Within the Latin American world, the most iconic of magical realist writers are Jorge Luis Borges, Isabel Allende, and Nobel Laureate Gabriel García Márquez, whose novel One Hundred Years of Solitude was an instant worldwide success.

Plaque of Gabriel García Márquez, Paris

García Márquez confessed: "My most important problem was destroying the line of demarcation that separates what seems real from what seems fantastic." Allende was the first Latin American woman writer recognized outside the continent. Her best-known novel, The House of the Spirits, is arguably similar to García Márquez's style of magical realist writing. Another notable novelist is Laura Esquivel, whose Like Water for Chocolate tells the story of the domestic life of women living on the margins of their families and society. The novel's protagonist, Tita, is kept from happiness and marriage by her mother. "Her unrequited love and ostracism from the family lead her to harness her extraordinary powers of imbuing her emotions to the food she makes. In turn, people who eat her food enact her emotions for her. For example, after eating a wedding cake Tita made while suffering from a forbidden love, the guests all suffer from a wave of longing. The Mexican Juan Rulfo pioneered the exposition through a non-linear structure with his short novel Pedro Páramo that tells the story of Comala both as a lively town in times of the eponymous Pedro Páramo and as a ghost town through the eyes of his son Juan Preciado who returns to Comala to fulfil a promise to his dead mother.

In the Portuguese-speaking world, Jorge Amado and Nobel prize-winning novelist José Saramago are some of the most famous authors of magic realism. Less well-known figures may include Murilo Rubião, playwright Dias Gomes ( Saramandaia), and José J. Veiga. Incidente em Antares, novel by Erico Verrissimo is also included, even though the author is not. Amado remains the best known of modern Brazilian writers, with his work having been translated into some 49 languages. He is the most adapted Brazilian author in cinema, theater, and television, notably Dona Flor and Her Two Husbands in 1976 and the American remake Kiss Me Goodbye in 1982. Angolan author Ondjaki's novel Transparent City is an example of magical realism in African literature. Transparent City won the José Saramago Prize in 2013.

In the English-speaking world, major authors include: British-Indian writer Salman Rushdie, whose Midnight's Children mixes history and fantasy; African American novelists Toni Morrison (although she has contested this descriptor of her work) and Gloria Naylor; Latino writers such as Ana Castillo, Rudolfo Anaya, Daniel Olivas, Rudy Ruiz, Miguel Ángel Asturias, and Helena Maria Viramontes; Native American authors Louise Erdrich and Sherman Alexie; English author Louis de Bernières and English feminist writer Angela Carter. Perhaps the best known is Rushdie, whose "language form of magical realism straddles both the surrealist tradition of magic realism as it developed in Europe and the mythic tradition of magical realism as it developed in Latin America". Morrison's most notable work, , tells the story of a mother who, haunted by the ghost of her child, learns to cope with memories of her traumatic childhood as an abused slave and the burden of nurturing children into a harsh and brutal society. The Welsh author Glyn Jones's novel The Island of Apples (1965) is often overlooked, perhaps because it appeared before the term magic realism was commonly known in English, perhaps because too much was made of the supposed influence of Jones's friend Dylan Thomas on his work, but this phantasmagorical blend of reality and myth with a twelve year old narrator set in a dreamlike-version of the early 20th century clearly merits inclusion in the genre[citation needed ]. Jonathan Safran Foer uses magical realism in exploring the history of the stetl and Holocaust in Everything Is Illuminated. The South African-Italian author Patricia Schonstein uses magic realism in examining the Holocaust, the Rhodesian War and apartheid in A Time of Angels and A Quilt of Dreams.

Dino Buzzati's novels and short stories are often cited as examples of magic realism in Italian literature.

In Norway, the writers Erik Fosnes Hansen, Jan Kjærstad and the young novelist Rune Salvesen have marked themselves as premier writers of magical realism, something that has been seen as very un-Norwegian[by whom? ].

Dimitris Lyacos's Poena Damni trilogy, originally written in Greek, is also seen as displaying characteristics of magic realism in its simultaneous fusion of real and unreal situations in the same narrative context.

In Kannada literature, Shivaram Karanth's Jnanpith award winning novel, Mookajjiya Kanasugalu and Devanur Mahadeva's Kendra Sahitya Akademi award winning novel, Kusuma Baale, are two prominent works that dabbled in magical realism. Both the works are widely read and have been adapted into a movie and a limited TV series, respectively. Mookajjiya Kanasugalu is a novel that traces the evolution of 'Gods' in a grounded setting via Mookajji's (the main character) preternatural ability to touch and see everything an inanimate object has witnessed in its entire existence. The novel Kusuma Baale blends magical realism and surrealism while telling the story of lives of people from the oppressed castes in rural parts of Karnataka.

Giorgio de Chirico
Love Song, 1914
Museum of Modern Art

The painterly style began evolving as early as the first decade of the 20th century, but 1925 was when Magischer Realismus and Neue Sachlichkeit were officially recognized as major trends. This was the year that Franz Roh published his book on the subject, Nach-Expressionismus, Magischer Realismus: Probleme der neuesten europäischen Malerei (' Post-Expressionism, Magical Realism: Problems of the Newest European Painting') and Gustav Hartlaub curated the seminal exhibition on the theme, entitled simply Neue Sachlichkeit (translated as New Objectivity), at the Kunsthalle Mannheim in Mannheim, Germany. Guenther refers most frequently to the New Objectivity, rather than magical realism, which is attributed to that New objectivity is practical based, referential (to real practicing artists), while the magical realism is theoretical or critic's rhetoric. Eventually under Massimo Bontempelli guidance, the term magic realism was fully embraced by the German as well as in Italian practicing communities.

New Objectivity saw an utter rejection of the preceding impressionist and expressionist movements, and Hartlaub curated his exhibition under the guideline: only those, "who have remained true or have returned to a positive, palpable reality," in order to reveal the truth of the times," would be included. The style was roughly divided into two subcategories: conservative, ( neo-) classicist painting, and generally left-wing, politically motivated Verists. The following quote by Hartlaub distinguishes the two, though mostly with reference to Germany; however, one might apply the logic to all relevant European countries.

In the new art, he saw a right, a left wing. One, conservative towards Classicism, taking roots in timelessness, wanting to sanctify again the healthy, physically plastic in pure drawing after nature...after so much eccentricity and chaos [a reference to the repercussions of World War I].... The other, the left, glaringly contemporary, far less artistically faithful, rather born of the negation of art, seeking to expose the chaos, the true face of our time, with an addiction to primitive fact-finding and nervous baring of the self... There is nothing left but to affirm it [the new art], especially since it seems strong enough to raise new artistic willpower.

Both sides were seen all over Europe during the 1920s and 1930s, ranging from the Netherlands to Austria, France to Russia, with Germany and Italy as centers of growth. Indeed, Italian Giorgio de Chirico, producing works in the late 1910s under the style arte metafisica (translated as Metaphysical art), is seen as a precursor and as having an "influence...greater than any other painter on the artists of New Objectivity."

Further afield, American painters were later (in the 1940s and 1950s, mostly) coined magical realists; a link between these artists and the Neue Sachlichkeit of the 1920s was explicitly made in the New York Museum of Modern Art exhibition, tellingly titled "American Realists and Magic Realists." French magical realist Pierre Roy, who worked and showed successfully in the US, is cited as having "helped spread Franz Roh's formulations" to the United States.

When art critic Franz Roh applied the term magic realism to visual art in 1925, he was designating a style of visual art that brings extreme realism to the depiction of mundane subject matter, revealing an "interior" mystery, rather than imposing external, overtly magical features onto this everyday reality. Roh explains:

We are offered a new style that is thoroughly of this world that celebrates the mundane. This new world of objects is still alien to the current idea of Realism. It employs various techniques that endow all things with a deeper meaning and reveal mysteries that always threaten the secure tranquility of simple and ingenuous things.... it is a question of representing before our eyes, in an intuitive way, the fact, the interior figure, of the exterior world.

In painting, magical realism is a term often interchanged with post-expressionism, as Ríos also shows, for the very title of Roh's 1925 essay was "Post-Expressionism, Magical Realism". Indeed, as Lois Parkinson Zamora of the University of Houston writes, "Roh, in his 1925 essay, described a group of painters whom we now categorize generally as Post-Expressionists."

Alexander Kanoldt, Still Life II 1922

Roh used this term to describe painting that signaled a return to realism after expressionism's extravagances, which sought to redesign objects to reveal the spirits of those objects. Magical realism, according to Roh, instead faithfully portrays the exterior of an object, and in doing so the spirit, or magic, of the object reveals itself. One could relate this exterior magic all the way back to the 15th century. Flemish painter Van Eyck (1395-1441) highlights the complexity of a natural landscape by creating illusions of continuous and unseen areas that recede into the background, leaving it to the viewer's imagination to fill in those gaps in the image: for instance, in a rolling landscape with river and hills. The magic is contained in the viewer's interpretation of those mysterious unseen or hidden parts of the image. Other important aspects of magical realist painting, according to Roh, include:

A return to ordinary subjects as opposed to fantastical ones.

A juxtaposition of forward movement with a sense of distance, as opposed to Expressionism's tendency to foreshorten the subject.

A use of miniature details even in expansive paintings, such as large landscapes.

The pictorial ideals of Roh's original magic realism attracted new generations of artists through the latter years of the 20th century and beyond. In a 1991 New York Times review, critic Vivien Raynor remarked that " John Stuart Ingle proves that Magic Realism lives" in his "virtuoso" still life watercolors. Ingle's approach, as described in his own words, reflects the early inspiration of the magic realism movement as described by Roh; that is, the aim is not to add magical elements to a realistic painting, but to pursue a radically faithful rendering of reality; the "magic" effect on the viewer comes from the intensity of that effort: "I don't want to make arbitrary changes in what I see to paint the picture, I want to paint what is given. The whole idea is to take something that's given and explore that reality as intensely as I can."

Paul Cadmus, The Fleet's In! 1934

While Ingle represents a "magic realism" that harks back to Roh's ideas, the term "magic realism" in mid-20th century visual art tends to refer to work that incorporates overtly fantastic elements, somewhat in the manner of its literary counterpart.

Occupying an intermediate place in this line of development, the work of several European and American painters whose most important work dates from the 1930s through to the 1950s, including Bettina Shaw-Lawrence, Paul Cadmus, Ivan Albright, Philip Evergood, George Tooker, Ricco, even Andrew Wyeth, such as in his well-known work Christina's World, is designated as "magic realist". This work departs sharply from Roh's definition, in that it (according to artcyclopedia.com) "is anchored in everyday reality, but has overtones of fantasy or wonder". In the work of Cadmus, for example, the surreal atmosphere is sometimes achieved via stylized distortions or exaggerations that are not realistic.

Recent "magic realism" has gone beyond mere "overtones" of the fantastic or surreal to depict a frankly magical reality, with an increasingly tenuous anchoring in "everyday reality". Artists associated with this kind of magic realism include Marcela Donoso[verification needed ] and Gregory Gillespie.

Artists such as Peter Doig, Richard T. Scott and Will Teather have become associated with the term in the early 21st century.

Magical realism is not a clearly defined film genre, but characteristics of magic realism present in literature can also be found in many moving pictures with fantasy elements. These characteristics may be presented matter-of-factly and occur without explanation.

Many films have magical realist narrative and events that contrast between real and magical elements, or different modes of production. This device explores the reality of what exists. Fredric Jameson, in On Magic Realism in Film, advances a hypothesis that magical realism in film is a formal mode that is constitutionally dependent on a type of historical raw material in which disjunction is structurally present. Like Water for Chocolate (1992) begins and ends with the first person narrative to establish the magical realism storytelling frame. Telling a story from a child's point of view, the historical gaps and holes perspective, and with cinematic color heightening the presence, are magical realist tools in films.

A number of films by Woody Allen including Midnight in Paris (2011) feature magical realist elements. Most of the films directed by Terry Gilliam are strongly influenced by magic realism; the animated films of Satoshi Kon and Hayao Miyazaki often utilize magic realism; and some of the films of Emir Kusturica contain elements of magical realism, the most famous of which is Time of the Gypsies (1988).

Some other films and television shows that convey elements of magic realism include:

In his essay "Half-Real", MIT professor and ludologist Jesper Juul argues that the intrinsic nature of video games is magic realist. Early video games such as the 1986 text adventure combined elements of science fiction, fantasy and magic realism. Point-and-click adventure games such as Kentucky Route Zero (2013) and Memoranda (2017) have also embraced the genre. The franchise has also frequently been cited as a notable example of magic realism, because of its combination of realistic military fiction with supernatural elements.

In electronic literature, early author Michael Joyce's Afternoon, a story deploys the ambiguity and dubious narrator characteristic of high modernism, along with some suspense and romance elements, in a story whose meaning could change dramatically depending on the path taken through its lexias on each reading.

With reference to literature

With reference to visual art

With reference to both

1. ^ "What Is Magical Realism? Definition and Examples of Magical Realism in Literature, Plus 7 Magical Realism Novels You Should Read". MasterClass.

2. ^ Cornés, Eladio (1992). Dictionary of Mexican Literature. Greenwood: Greenwood Publishing Group. p. https://books.google.es/books?id=j-K-13qmBSoC&pg=PA397&dq=magic+realism+is+not+fantasy&hl=es&sa=X&ved=2ahUKEwiC-eWbmeLqAhW06uAKHfwpAwsQ6AEwAXoECAIQAg#v=onepage&q=magic%20realism%20is%20not%20fantasy&f=false 397. Magical realism is not pure fantasy because it contains a substantial amount of realistic detail (...)

3. Wexler, Joyce (2002). "What Is a Nation? Magic Realism and National Identity in Midnight's Children and Clear Light of Day". The Journal of Commonwealth Literature. 37 (2): 137-155. doi:10.1177/002198940203700209. S2CID 161325155. The oxymoron "magic realism" (...) It is a more inclusive form than realism or fantasy.

4. ^ Hegerfeldt, Anne C. (2005). Lies that Tell the Truth: Magic Realism Seen Through Contemporary Fiction from Britain. New York: Rodopi. p. https://books.google.es/books?id=FdrXgdj5TZAC&pg=PA6&dq=shorthand+definition+of+magic+realism+as+an+%E2%80%9Camalgamation+of+realism+and+fantasy%E2%80%9D&hl=es&sa=X&ved=2ahUKEwiZ3baYo-LqAhWnBWMBHeOPDgcQ6AEwAHoECAUQAg#v=onepage&q=shorthand%20definition%20of%20magic%20realism%20as%20an%20%E2%80%9Camalgamation%20of%20realism%20and%20fantasy%E2%80%9D&f=false 6. (...) clearly insufficient shorthand definition of magic realism as an "amalgamation of realism and fantasy"

5. ^ Kakutani, Michiko (February 24, 1989). "Critic's Notebook: Telling Truth Through Fantasy: Rushdie's Magic Realism". The New York Times.

6. Guenther, Irene (1995). "Magic Realism, New Objectivity, and the Arts during the Weimar Republic". In Lois Parkinson Zamora; Wendy B. Faris (eds.). Magical Realism: Theory, History, Community. Duke University Press. pp. 33-73. ISBN 0-8223-1640-4.

7. Slemon, Stephen. 1988. "^ Magic realism as post-colonial discourse." Canadian Literature 116:9-24. doi:10.14288/cl.v0i116. Archived from the original on 2018-04-25. p. 9.

8. ^ Roh, Franz. 1925. Nach-Expressionismus. Magischer Realismus. Probleme der neuesten europäischen Malerei. Leipzig: Klinkhardt & Biermann.

9. ^ Owen, Christopher (2020). "Transgression of Fantastika". Introduction to the Special Issue: The Two-Hundred-Year Legacy of E. T. A. Hoffmann. London: Anglia Ruskin University.

10. ^ Lunacharsky, Anatoly (1924). "Романтическая литература". История западноевропейской литературы (in Russian). Moscow: Gosizdat.

11. ^ Faris, Wendy B., and Lois Parkinson Zamora. "Introduction." In Magical Realism: Theory, History, Community.

12. ^ Carpentier, Alejo. 1975. "The Baroque and the Marvelous Real." In Magical Realism: Theory, History, Community.

13. Zlotchew, Clark. 2007. Varieties of Magical Realism. New Jersey: Academic Press ENE.

14. Chanady, Amaryll Beatrice. 1985. Magical Realism and the Fantastic: Resolved versus Unresolved Antinomy. New York: Garland Publishing Inc.

15. Thiem, Jon. "The Textualization of the Reader in Magical Realist Fiction." In Magical Realism: Theory, History, Community.

16. D'haen, Theo. "Magical realism and postmodernism: decentering privileged centers." In Magical Realism: Theory, History, Community.

17. ^ Capettini, Emily (2014). A Second Ribcage: Fiction and an Article on New Wave Fabulism, Trauma, and the Environment (Doctoral dissertation). University of Louisiana at Lafayette. ProQuest 1548306771 - via ProQuest.

18. ^ Thomson, Ian (19 September 2015). "Italo Calvino: a celebration of the fairy king". The Telegraph. Archived from the original on 2022-01-11.

19. Menta, Ed (1995). Magic World Behind the Curtain. New York: Peter Lang Publishing. pp. 89-105.

20. ^ Wolfe, Gene; Baber, Brendan (2007). "Gene Wolfe Interview". In Wright, Peter (ed.). Shadows of the New Sun: Wolfe on Writing/Writers on Wolfe. Liverpool University Press. ISBN 9781846310577.

21. ^ Pepetela. 1989. Lueji, o nascimento de um império. Porto, Portugal: União dos Escritores Angolanos.

22. ^ Parkinson Zamora, Lois; B. Faris, Wendy (1995). Magical Realism: Theory, History, Community. Durham & London: Duke University Press.

23. Interview in ^ Primera Plana 5(234):52-55. [quoted in ]: "Mi problema más importante era destruir la línea de demarcación que separa lo que parece real de lo que parece fantástico. Porque en el mundo que trataba de evocar esa barrera no existía. Pero necesitaba un tono convincente, que por su propio prestigio volviera verosímiles las cosas que menos lo parecían, y que lo hicieran sin perturbar la unidad del relato." [This agrees well (minor textual variants) with other quotations found in : "El problema más importante era destruir la línea de demarcación que separa lo que parece real de lo que parece fantástico porque en el mundo que trataba de evocar, esa barrera no existía. Pero necesitaba un tono inocente, que por su prestigio volviera verosímiles las cosas que menos lo parecían, y que lo hiciera sin perturbar la unidad del relato. También el lenguaje era una dificultad de fondo, pues la verdad no parece verdad simplemente porque lo sea, sino por la forma en que se diga." [Other quotations on the Internet can be found in and All of these quotations reinforce the rough English translation of the first sentence given in the main text of this article. For those who wish to seek the original interview, the front cover and table of contents are reproduced at ]

24. Guenther, Irene. 1995. "Magic Realism, New Objectivity, and the Arts during the Weimar Republic." Pp. 33-73 in Magical Realism: Theory, History, Community, edited by L. P. Zamora and W. B. Faris. Duke University Press. ISBN 0-8223-1640-4.

25. Elga Perez-Laborde:"Prologo",^ Iconografía de Mitos y Leyendas, Marcela Donoso, ISBN 978-956-291-592-2. 12/2002

26. ^ Antonio Fernandez, Director of the Art Museum of Universidad de Concepción:"I was impressed by her original iconographic creativity, that in a way very close to magic realism, achieves to emphasize with precision the subjects specific to each folkloric tradition, local or regional", Chile, 29/12/1997

27. ^ Zamora, Lois Parkinson; Faris, Wendy B (November 30, 1995). Magical Realism: Theory, History, Community. Duke University Press Books. pp. 426. ISBN 978-0-8223-1640-4.

28. ^ Zeitchik, Steven (16 September 2013). "'The Wind Rises': Five things to know about Miyazaki's new movie". Los Angeles Times. Archived from the original on 22 July 2017.

29. ^ McMullan, Thomas (2014-07-27). "Where literature and gaming collide". Eurogamer. Some of our first points of reference when sketching and imagining Kentucky Route Zero were in fiction - the magical realism of Gabriel Garcia Márquez and the southern gothic of Flannery O'Connor

30. ^ Moira, Hicks (August 3, 2019). "How Metal Gear Eschewed Realism to Convey the Horror of Imperial Violence". Gematsu.

31. ^ Keogh, Brendan (September 18, 2015). "On Metal Gear Solid V: The Phantom Pain". Brkeogh.com.

32. ^ Valle, Nathaniel (April 29, 2014). "Marquez, Vamp, and Me - Metal Gear Solid and the Supernatural". Christ and Pop Culture.

# data[].attributes.attachment_link.description
Magic realism or magical realism is a style of literary fiction and art. It paints a realistic view of the world while also adding magical elements, often blurring the lines between fantasy and reality. Magic realism often refers to literature in particular, with magical or supernatural phenomena presented in an otherwise real-world or mundane setting, commonly found in novels and dramatic performances.

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Delia-Maria Radu

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Angela Carter - 1975

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Bodies That Bleed - Metamorphosis in Angela Carter’s Fairy Tales

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Bodies That Bleed - Metamorphosis in Angela Carter’s Fairy Tales

# data[].attributes.body
Anna Pasolini

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A Gynocritical study of The Company of Wolves 

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A Gynocritical study of The Company of Wolves 

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Azadeh Nouri & Fatemeh Aziz Mohammadi

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Maria Pires

# data[].attributes.headline
Fluctuations of Fantasy: Postmodernist Contamination in Angela Carter's Fiction

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Fluctuations of Fantasy: Postmodernist Contamination in Angela Carter's Fiction

# data[].attributes.body
Anna Notaro

# data[].attributes.headline
Bodies That Bleed: Metamorphosis in Angela Carter’s Fairy Tales 

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Bodies That Bleed: Metamorphosis in Angela Carter’s Fairy Tales 

# data[].attributes.body
Anna Pasolini

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The Bloody Chamber and Other Stories - free online

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The Bloody Chamber and Other Stories - free online

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Angela Carter - The Bloody Chamber And Other Stories

Published by the Penguin Group
Penguin Books USA Inc.,
375 Hudson Street, New York, New York 10014, U.S.A.
Penguin Books Ltd, 27 Wrights Lane, London W8 5TZ, England
Penguin Books Australia Ltd, Ringwood, Victoria, Australia
Penguin Books Canada Ltd., 10 Alcorn Avenue,
Toronto, Ontario, Canada M4V 3B2
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Penguin Books Ltd, Registered Offices:
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First published in Great Britain by Victor Gollancz Ltd. 1979
First published in the United States of America by
Harper & Row, Publishers, Inc. 1980
Published in Penguin Books (UK) 1981
Published in Penguin Books (USA) 1987
This edition published 1993

17 19 20 18

Copyright Angela Carter, 1979
All rights reserved

Some of the stories in this collection originally appeared in somewhat different form, in the following publications: "The Courtship of Mr. Lyon," British Vogue, "The Erl-King" and "The Company of Wolves," Bananas; "The Lady of the House of Love," The Iowa Review; "The Werewolf," South-West Arts Review; "Wolf-Alice," Stand; all are reprinted here with the permission of the editors. "The Snow Child" was broadcast on the BBC Radio 4 program Not Now, I'm Listening. "Puss-in-Boots" appeared in an anthology, The Straw and the Gold, edited by Emma Tennant (Pierrot Books, 1979).

ISBN 01401.7821X

Printed in the United States of America
Set in Monotype Ehrhardt

Except in the United States of America, this book is sold subject to the condition that it shall not, by way of trade or otherwise, be lent, re-sold, hired out, or otherwise circulated without the publisher's prior consent in any form of binding or cover other than that in which it is published and without a similar condition including this condition being imposed on the subsequent purchaser.

Contents

I remember how, that night, I lay awake in the wagon-lit in a tender, delicious ecstasy of excitement, my burning cheek pressed against the impeccable linen of the pillow and the pounding of my heart mimicking that of the great pistons ceaselessly thrusting the train that bore me through the night, away from Paris, away from girlhood, away from the white, enclosed quietude of my mother's apartment, into the unguessable country of marriage.

And I remember I tenderly imagined how, at this very moment, my mother would be moving slowly about the narrow bedroom I had left behind for ever, folding up and putting away all my little relics, the tumbled garments I would not need any more, the scores for which there had been no room in my trunks, the concert programmes I'd abandoned; she would linger over this torn ribbon and that faded photograph with all the half-joyous, half-sorrowful emotions of a woman on her daughter's wedding day. And, in the midst of my bridal triumph, I felt a pang of loss as if, when he put the gold band on my finger, I had, in some way, ceased to be her child in becoming his wife.

Are you sure, she'd said when they delivered the gigantic box that held the wedding dress he'd bought me, wrapped up in tissue paper and red ribbon like a Christmas gift of crystallized fruit. Are you sure you love him? There was a dress for her, too; black silk, with the dull, prismatic sheen of oil on water, finer than anything she'd worn since that adventurous girlhood in Indo-China, daughter of a rich tea planter. My eagle-featured, indomitable mother; what other student at the Conservatoire could boast that her mother had outfaced a junkful of Chinese pirates, nursed a village through a visitation of the plague, shot a man-eating tiger with her own hand and all before she was as old as I?

'Are you sure you love him?'

'I'm sure I want to marry him,' I said.

And would say no more. She sighed, as if it was with reluctance that she might at last banish the spectre of poverty from its habitual place at our meagre table. For my mother herself had gladly, scandalously, defiantly beggared herself for love; and, one fine day, her gallant soldier never returned from the wars, leaving his wife and child a legacy of tears that never quite dried, a cigar box full of medals and the antique service revolver that my mother, grown magnificently eccentric in hardship, kept always in her reticule, in case--how I teased her--she was surprised by footpads on her way home from the grocer's shop.

Now and then a starburst of lights spattered the drawn blinds as if the railway company had lit up all the stations through which we passed in celebration of the bride. My satin nightdress had just been shaken from its wrappings; it had slipped over my young girl's pointed breasts and shoulders, supple as a garment of heavy water, and now teasingly caressed me, egregious, insinuating, nudging between my thighs as I shifted restlessly in my narrow berth. His kiss, his kiss with tongue and teeth in it and a rasp of beard, had hinted to me, though with the same exquisite tact as this nightdress he'd given me, of the wedding night, which would be voluptuously deferred until we lay in his great ancestral bed in the sea-girt, pinnacled domain that lay, still, beyond the grasp of my imagination ... that magic place, the fairy castle whose walls were made of foam, that legendary habitation in which he had been born. To which, one day, I might bear an heir. Our destination, my destiny.

Above the syncopated roar of the train, I could hear his even, steady breathing. Only the communicating door kept me from my husband and it stood open. If I rose up on my elbow, I could see the dark, leonine shape of his head and my nostrils caught a whiff of the opulent male scent of leather and spices that always accompanied him and sometimes, during his courtship, had been the only hint he gave me that he had come into my mother's sitting room, for, though he was a big man, he moved as softly as if all his shoes had soles of velvet, as if his footfall turned the carpet into snow.

He had loved to surprise me in my abstracted solitude at the piano. He would tell them not to announce him, then soundlessly open the door and softly creep up behind me with his bouquet of hot-house flowers or his box of marrons glacs, lay his offering upon the keys and clasp his hands over my eyes as I was lost in a Debussy prelude. But that perfume of spiced leather always betrayed him; after my first shock, I was forced always to mimic surprise, so that he would not be disappointed.

He was older than I. He was much older than I; there were streaks of pure silver in his dark mane. But his strange, heavy, almost waxen face was not lined by experience. Rather, experience seemed to have washed it perfectly smooth, like a stone on a beach whose fissures have been eroded by successive tides. And sometimes that face, in stillness when he listened to me playing, with the heavy eyelids folded over eyes that always disturbed me by their absolute absence of light, seemed to me like a mask, as if his real face, the face that truly reflected all the life he had led in the world before he met me, before, even, I was born, as though that face lay underneath this mask. Or else, elsewhere. As though he had laid by the face in which he had lived for so long in order to offer my youth a face unsigned by the years.

And, elsewhere, I might see him plain. Elsewhere. But, where?

In, perhaps, that castle to which the train now took us, that marvellous castle in which he had been born.

Even when he asked me to marry him, and I said: 'Yes,' still he did not lose that heavy, fleshy composure of his. I know it must seem a curious analogy, a man with a flower, but sometimes he seemed to me like a lily. Yes. A lily. Possessed of that strange, ominous calm of a sentient vegetable, like one of those cobra-headed, funereal lilies whose white sheaths are curled out of a flesh as thick and tensely yielding to the touch as vellum. When I said that I would marry him, not one muscle in his face stirred, but he let out a long, extinguished sigh. I thought: Oh! how he must want me! And it was as though the imponderable weight of his desire was a force I might not withstand, not by virtue of its violence but because of its very gravity.

He had the ring ready in a leather box lined with crimson velvet, a fire opal the size of a pigeon's egg set in a complicated circle of dark antique gold. My old nurse, who still lived with my mother and me, squinted at the ring askance: opals are bad luck, she said. But this opal had been his own mother's ring, and his grandmother's, and her mother's before that, given to an ancestor by Catherine de Medici ... every bride that came to the castle wore it, time out of mind. And did he give it to his other wives and have it back from them? asked the old woman rudely; yet she was a snob. She hid her incredulous joy at my marital coup--her little Marquise--behind a faade of fault-finding. But, here, she touched me. I shrugged and turned my back pettishly on her. I did not want to remember how he had loved other women before me, but the knowledge often teased me in the threadbare self-confidence of the small hours.

I was seventeen and knew nothing of the world; my Marquis had been married before, more than once, and I remained a little bemused that, after those others, he should now have chosen me. Indeed, was he not still in mourning for his last wife? Tsk, tsk, went my old nurse.

And even my mother had been reluctant to see her girl whisked off by a man so recently bereaved. A Romanian countess, a lady of high fashion. Dead just three short months before I met him, a boating accident, at his home, in Brittany. They never found her body but I rummaged through the back copies of the society magazines my old nanny kept in a trunk under her bed and tracked down her photograph. The sharp muzzle of a pretty, witty, naughty monkey; such potent and bizarre charm, of a dark, bright, wild yet worldly thing whose natural habitat must have been some luxurious interior decorator's jungle filled with potted palms and tame, squawking parakeets.

Before that? Her face is common property; everyone painted her but the Redon engraving I liked best, The Evening Star Walking on the Rim of Night. To see her skeletal, enigmatic grace, you would never think she had been a barmaid in a caf in Montmartre until Puvis de Chavannes saw her and had her expose her flat breasts and elongated thighs to his brush. And yet it was the absinthe doomed her, or so they said.

The first of all his ladies? That sumptuous diva; I had heard her sing Isolde, precociously musical child that I was, taken to the opera for a birthday treat. My first opera; I had heard her sing Isolde. With what white-hot passion had she burned from the stage! So that you could tell she would die young. We sat high up, halfway to heaven in the gods, yet she half-blinded me. And my father, still alive (oh, so long ago), took hold of my sticky little hand, to comfort me, in the last act, yet all I heard was the glory of her voice.

Married three times within my own brief lifetime to three different graces, now, as if to demonstrate the eclecticism of his taste, he had invited me to join this gallery of beautiful women, I, the poor widow's child with my mouse-coloured hair that still bore the kinks of the plaits from which it had so recently been freed, my bony hips, my nervous, pianist's fingers.

He was rich as Croesus. The night before our wedding--a simple affair, at the Mairie, because his countess was so recently gone--he took my mother and me, curious coincidence, to see Tristan. And, do you know, my heart swelled and ached so during the Liebestod that I thought I must truly love him. Yes. I did. On his arm, all eyes were upon me. The whispering crowd in the foyer parted like the Red Sea to let us through. My skin crisped at his touch.

How my circumstances had changed since the first time I heard those voluptuous chords that carry such a charge of deathly passion in them! Now, we sat in a loge, in red velvet armchairs, and a braided, bewigged flunkey brought us a silver bucket of iced champagne in the interval. The froth spilled over the rim of my glass and drenched my hands, I thought: My cup runneth over. And I had on a Poiret dress. He had prevailed upon my reluctant mother to let him buy my trousseau; what would I have gone to him in, otherwise? Twice-darned underwear, faded gingham, serge skirts, hand-me-downs. So, for the opera, I wore a sinuous shift of white muslin tied with a silk string under the breasts. And everyone stared at me. And at his wedding gift.

His wedding gift, clasped round my throat. A choker of rubies, two inches wide, like an extraordinarily precious slit throat.

After the Terror, in the early days of the Directory, the aristos who'd escaped the guillotine had an ironic fad of tying a red ribbon round their necks at just the point where the blade would have sliced it through, a red ribbon like the memory of a wound. And his grandmother, taken with the notion, had her ribbon made up in rubies; such a gesture of luxurious defiance! That night at the opera comes back to me even now ... the white dress; the frail child within it; and the flashing crimson jewels round her throat, bright as arterial blood.

I saw him watching me in the gilded mirrors with the assessing eye of a connoisseur inspecting horseflesh, or even of a housewife in the market, inspecting cuts on the slab. I'd never seen, or else had never acknowledged, that regard of his before, the sheer carnal avarice of it; and it was strangely magnified by the monocle lodged in his left eye. When I saw him look at me with lust, I dropped my eyes but, in glancing away from him, I caught sight of myself in the mirror. And I saw myself, suddenly, as he saw me, my pale face, the way the muscles in my neck stuck out like thin wire. I saw how much that cruel necklace became me. And, for the first time in my innocent and confined life, I sensed in myself a potentiality for corruption that took my breath away.

The next day, we were married.

The train slowed, shuddered to a halt. Lights; clank of metal; a voice declaring the name of an unknown, never-to-be visited station; silence of the night; the rhythm of his breathing, that I should sleep with, now, for the rest of my life. And I could not sleep. I stealthily sat up, raised the blind a little and huddled against the cold window that misted over with the warmth of my breathing, gazing out at the dark platform towards those rectangles of domestic lamplight that promised warmth, company, a supper of sausages hissing in a pan on the stove for the station master, his children tucked up in bed asleep in the brick house with the painted shutters ... all the paraphernalia of the everyday world from which I, with my stunning marriage, had exiled myself.

Into marriage, into exile; I sensed it, I knew it--that, henceforth, I would always be lonely. Yet that was part of the already familiar weight of the fire opal that glimmered like a gypsy's magic ball, so that I could not take my eyes off it when I played the piano. This ring, the bloody bandage of rubies, the wardrobe of clothes from Poiret and Worth, his scent of Russian leather--all had conspired to seduce me so utterly that I could not say I felt one single twinge of regret for the world of tar-tines and maman that now receded from me as if drawn away on a string, like a child's toy, as the train began to throb again as if in delighted anticipation of the distance it would take me.

The first grey streamers of the dawn now flew in the sky and an eldritch half-light seeped into the railway carriage. I heard no change in his breathing but my heightened, excited senses told me he was awake and gazing at me. A huge man, an enormous man, and his eyes, dark and motionless as those eyes the ancient Egyptians painted upon their sarcophagi, fixed upon me. I felt a certain tension in the pit of my stomach, to be so watched, in such silence. A match struck. He was igniting a Romeo y Julieta fat as a baby's arm.

'Soon,' he said in his resonant voice that was like the tolling of a bell and I felt, all at once, a sharp premonition of dread that lasted only as long as the match flared and I could see his white, broad face as if it were hovering, disembodied, above the sheets, illuminated from below like a grotesque carnival head. Then the flame died, the cigar glowed and filled the compartment with a remembered fragrance that made me think of my father, how he would hug me in a warm fug of Havana, when I was a little girl, before he kissed me and left me and died.

As soon as my husband handed me down from the high step of the train, I smelled the amniotic salinity of the ocean. It was November; the trees, stunted by the Atlantic gales, were bare and the lonely halt was deserted but for his leather-gaitered chauffeur waiting meekly beside the sleek black motor car. It was cold; I drew my furs about me, a wrap of white and black, broad stripes of ermine and sable, with a collar from which my head rose like the calyx of a wildflower. (I swear to you, I had never been vain until I met him.) The bell clanged; the straining train leapt its leash and left us at that lonely wayside halt where only he and I had descended. Oh, the wonder of it; how all that might of iron and steam had paused only to suit his convenience. The richest man in France.

'Madame.'

The chauffeur eyed me; was he comparing me, invidiously, to the countess, the artist's model, the opera singer? I hid behind my furs as if they were a system of soft shields. My husband liked me to wear my opal over my kid glove, a showy, theatrical trick--but the moment the ironic chauffeur glimpsed its simmering flash he smiled, as though it was proof positive I was his master's wife. And we drove towards the widening dawn, that now streaked half the sky with a wintry bouquet of pink of roses, orange of tiger-lilies, as if my husband had ordered me a sky from a florist. The day broke around me like a cool dream.

Sea; sand; a sky that melts into the sea--a landscape of misty pastels with a look about it of being continuously on the point of melting. A landscape with all the deliquescent harmonies of Debussy, of the tudes I played for him, the reverie I'd been playing that afternoon in the salon of the princess where I'd first met him, among the teacups and the little cakes, I, the orphan, hired out of charity to give them their digestive of music.

And, ah! his castle. The faery solitude of the place; with its turrets of misty blue, its courtyard, its spiked gate, his castle that lay on the very bosom of the sea with seabirds mewing about its attics, the casements opening on to the green and purple, evanescent departures of the ocean, cut off by the tide from land for half a day ... that castle, at home neither on the land nor on the water, a mysterious, amphibious place, contravening the materiality of both earth and the waves, with the melancholy of a mermaiden who perches on her rock and waits, endlessly, for a lover who had drowned far away, long ago. That lovely, sad, sea-siren of a place!

The tide was low; at this hour, so early in the morning, the causeway rose up out of the sea. As the car turned on to the wet cobbles between the slow margins of water, he reached out for my hand that had his sultry, witchy ring on it, pressed my fingers, kissed my palm with extraordinary tenderness. His face was as still as ever I'd seen it, still as a pond iced thickly over, yet his lips, that always looked so strangely red and naked between the black fringes of his beard, now curved a little. He smiled; he welcomed his bride home.

No room, no corridor that did not rustle with the sound of the sea and all the ceilings, the walls on which his ancestors in the stern regalia of rank lined up with their dark eyes and white faces, were stippled with refracted light from the waves which were always in motion; that luminous, murmurous castle of which I was the chatelaine, I, the little music student whose mother had sold all her jewellery, even her wedding ring, to pay the fees at the Conservatoire.

First of all, there was the small ordeal of my initial interview with the housekeeper, who kept this extraordinary machine, this anchored, castellated ocean liner, in smooth running order no matter who stood on the bridge; how tenuous, I thought, might be my authority here! She had a bland, pale, impassive, dislikeable face beneath the impeccably starched white linen head-dress of the region. Her greeting, correct but lifeless, chilled me; daydreaming, I dared presume too much on my status ... briefly wondered how I might install my old nurse, so much loved, however cosily incompetent, in her place. Ill-considered schemings! He told me this one had been his foster mother; was bound to his family in the utmost feudal complicity, 'as much part of the house as I am, my dear'. Now her thin lips offered me a proud little smile. She would be my ally as long as I was his. And with that, I must be content.

But, here, it would be easy to be content. In the turret suite he had given me for my very own, I could gaze out over the tumultuous Atlantic and imagine myself the Queen of the Sea. There was a Bechstein for me in the music room and, on the wall, another wedding present--an early Flemish primitive of Saint Cecilia at her celestial organ. In the prim charm of this saint, with her plump, sallow cheeks and crinkled brown hair, I saw myself as I could have wished to be. I warmed to a loving sensitivity I had not hitherto suspected in him. Then he led me up a delicate spiral staircase to my bedroom; before she discreetly vanished, the housekeeper set him chuckling with some, I dare say, lewd blessing for newlyweds in her native Breton. That I did not understand. That he, smiling, refused to interpret.

And there lay the grand, hereditary matrimonial bed, itself the size, almost, of my little room at home, with the gargoyles carved on its surfaces of ebony, vermilion lacquer, gold leaf; and its white gauze curtains, billowing in the sea breeze. Our bed. And surrounded by so many mirrors! Mirrors on all the walls, in stately frames of contorted gold, that reflected more white lilies than I'd ever seen in my life before. He'd filled the room with them, to greet the bride, the young bride. The young bride, who had become that multitude of girls I saw in the mirrors, identical in their chic navy blue tailor-mades, for travelling, madame, or walking. A maid had dealt with the furs. Henceforth, a maid would deal with everything.

'See,' he said, gesturing towards those elegant girls. 'I have acquired a whole harem for myself!'

I found that I was trembling. My breath came thickly. I could not meet his eye and turned my head away, out of pride, out of shyness, and watched a dozen husbands approach me in a dozen mirrors and slowly, methodically, teasingly, unfasten the buttons of my jacket and slip it from my shoulders. Enough! No; more! Off comes the skirt; and, next, the blouse of apricot linen that cost more than the dress I had for first communion. The play of the waves outside in the cold sun glittered on his monocle; his movements seemed to me deliberately coarse, vulgar. The blood rushed to my face again, and stayed there.

And yet, you see, I guessed it might be so--that we should have a formal disrobing of the bride, a ritual from the brothel. Sheltered as my life had been, how could I have failed, even in the world of prim bohemia in which I lived, to have heard hints of his world?

He stripped me, gourmand that he was, as if he were stripping the leaves off an artichoke--but do not imagine much finesse about it; this artichoke was no particular treat for the diner nor was he yet in any greedy haste. He approached his familiar treat with a weary appetite. And when nothing but my scarlet, palpitating core remained, I saw, in the mirror, the living image of an etching by Rops from the collection he had shown me when our engagement permitted us to be alone together ... the child with her sticklike limbs, naked but for her button boots, her gloves, shielding her face with her hand as though her face were the last repository of her modesty; and the old, monocled lecher who examined her, limb by limb. He in his London tailoring; she, bare as a lamb chop. Most pornographic of all confrontations. And so my purchaser unwrapped his bargain. And, as at the opera, when I had first seen my flesh in his eyes, I was aghast to feel myself stirring.

At once he closed my legs like a book and I saw again the rare movement of his lips that meant he smiled.

Not yet. Later. Anticipation is the greater part of pleasure, my little love.

And I began to shudder, like a racehorse before a race, yet also with a kind of fear, for I felt both a strange, impersonal arousal at the thought of love and at the same time a repugnance I could not stifle for his white, heavy flesh that had too much in common with the armfuls of arum lilies that filled my bedroom in great glass jars, those undertakers' lilies with the heavy pollen that powders your fingers as if you had dipped them in turmeric. The lilies I always associate with him; that are white. And stain you.

This scene from a voluptuary's life was now abruptly terminated. It turns out he has business to attend to; his estates, his companies--even on your honeymoon? Even then, said the red lips that kissed me before he left me alone with my bewildered senses--a wet, silken brush from his beard; a hint of the pointed tip of the tongue. Disgruntled, I wrapped a neglige of antique lace around me to sip the little breakfast of hot chocolate the maid brought me; after that, since it was second nature to me, there was nowhere to go but the music room and soon I settled down at my piano.

Yet only a series of subtle discords flowed from beneath my fingers: out of tune ... only a little out of tune; but I'd been blessed with perfect pitch and could not bear to play any more. Sea breezes are bad for pianos; we shall need a resident piano-tuner on the premises if I'm to continue with my studies! I flung down the lid in a little fury of disappointment; what should I do now, how shall I pass the long, sea-lit hours until my husband beds me?

I shivered to think of that.

His library seemed the source of his habitual odour of Russian leather. Row upon row of calf-bound volumes, brown and olive, with gilt lettering on their spines, the octavo in brilliant scarlet morocco. A deep-buttoned leather sofa to recline on. A lectern, carved like a spread eagle, that held open upon it an edition of Huysmans's L-bas, from some over-exquisite private press; it had been bound like a missal, in brass, with gems of coloured glass. The rugs on the floor, deep, pulsing blues of heaven and red of the heart's dearest blood, came from Isfahan and Bokhara; the dark panelling gleamed; there was the lulling music of the sea and a fire of apple logs. The flames flickered along the spines inside a glass-fronted case that held books still crisp and new. Eliphas Levy; the name meant nothing to me. I squinted at a title or two: The Initiation, The Key of Mysteries, The Secret of Pandora's Box, and yawned. Nothing, here, to detain a seventeen-year-old girl waiting for her first embrace. I should have liked, best of all, a novel in yellow paper; I wanted to curl up on the rug before the blazing fire, lose myself in a cheap novel, munch sticky liqueur chocolates. If I rang for them, a maid would bring me chocolates.

Nevertheless, I opened the doors of that bookcase idly to browse. And I think I knew, I knew by some tingling of the fingertips, even before I opened that slim volume with no title at all on the spine, what I should find inside it. When he showed me the Rops, newly bought, dearly prized, had he not hinted that he was a connoisseur of such things? Yet I had not bargained for this, the girl with tears hanging on her cheeks like stuck pearls, her cunt a split fig below the great globes of her buttocks on which the knotted tails of the cat were about to descend, while a man in a black mask fingered with his free hand his prick, that curved upwards like the scimitar he held. The picture had a caption: 'Reproof of curiosity'. My mother, with all the precision of her eccentricity, had told me what it was that lovers did; I was innocent but not nave. The Adventures of Eulalie at the Harem of the Grand Turk had been printed, according to the flyleaf, in Amsterdam in 1748, a rare collector's piece. Had some ancestor brought it back himself from that northern city? Or had my husband bought it for himself, from one of those dusty little bookshops on the Left Bank where an old man peers at you through spectacles an inch thick, daring you to inspect his wares ... I turned the pages in the anticipation of fear; the print was rusty. Here was another steel engraving: 'Immolation of the wives of the Sultan'. I knew enough for what I saw in that book to make me gasp.

There was a pungent intensification of the odour of leather that suffused his library; his shadow fell across the massacre.

'My little nun has found the prayerbooks, has she?' he demanded, with a curious mixture of mockery and relish; then, seeing my painful, furious bewilderment, he laughed at me aloud, snatched the book from my hands and put it down on the sofa.

'Have the nasty pictures scared Baby? Baby mustn't play with grownups' toys until she's learned how to handle them, must she?'

Then he kissed me. And with, this time, no reticence. He kissed me and laid his hand imperatively upon my breast, beneath the sheath of ancient lace. I stumbled on the winding stair that led to the bedroom, to the carved, gilded bed on which he had been conceived. I stammered foolishly: We've not taken luncheon yet; and, besides, it is broad daylight...

All the better to see you.

He made me put on my choker, the family heirloom of one woman who had escaped the blade. With trembling fingers, I fastened the thing about my neck. It was cold as ice and chilled me. He twined my hair into a rope and lifted it off my shoulders so that he could the better kiss the downy furrows below my ears; that made me shudder. And he kissed those blazing rubies, too. He kissed them before he kissed my mouth. Rapt, he intoned:' Of her apparel she retains/Only her sonorous jewellery.'

A dozen husbands impaled a dozen brides while the mewing gulls swung on invisible trapezes in the empty air outside.

I was brought to my senses by the insistent shrilling of the telephone. He lay beside me, felled like an oak, breathing stertorously, as if he had been fighting with me. In the course of that one-sided struggle, I had seen his deathly composure shatter like a porcelain vase flung against a wall; I had heard him shriek and blaspheme at the orgasm; I had bled. And perhaps I had seen his face without its mask; and perhaps I had not. Yet I had been infinitely dishevelled by the loss of my virginity.

I gathered myself together, reached into the cloisonne cupboard beside the bed that concealed the telephone and addressed the mouthpiece. His agent in New York. Urgent.

I shook him awake and rolled over on my side, cradling my spent body in my arms. His voice buzzed like a hive of distant bees. My husband. My husband, who, with so much love, filled my bedroom with lilies until it looked like an embalming parlour. Those somnolent lilies, that wave their heavy heads, distributing their lush, insolent incense reminiscent of pampered flesh.

When he'd finished with the agent, he turned to me and stroked the ruby necklace that bit into my neck, but with such tenderness now, that I ceased flinching and he caressed my breasts. My dear one, my little love, my child, did it hurt her? He's so sorry for it, such impetuousness, he could not help himself; you see, he loves her so ... and this lover's recitative of his brought my tears in a flood. I clung to him as though only the one who had inflicted the pain could comfort me for suffering it. For a while, he murmured to me in a voice I'd never heard before, a voice like the soft consolations of the sea. But then he unwound the tendrils of my hair from the buttons of his smoking jacket, kissed my cheek briskly and told me the agent from New York had called with such urgent business that he must leave as soon as the tide was low enough. Leave the castle? Leave France! And would be away for at least six weeks.

'But it is our honeymoon!'

A deal, an enterprise of hazard and chance involving several millions, lay in the balance, he said. He drew away from me into that waxworks stillness of his; I was only a little girl, I did not understand. And, he said unspoken to my wounded vanity, I have had too many honeymoons to find them in the least pressing commitments. I know quite well that this child I've bought with a handful of coloured stones and the pelts of dead beasts won't run away. But, after he'd called his Paris agent to book a passage for the States next day--just one tiny call, my little one--we should have time for dinner together.

And I had to be content with that,

A Mexican dish of pheasant with hazelnuts and chocolate; salad; white, voluptuous cheese; a sorbet of muscat grapes and Asti spumante. A celebration of Krug exploded festively. And then acrid black coffee in precious little cups so fine it shadowed the birds with which they were painted. I had Cointreau, he had cognac in the library, with the purple velvet curtains drawn against the night, where he took me to perch on his knee in a leather armchair beside the flickering log fire. He had made me change into that chaste little Poiret shift of white muslin; he seemed especially fond of it, my breasts showed through the flimsy stuff, he said, like little soft white doves that sleep, each one, with a pink eye open. But he would not let me take off my ruby choker, although it was growing very uncomfortable, nor fasten up my descending hair, the sign of a virginity so recently ruptured that still remained a wounded presence between us. He twined his fingers in my hair until I winced; I said, I remember, very little.

'The maid will have changed our sheets already,' he said. 'We do not hang the bloody sheets out of the window to prove to the whole of Brittany you are a virgin, not in these civilized times. But I should tell you it would have been the first time in all my married lives I could have shown my interested tenants such a flag.'

Then I realized, with a shock of surprise, how it must have been my innocence that captivated him--the silent music, he said, of my unknowingness, like La Terrasse des audiences au clair de lune played upon a piano with keys of ether. You must remember how ill at ease I was in that luxurious place, how unease had been my constant companion during the whole length of my courtship by this grave satyr who now gently martyrized my hair. To know that my naivety gave him some pleasure made me take heart. Courage! I shall act the fine lady to the manner born one day, if only by virtue of default.

Then, slowly yet teasingly, as if he were giving a child a great, mysterious treat, he took out a bunch of keys from some interior hidey-hole in his jacket--key after key, a key, he said, for every lock in the house. Keys of all kinds--huge, ancient things of black iron; others slender, delicate, almost baroque; wafer-thin Yale keys for safes and boxes. And, during his absence, it was I who must take care of them all.

I eyed the heavy bunch with circumspection. Until that moment, I had not given a single thought to the practical aspects of marriage with a great house, great wealth, a great man, whose key ring was as crowded as that of a prison warder. Here were the clumsy and archaic keys for the dungeons, for dungeons we had in plenty although they had been converted to cellars for his wines; the dusty bottles inhabited in racks all those deep holes of pain in the rock on which the castle was built. These are the keys to the kitchens, this is the key to the picture gallery, a treasure house filled by five centuries of avid collectors--ah! he foresaw I would spend hours there.

He had amply indulged his taste for the Symbolists, he told me with a glint of greed. There was Moreau's great portrait of his first wife, the famous Sacrificial Victim with the imprint of the lacelike chains on her pellucid skin. Did I know the story of the painting of that picture? How, when she took off her clothes for him for the first time, she fresh from her bar in Montmartre, she had robed herself involuntarily in a blush that reddened her breasts, her shoulders, her arms, her whole body? He had thought of that story, of that dear girl, when first he had undressed me ... Ensor, the great Ensor, his monolithic canvas: The Foolish Virgins. Two or three late Gauguins, his special favourite the one of the tranced brown girl in the deserted house which was called: Out of the Night We Come, Into the Night We Go. And, besides the additions he had made himself, his marvellous inheritance of Watteaus, Poussins and a pair of very special Fragonards, commissioned for a licentious ancestor who, it was said, had posed for the master's brush himself with his own two daughters ... He broke off his catalogue of treasures abruptly.

Your thin white face, chrie; he said, as if he saw it for the first time. Your thin white face, with its promise of debauchery only a connoisseur could detect.

A log fell in the fire, instigating a shower of sparks; the opal on my finger spurted green flame. I felt as giddy as if I were on the edge of a precipice; I was afraid, not so much of him, of his monstrous presence, heavy as if he had been gifted at birth with more specific gravity than the rest of us, the presence that, even when I thought myself most in love with him, always subtly oppressed me ... No. I was not afraid of him; but of myself. I seemed reborn in his unreflective eyes, reborn in unfamiliar shapes. I hardly recognized myself from his descriptions of me and yet, and yet--might there not be a grain of beastly truth hi them? And, in the red firelight, I blushed again, unnoticed, to think he might have chosen me because, in my innocence, he sensed a rare talent for corruption.

Here is the key to the china cabinet--don't laugh, my darling; there's a king's ransom in Svres in that closet, and a queen's ransom in Limoges. And a key to the locked, barred room where five generations of plate were kept.

Keys, keys, keys. He would trust me with the keys to his office, although I was only a baby; and the keys to his safes, where he kept the jewels I should wear, he promised me, when we returned to Paris. Such jewels! Why, I would be able to change my earrings and necklaces three times a day, just as the Empress Josephine used to change her underwear. He doubted, he said, with that hollow, knocking sound that served him for a chuckle, I would be quite so interested in his share certificates although they, of course, were worth infinitely more.

Outside our firelit privacy, I could hear the sound of the tide drawing back from the pebbles of the foreshore; it was nearly time for him to leave me. One single key remained unaccounted for on the ring and he hesitated over it; for a moment, I thought he was going to unfasten it from its brothers, slip it back into his pocket and take it away with him.

'What is that key?' I demanded, for his chaffing had made me bold. 'The key to your heart? Give it me!'

He dangled the key tantalizingly above my head, out of reach of my straining fingers; those bare red lips of his cracked sidelong in a smile.

'Ah, no,' he said. 'Not the key to my heart. Rather, the key to my enfer.'

He left it on the ring, fastened the ring together, shook it musically, like a carillon. Then threw the keys in a jingling heap in my lap. I could feel the cold metal chilling my thighs through my thin muslin frock. He bent over me to drop a beard-masked kiss on my forehead.

'Every man must have one secret, even if only one, from his wife,' he said. 'Promise me this, my whey-faced piano-player; promise me you'll use all the keys on the ring except that last little one I showed you. Play with anything you find, jewels, silver plate; make toy boats of my share certificates, if it pleases you, and send them sailing off to America after me. All is yours, everywhere is open to you--except the lock that this single key fits. Yet all it is is the key to a little room at the foot of the west tower, behind the still-room, at the end of a dark little corridor full of horrid cobwebs that would get into your hair and frighten you if you ventured there. Oh, and you'd find it such a dull little room! But you must promise me, if you love me, to leave it well alone. It is only a private study, a hideaway, a "den", as the English say, where I can go, sometimes, on those infrequent yet inevitable occasions when the yoke of marriage seems to weigh too heavily on my shoulders. There I can go, you understand, to savour the rare pleasure of imagining myself wifeless.'

There was a little thin starlight in the courtyard as, wrapped in my furs, I saw him to his car. His last words were, that he had telephoned the mainland and taken a piano-tuner on to the staff; this man would arrive to take up his duties the next day. He pressed me to his vicua breast, once, and then drove away.

I had drowsed away that afternoon and now I could not sleep. I lay tossing and turning in his ancestral bed until another daybreak discoloured the dozen mirrors that were iridescent with the reflections of the sea. The perfume of the lilies weighed on my senses; when I thought that, henceforth, I would always share these sheets with a man whose skin, as theirs did, contained that toad-like, clammy hint of moisture, I felt a vague desolation that within me, now my female wound had healed, there had awoken a certain queasy craving like the cravings of pregnant women for the taste of coal or chalk or tainted food, for the renewal of his caresses. Had he not hinted to me, in his flesh as in his speech and looks, of the thousand, thousand baroque intersections of flesh upon flesh? I lay in our wide bed accompanied by, a sleepless companion, my dark newborn curiosity.

I lay in bed alone. And I longed for him. And he disgusted me.

Were there jewels enough in all his safes to recompense me for this predicament? Did all that castle hold enough riches to recompense me for the company of the libertine with whom I must share it? And what, precisely, was the nature of my desirous dread for this mysterious being who, to show his mastery over me, had abandoned me on my wedding night?

Then I sat straight up in bed, under the sardonic masks of the gargoyles carved above me, riven by a wild surmise. Might he have left me, not for Wall Street but for an importunate mistress tucked away God knows where who knew how to pleasure him far better than a girl whose fingers had been exercised, hitherto, only by the practice of scales and arpeggios? And, slowly, soothed, I sank back on to the heaping pillows; I acknowledged that the jealous scare I'd just given myself was not unmixed with a little tincture of relief.

At last I drifted into slumber, as daylight filled the room and chased bad dreams away. But the last thing I remembered, before I slept, was the tall jar of lilies beside the bed, how the thick glass distorted their fat stems so they looked like arms, dismembered arms, drifting drowned in greenish water.

Coffee and croissants to console this bridal, solitary waking. Delicious. Honey, too, in a section of comb on a glass saucer. The maid squeezed the aromatic juice from an orange into a chilled goblet while I watched her as I lay in the lazy, midday bed of the rich. Yet nothing, this morning, gave me more than a fleeting pleasure except to hear that the piano-tuner had been at work already. When the maid told me that, I sprang out of bed and pulled on my old serge skirt and flannel blouse, costume of a student, in which I felt far more at ease with myself than in any of my fine new clothes.

After my three hours of practice, I called the piano-tuner in, to thank him. He was blind, of course; but young, with a gentle mouth and grey eyes that fixed upon me although they could not see me. He was a blacksmith's son from the village across the causeway; a chorister in the church whom the good priest had taught a trade so that he could make a living. All most satisfactory. Yes. He thought he would be happy here. And if, he added shyly, he might sometimes be allowed to hear me play ... for, you see, he loved music. Yes. Of course, I said. Certainly. He seemed to know that I had smiled.

After I dismissed him, even though I'd woken so late, it was still barely time for my 'five o'clock'. The housekeeper, who, thoughtfully forewarned by my husband, had restrained herself from interrupting my music, now made me a solemn visitation with a lengthy menu for a late luncheon. When I told her I did not need it, she looked at me obliquely, along her nose. I understood at once that one of my principal functions as chatelaine was to provide work for the staff. But, all the same, I asserted myself and said I would wait until dinner-time, although I looked forward nervously to the solitary meal. Then I found I had to tell her what I would like to have prepared for me; my imagination, still that of a schoolgirl, ran riot. A fowl in cream--or should I anticipate Christmas with a varnished turkey? No; I have decided. Avocado and shrimp, lots of it, followed by no entre at all. But surprise me for dessert with every ice-cream in the ice box. She noted all down but sniffed; I'd shocked her. Such tastes! Child that I was, I giggled when she left me.

But, now ... what shall I do, now?

I could have spent a happy hour unpacking the trunks that contained my trousseau but the maid had done that already, the dresses, the tailor-mades hung in the wardrobe in my dressing room, the hats on wooden heads to keep their shape, the shoes on wooden feet as if all these inanimate objects were imitating the appearance of life, to mock me. I did not like to linger in my overcrowded dressing room, nor in my lugubriously lily-scented bedroom. How shall I pass the time?

I shall take a bath in my own bathroom! And found the taps were little dolphins made of gold, with chips of turquoise for eyes. And there was a tank of goldfish, who swam in and out of moving fronds of weeds, as bored, I thought, as I was. How I wished he had not left me. How I wished it were possible to chat with, say, a maid; or, the piano-tuner ... but I knew already my new rank forbade overtures of friendship to the staff.

I had been hoping to defer the call as long as I could, so that I should have something to look forward to in the dead waste of time I foresaw before me, after my dinner was done with, but, at a quarter before seven, when darkness already surrounded the castle, I could contain myself no longer. I telephoned my mother. And astonished myself by bursting into tears when I heard her voice.

No, nothing was the matter. Mother, I have gold bath taps.

I said, gold bath taps!

No; I suppose that's nothing to cry about, Mother.

The line was bad, I could hardly make out her congratulations, her questions, her concern, but I was a little comforted when I put the receiver down.

Yet there still remained one whole hour to dinner and the whole, unimaginable desert of the rest of the evening.

The bunch of keys lay, where he had left them, on the rug before the library fire which had warmed their metal so that they no longer felt cold to the touch but warm, almost, as my own skin. How careless I was; a maid, tending the logs, eyed me reproachfully as if I'd set a trap for her as I picked up the clinking bundle of keys, the keys to the interior doors of this lovely prison of which I was both the inmate and the mistress and had scarcely seen. When I remembered that, I felt the exhilaration of the explorer.

Lights! More lights!

At the touch of a switch, the dreaming library was brilliantly illuminated. I ran crazily about the castle, switching on every light I could find--I ordered the servants to light up all their quarters, too, so the castle would shine like a seaborne birthday cake lit with a thousand candles, one for every year of its life, and everybody on shore would wonder at it. When everything was lit as brightly as the caf in the Gare du Nord, the significance of the possessions implied by that bunch of keys no longer intimidated me, for I was determined, now, to search through them all for evidence of my husband's true nature. His office first, evidently.

A mahogany desk half a mile wide, with an impeccable blotter and a bank of telephones. I allowed myself the luxury of opening the safe that contained the jewellery and delved sufficiently among the leather boxes to find out how my marriage had given me access to a jinn's treasury--parures, bracelets, rings ... While I was thus surrounded by diamonds, a maid knocked on the door and entered before I spoke; a subtle discourtesy. I would speak to my husband about it. She eyed my serge skirt superciliously; did madame plan to dress for dinner?

She made a moue of disdain when I laughed to hear that, she was far more the lady than I. But, imagine--to dress up in one of my Poiret extravaganzas, with the jewelled turban and aigrette on my head, roped with pearl to the navel, to sit down all alone in the baronial dining hall at the head of that massive board at which King Mark was reputed to have fed his knights ... I grew calmer under the cold eye of her disapproval. I adopted the crisp inflections of an officer's daughter. No, I would not dress for dinner. Furthermore, I was not hungry enough for dinner itself. She must tell the housekeeper to cancel the dormitory feast I'd ordered. Could they leave me sandwiches and a flask of coffee in my music room? And would they all dismiss for the night?

Mais oui, madame.

I knew by her bereft intonation I had let them down again but I did not care; I was armed against them by the brilliance of his hoard. But I would not find his heart amongst the glittering stones; as soon as she had gone, I began a systematic search of the drawers of his desk.

All was in order, so I found nothing. Not a random doodle on an old envelope, nor the faded photograph of a woman. Only the files of business correspondence, the bills from the home farms, the invoices from tailors, the billets-doux from international financiers. Nothing. And this absence of the evidence of his real life began to impress me strangely; there must, I thought, be a great deal to conceal if he takes such pains to hide it.

His office was a singularly impersonal room, facing inwards, on to the courtyard, as though he wanted to turn his back on the siren sea in order to keep a clear head while he bankrupted a small businessman in Amsterdam or--I noticed with a thrill of distaste--engaged in some business in Laos that must, from certain cryptic references to his amateur botanist's enthusiasm for rare poppies, be to do with opium. Was he not rich enough to do without crime? Or was the crime itself his profit? And yet I saw enough to appreciate his zeal for secrecy.

Now I had ransacked his desk, I must spend a cool-headed quarter of an hour putting every last letter back where I had found it, and, as I covered the traces of my visit, by some chance, as I reached inside a little drawer that had stuck fast, I must have touched a hidden spring, for a secret drawer flew open within that drawer itself; and this secret drawer contained--at last!--a file marked: Personal.

I was alone, but for my reflection in the uncurtained window.

I had the brief notion that his heart, pressed flat as a flower, crimson and thin as tissue paper, lay in this file. It was a very thin one.

I could have wished, perhaps, I had not found that touching, ill-spelt note, on a paper napkin marked La Coupole, that began: 'My darling, I cannot wait for the moment when you may make me yours completely.' The diva had sent him a page of the score of Tristan, the Liebestod, with the single, cryptic word: 'Until...' scrawled across it. But the strangest of all these love letters was a postcard with a view of a village graveyard, among mountains, where some black-coated ghoul enthusiastically dug at a grave; this little scene, executed with the lurid exuberance of Grand Guignol, was captioned: 'Typical Transylvanian Scene--Midnight, All Hallows.' And, on the other side, the message: 'On the occasion of this marriage to the descendant of Dracula--always remember, "the supreme and unique pleasure of love is the certainty that one is doing evil". Toutes amitis, C.'

A joke. A joke in the worst possible taste; for had he not been married to a Romanian countess? And then I remembered her pretty, witty face, and her name--Carmilla. My most recent predecessor in this castle had been, it would seem, the most sophisticated.

I put away the file, sobered. Nothing in my life of family love and music had prepared me for these grown-up games and yet these were clues to his self that showed me, at least, how much he had been loved, even if they did not reveal any good reason for it. But I wanted to know still more; and, as I closed the office door and locked it, the means to discover more fell in my way.

Fell, indeed; and with the clatter of a dropped canteen of cutlery, for, as I turned the slick Yale lock, I contrived, somehow, to open up the key ring itself, so that all the keys tumbled loose on the floor. And the very first key I picked out of that pile was, as luck or ill fortune had it, the key to the room he had forbidden me, the room he would keep for his own so that he could go there when he wished to feel himself once more a bachelor.

I made my decision to explore it before I felt a faint resurgence of my ill-defined fear of his waxen stillness. Perhaps I half-imagined, then, that I might find his real self in his den, waiting there to see if indeed I had obeyed him; that he had sent a moving figure of himself to New York, the enigmatic, self-sustaining carapace of his public person, while the real man, whose face I had glimpsed in the storm of orgasm, occupied himself with pressing private business in the study at the foot of the west tower, behind the still-room. Yet, if that were so, it was imperative that I should find him, should know him; and I was too deluded by his apparent taste for me to think my disobedience might truly offend him.

I took the forbidden key from the heap and left the others lying there.

It was now very late and the castle was adrift, as far as it could go from the land, in the middle of the silent ocean where, at my orders, it floated, like a garland of light. And all silent, all still, but for the murmuring of the waves.

I felt no fear, no intimation of dread. Now I walked as firmly as I had done in my mother's house.

Not a narrow, dusty little passage at all; why had he lied to me? But an ill-lit one, certainly; the electricity, for some reason, did not extend here, so I retreated to the still-room and found a bundle of waxed tapers in a cupboard, stored there with matches to light the oak board at grand dinners. I put a match to my little taper and advanced with it in my hand, like a penitent, along the corridor hung with heavy, I think Venetian, tapestries. The flame picked out, here, the head of a man, there, the rich breast of a woman spilling through a rent in her dress--the Rape of the Sabines, perhaps? The naked swords and immolated horses suggested some grisly mythological subject. The corridor wound downwards; there was an almost imperceptible ramp to the thickly carpeted floor. The heavy hangings on the wall muffled my footsteps, even my breathing. For some reason, it grew very warm; the sweat sprang out in beads on my brow. I could no longer hear the sound of the sea.

A long, a winding corridor, as if I were in the viscera of the castle; and this corridor led to a door of worm-eaten oak, low, round-topped, barred with black iron.

And still I felt no fear, no raising of the hairs on the back of the neck, no prickling of the thumbs.

The key slid into the new lock as easily as a hot knife into butter.

No fear; but a hesitation, a holding of the spiritual breath.

If I had found some traces of his heart in a file marked: Personal, perhaps, here, in his subterranean privacy, I might find a little of his soul. It was the consciousness of the possibility of such a discovery, of its possible strangeness, that kept me for a moment motionless, before, in the foolhardiness of my already subtly tainted innocence, I turned the key and the door creaked slowly back.

'There is a striking resemblance between the act of love and the ministrations of a torturer,' opined my husband's favourite poet; I had learned something of the nature of that similarity on my marriage bed. And now my taper showed me the outlines of a rack. There was also a great wheel, like the ones I had seen in woodcuts of the martyrdoms of the saints, in my old nurse's little store of holy books. And--just one glimpse of it before my little flame caved in and I was left in absolute darkness--a metal figure, hinged at the side, which I knew to be spiked on the inside and to have the name: the Iron Maiden.

Absolute darkness. And, about me, the instruments of mutilation.

Until that moment, this spoiled child did not know she had inherited nerves and a will from the mother who had defied the yellow outlaws of Indo-China; My mother's spirit drove me on, into that dreadful place, in a cold ecstasy to know the very worst. I fumbled for the matches in my pocket; what a dim, lugubrious light they gave! And yet, enough, oh, more than enough, to see a room designed for desecration and some dark night of unimaginable lovers whose embraces were annihilation.

The walls of this stark torture chamber were the naked rock; they gleamed as if they were sweating with fright. At the four corners of the room were funerary urns, of great antiquity, Etruscan, perhaps, and, on three-legged ebony stands, the bowls of incense he had left burning which filled the room with a sacerdotal reek. Wheel, rack and Iron Maiden were, I saw, displayed as grandly as if they were items of statuary and I was almost consoled, then, and almost persuaded myself that I might have stumbled only upon a little museum of his perversity, that he had installed these monstrous items here only for contemplation.

Yet at the centre of the room lay a catafalque, a doomed, ominous bier of Renaissance workmanship, surrounded by long white candles and, at its foot, an armful of the same lilies with which he had filled my bedroom, stowed in a four-foot-high jar glazed with a sombre Chinese red. I scarcely dared examine this catafalque and its occupant more closely; yet I knew I must.

Each time I struck a match to light those candles round her bed, it seemed a garment of that innocence of mine for which he had lusted fell away from me.

The opera singer lay, quite naked, under a thin sheet of very rare and precious linen, such as the princes of Italy used to shroud those whom they had poisoned. I touched her, very gently, on the white breast; she was cool, he had embalmed her. On her throat I could see the blue imprint of his strangler's fingers. The cool, sad flame of the candles flickered on her white, closed eyelids. The worst thing was, the dead lips smiled.

Beyond the catafalque, in the middle of the shadows, a white, nacreous glimmer; as my eyes accustomed themselves to the gathering darkness, I at last--oh, horrors!--made out a skull; yes, a skull, so utterly denuded, now, of flesh, that it scarcely seemed possible the stark bone had once been richly upholstered with life. And this skull was strung up by a system of unseen cords, so that it appeared to hang, disembodied, in the still, heavy air, and it had been crowned with a wreath of white roses, and a veil of lace, the final image of his bride.

Yet the skull was still so beautiful, had shaped with its sheer planes so imperiously the face that had once existed above it, that I recognized her the moment I saw her; face of the evening star walking on the rim of night. One false step, oh, my poor, dear girl, next in the fated sisterhood of his wives; one false step and into the abyss of the dark you stumbled.

And where was she, the latest dead, the Romanian countess who might have thought her blood would survive his depredations? I knew she must be here, in the place that had wound me through the castle towards it on a spool of inexorability. But, at first, I could see no sign of her. Then, for some reason--perhaps some change of atmosphere wrought by my presence--the metal shell of the Iron Maiden emitted a ghostly twang; my feverish imagination might have guessed its occupant was trying to clamber out, though, even in the midst of my rising hysteria, I knew she must be dead to find a home there.

With trembling fingers, I prised open the front of the upright coffin, with its sculpted face caught in a rictus of pain. Then, overcome, I dropped the key I still held in my other hand. It dropped into the forming pool of her blood.

She was pierced, not by one but by a hundred spikes, this child of the land of the vampires who seemed so newly dead, so full of blood ... oh God! how recently had he become a widower? How long had he kept her in this obscene cell? Had it been all the time he had courted me, in the clear light of Paris?

I closed the lid of her coffin very gently and burst into a tumult of sobbing that contained both pity for his other victims and also a dreadful anguish to know I, too, was one of them.

The candles flared, as if in a draught from a door to elsewhere. The light caught the fire opal on my hand so that it flashed, once, with a baleful light, as if to tell me the eye of God--his eye--was upon me. My first thought, when I saw the ring for which I had sold myself to this fate, was, how to escape it.

I retained sufficient presence of mind to snuff out the candles round the bier with my fingers, to gather up my taper, to look around, although shuddering, to ensure I had left behind me no traces of my visit.

I retrieved the key from the pool of blood, wrapped it in my handkerchief to keep my hands clean, and fled the room, slamming the door behind me. It crashed to with a juddering reverberation, like the door of hell.

I could not take refuge in my bedroom, for that retained the memory of his presence trapped in the fathomless silvering of his mirrors. My music room seemed the safest place, although I looked at the picture of Saint Cecilia with a faint dread; what had been the nature of her martyrdom? My mind was in a tumult; schemes for flight jostled with one another ... as soon as the tide receded from the causeway, I would make for the mainland--on foot, running, stumbling; I did not trust that leather-clad chauffeur, nor the well-behaved housekeeper, and I dared not take any of the pale, ghostly maids into my confidence, either, since they were his creatures, all. Once at the village, I would fling myself directly on the mercy of the gendarmerie.

But--could I trust them, either? His forefathers had ruled this coast for eight centuries, from this castle whose moat was the Atlantic. Might not the police, the advocates, even the judge, all be in his service, turning a common blind eye to his vices since he was milord whose word must be obeyed? Who, on this distant coast, would believe the white-faced girl from Paris who came running to them with a shuddering tale of blood, of fear, of the ogre murmuring in the shadows? Or, rather, they would immediately know it to be true. But were all honour-bound to let me carry it no further.

Assistance. My mother. I ran to the telephone; and the line, of course, was dead.

Dead as his wives.

A thick darkness, unlit by any star, still glazed the windows. Every lamp in my room burned, to keep the dark outside, yet it seemed still to encroach on me, to be present beside me but as if masked by my lights, the night like a permeable substance that could seep into my skin. I looked at the precious little clock made from hypocritically innocent flowers long ago, in Dresden; the hands had scarcely moved one single hour forward from when I first descended to that private slaughterhouse of his. Time was his servant, too; it would trap me, here, in a night that would last until he came back to me, like a black sun on a hopeless morning.

And yet the time might still be my friend; at that hour, that very hour, he set sail for New York.

To know that, in a few moments, my husband would have left France calmed my agitation a little. My reason told me I had nothing to fear; the tide that would take him away to the New World would let me out of the imprisonment of the castle. Surely I could easily evade the servants. Anybody can buy a ticket at a railway station. Yet I was still rilled with unease. I opened the lid of the piano; perhaps I thought my own particular magic might help me, now, that I could create a pentacle out of music that would keep me from harm for, if my music had first ensnared him, then might it not also give me the power to free myself from him?

Mechanically, I began to play but my fingers were stiff and shaking. At first, I could manage nothing better than the exercises of Czerny but simply the act of playing soothed me and, for solace, for the sake of the harmonious rationality of its sublime mathematics, I searched among his scores until I found The Well-Tempered Clavier. I set myself the therapeutic task of playing all Bach's equations, every one, and, I told myself, if I played them all through without a single mistake--then the morning would find me once more a virgin.

Crash of a dropped stick.

His silver-headed cane! What else? Sly, cunning, he had returned; he was waiting for me outside the door!

I rose to my feet; fear gave me strength. I flung back my head defiantly.

'Come in!' My voice astonished me by its firmness, its clarity.

The door slowly, nervously opened and I saw, not the massive, irredeemable bulk of my husband but the slight, stooping figure of the piano-tuner, and he looked far more terrified of me than my mother's daughter would have been of the Devil himself. In the torture chamber, it seemed to me that I would never laugh again; now, helplessly, laugh I did, with relief, and, after a moment's hesitation, the boy's face softened and he smiled a little, almost in shame. Though they were blind, his eyes were singularly sweet.

'Forgive me,' said Jean-Yves. 'I know I've given you grounds for dismissing me, that I should be crouching outside your door at midnight ... but I heard you walking about, up and down--I sleep in a room at the foot of the west tower--and some intuition told me you could not sleep and might, perhaps, pass the insomniac hours at your piano. And I could not resist that. Besides, I stumbled over these--'

And he displayed the ring of keys I'd dropped outside my husband's office door, the ring from which one key was missing. I took them from him, looked round for a place to stow them, fixed on the piano stool as if to hide them would protect me. Still he stood smiling at me. How hard it was to make everyday conversation.

'It's perfect,' I said. 'The piano. Perfectly in tune.'

But he was full of the loquacity of embarrassment, as though I would only forgive him for his impudence if he explained the cause of it thoroughly.

'When I heard you play this afternoon, I thought I'd never heard such a touch. Such technique. A treat for me, to hear a virtuoso! So I crept up to your door now, humbly as a little dog might, madame, and put my ear to the keyhole and listened, and listened--until my stick fell to the floor through a momentary clumsiness of mine, and I was discovered.'

He had the most touchingly ingenuous smile.

'Perfectly in tune,' I repeated. To my surprise, now I had said it, I found I could not say anything else. I could only repeat: 'In tune ... perfect ... in tune,' over and over again. I saw a dawning surprise in his face. My head throbbed. To see him, in his lovely, blind humanity, seemed to hurt me very piercingly, somewhere inside my breast; his figure blurred, the room swayed about me. After the dreadful revelation of that bloody chamber, it was his tender look that made me faint.

When I recovered consciousness, I found I was lying in the piano-tuner's arms and he was tucking the satin cushion from the piano-stool under my head.

'You are in some great distress,' he said. 'No bride should suffer so much, so early in her marriage.'

His speech had the rhythms of the countryside, the rhythms of the tides.

'Any bride brought to this castle should come ready dressed in mourning, should bring a priest and a coffin with her,' I said.

'What's this?'

It was too late to keep silent; and if he, too, were one of my husband's creatures, then at least he had been kind to me. So I told him everything, the keys, the interdiction, my disobedience, the room, the rack, the skull, the corpses, the blood.

'I can scarcely believe it,' he said, wondering. 'That man ... so rich; so well-born.'

'Here's proof,' I said and tumbled the fatal key out of my handkerchief on to the silken rug.

'Oh God,' he said. 'I can smell the blood.'

He took my hand; he pressed his arms about me. Although he was scarcely more than a boy, I felt a great strength flow into me from his touch.

'We whisper all manner of strange tales up and down the coast,' he said.' There was a Marquis, once, who used to hunt young girls on the mainland; he hunted them with dogs, as though they were foxes. My grandfather had it from his grandfather, how the Marquis pulled a head out of his saddle bag and showed it to the blacksmith while the man was shoeing his horse. "A fine specimen of the genus, brunette, eh, Guillaume?" And it was the head of the blacksmith's wife.'

But, in these more democratic times, my husband must travel as far as Paris to do his hunting in the salons. Jean-Yves knew the moment I shuddered.

'Oh, madame! I thought all these were old wives' tales, chattering of fools, spooks to scare bad children into good behaviour! Yet how could you know, a stranger, that the old name for this place is the Castle of Murder?'

How could I know, indeed? Except that, in my heart, I'd always known its lord would be the death of me.

'Hark!' said my friend suddenly. 'The sea has changed key; it must be near morning, the tide is going down.'

He helped me up. I looked from the window, towards the mainland, along the causeway where the stones gleamed wetly in the thin light of the end of the night and, with an almost unimaginable horror, a horror the intensity of which I cannot transmit to you, I saw, in the distance, still far away yet drawing moment by moment inexorably nearer, the twin headlamps of his great black car, gouging tunnels through the shifting mist.

My husband had indeed returned; this time, it was no fancy.

'The key!' said Jean-Yves. 'It must go back on the ring, with the others. As though nothing had happened.'

But the key was still caked with wet blood and I ran to my bathroom and held it under the hot tap. Crimson water swirled down the basin but, as if the key itself were hurt, the bloody token stuck. The turquoise eyes of the dolphin taps winked at me derisively; they knew my husband had been too clever for me! I scrubbed the stain with my nail brush but still it would not budge. I thought how the car would be rolling silently towards the closed courtyard gate; the more I scrubbed the key, the more vivid grew the stain.

The bell in the gatehouse would jangle. The porter's drowsy son would push back the patchwork quilt, yawning, pull the shirt over his head, thrust his feet into his sabots ... slowly, slowly; open the door for your master as slowly as you can ...

And still the bloodstain mocked the fresh water that spilled from the mouth of the leering dolphin.

'You have no more time,' said Jean-Yves. 'He is here. I know it. I must stay with you.'

'You shall not!' I said. 'Go back to your room, now. Please.'

He hesitated. I put an edge of steel in my voice, for I knew I must meet my lord alone.

'Leave me!'

As soon as he had gone, I dealt with the keys and went to my bedroom. The causeway was empty; Jean-Yves was correct, my husband had already entered the castle. I pulled the curtains close, stripped off my clothes and pulled the bedcurtains round me as a pungent aroma of Russian leather assured me my husband was once again beside me.

'Dearest!'

With the most treacherous, lascivious tenderness, he kissed my eyes, and, mimicking the new bride newly wakened, I flung my arms around him, for on my seeming acquiescence depended my salvation.

'Da Silva of Rio outwitted me,' he said wryly.' My New York agent telegraphed Le Havre and saved me a wasted journey. So we may resume our interrupted pleasures, my love.'

I did not believe one word of it. I knew I had behaved exactly according to his desires; had he not bought me so that I should do so? I had been tricked into my own betrayal to that illimitable darkness whose source I had been compelled to seek in his absence and, now that I had met that shadowed reality of his that came to life only in the presence of its own atrocities, I must pay the price of my new knowledge. The secret of Pandora's box; but he had given me the box, himself, knowing I must learn the secret. I had played a game in which every move was governed by a destiny as oppressive and omnipotent as himself, since that destiny was himself; and I had lost. Lost at that charade of innocence and vice in which he had engaged me. Lost, as the victim loses to the executioner.

His hand brushed my breast, beneath the sheet. I strained my nerves yet could not help but flinch from the intimate touch, for it made me think of the piercing embrace of the Iron Maiden and of his lost lovers in the vault. When he saw my reluctance, his eyes veiled over and yet his appetite did not diminish. His tongue ran over red lips already wet. Silent, mysterious, he moved away from me to draw off his jacket. He took the gold watch from his waistcoat and laid it on the dressing table, like a good bourgeois; scooped out his raiding loose change and now--oh God!--makes a great play of patting his pockets officiously, puzzled lips pursed, searching for something that has been mislaid. Then turns to me with a ghastly, a triumphant smile.

'But of course! I gave the keys to you!'

'Your keys? Why, of course. Here, they're under the pillow; wait a moment--what--Ah! No ... now, where can I have left them? I was whiling away the evening without you at the piano, I remember. Of course! The music room!'

Brusquely he flung my nglig of antique lace on the bed.

'Go and get them.'

'Now? This moment? Can't it wait until morning, my darling?'

I forced myself to be seductive. I saw myself, pale, pliant as a plant that begs to be trampled underfoot, a dozen vulnerable, appealing girls reflected in as many mirrors, and I saw how he almost failed to resist me. If he had come to me in bed, I would have strangled him, then.

But he half-snarled: 'No. It won't wait. Now.'

The unearthly light of dawn filled the room; had only one previous dawn broken upon me in that vile place? And there was nothing for it but to go and fetch the keys from the music stool and pray he would not examine them too closely, pray to God his eyes would fail him, that he might be struck blind.

When I came back into the bedroom carrying the bunch of keys that jangled at every step like a curious musical instrument, he was sitting on the bed in his immaculate shirtsleeves, his head sunk in his hands.

And it seemed to me he was in despair.

Strange. In spite of my fear of him, that made me whiter than my wrap, I felt there emanate from him, at that moment, a stench of absolute despair, rank and ghastly, as if the lilies that surrounded him had all at once begun to fester, or the Russian leather of his scent were reverting to the elements of flayed hide and excrement of which it was composed. The chthonic gravity of his presence exerted a tremendous pressure on the room, so that the blood pounded in my ears as if we had been precipitated to the bottom of the sea, beneath the waves that pounded against the shore.

I held my life in my hands amongst those keys and, in a moment, would place it between his well-manicured fingers. The evidence of that bloody chamber had showed me I could expect no mercy. Yet, when he raised his head and stared at me with his blind, shuttered eyes as though he did not recognize me, I felt a terrified pity for him, for this man who lived in such strange, secret places that, if I loved him enough to follow him, I should have to die.

The atrocious loneliness of that monster!

The monocle had fallen from his face. His curling mane was disordered, as if he had run his hands through it in his distraction. I saw how he had lost his impassivity and was now filled with suppressed excitement. The hand he stretched out for those counters in his game of love and death shook a little; the face that turned towards me contained a sombre delirium that seemed to me compounded of a ghastly, yes, shame but also of a terrible, guilty joy as he slowly ascertained how I had sinned.

That tell-tale stain had resolved itself into a mark the shape and brilliance of the heart on a playing card. He disengaged the key from the ring and looked at it for a while, solitary, brooding.

'It is the key that leads to the kingdom of the unimaginable,' he said. His voice was low and had in it the timbre of certain great cathedral organs that seem, when they are played, to be conversing with God.

I could not restrain a sob.

'Oh, my love, my little love who brought me a white gift of music,' he said, almost as if grieving. 'My little love, you'll never know how much I hate daylight!"

Then he sharply ordered: 'Kneel!'

I knelt before him and he pressed the key lightly to my forehead, held it there for a moment. I felt a faint tingling of the skin and, when I involuntarily glanced at myself in the mirror, I saw the heart-shaped stain had transferred itself to my forehead, to the space between the eyebrows, like the caste mark of a brahmin woman. Or the mark of Cain. And now the key gleamed as freshly as if it had just been cut. He clipped it back on the ring, emitting that same, heavy sigh as he had done when I said that I would marry him.

'My virgin of the arpeggios, prepare yourself for martyrdom.'

'What form shall it take?' I said.

'Decapitation,' he whispered, almost voluptuously. 'Go and bathe yourself; put on that white dress you wore to hear Tristan and the necklace that prefigures your end. And I shall take myself off to the armoury, my dear, to sharpen my great-grandfather's ceremonial sword.'

'The servants?'

'We shall have absolute privacy for our last rites; I have already dismissed them. If you look out of the window you can see them going to the mainland.'

It was now the full, pale light of morning; the weather was grey, indeterminate, the sea had an oily, sinister look, a gloomy day on which to die. Along the causeway I could see trouping every maid and scullion, every pot-boy and pan-scourer, valet, laundress and vassal who worked in that great house, most on foot, a few on bicycles. The faceless housekeeper trudged along with a great basket in which, I guessed, she'd stowed as much as she could ransack from the larder. The Marquis must have given the chauffeur leave to borrow the motor for the day, for it went last of all, at a stately pace, as though the procession were a cortege and the car already bore my coffin to the mainland for. burial.

But I knew no good Breton earth would cover me, like a last, faithful lover; I had another fate.

'I have given them all a day's holiday, to celebrate our wedding,' he said. And smiled.

However hard I stared at the receding company, I could see no sign of Jean-Yves, our latest servant, hired but the preceding morning.

'Go, now. Bathe yourself; dress yourself. The lustratory ritual and the ceremonial robing; after that, the sacrifice. Wait in the music room until I telephone for you. No, my dear!' And he smiled, as I started, recalling the line was dead.' One may call inside the castle just as much as one pleases; but, outside--never.'

I scrubbed my forehead with the nail brush as I had scrubbed the key but this red mark would not go away, either, no matter what I did, and I knew I should wear it until I died, though that would not be long. Then I went to my dressing room and put on that white muslin shift, costume of a victim of an auto-da-f, he had bought me to listen to the Liebestod in. Twelve young women combed out twelve listless sheaves of brown hair in the mirrors; soon, there would be none. The mass of lilies that surrounded me exhaled, now, the odour of their withering. They looked like the trumpets of the angels of death.

On the dressing table, coiled like a snake about to strike, lay the ruby choker.

Already almost lifeless, cold at heart, I descended the spiral staircase to the music room but there I found I had not been abandoned.

'I can be of some comfort to you,' the boy said.' Though not much use.'

We pushed the piano stool in front of the open window so that, for as long as I could, I would be able to smell the ancient, reconciling smell of the sea that, in time, will cleanse everything, scour the old bones white, wash away all the stains. The last little chambermaid had trotted along the causeway long ago and now the tide, fated as I, came tumbling in, the crisp wavelets splashing on the old stones.

'You do not deserve this,' he said.

'Who can say what I deserve or no?' I said. 'I've done nothing; but that may be sufficient reason for condemning me.'

'You disobeyed him,' he said. 'That is sufficient reason for him to punish you.'

'I only did what he knew I would.'

'Like Eve,' he said.

The telephone rang a shrill imperative. Let it ring. But my lover lifted me up and set me on my feet; I knew I must answer it. The receiver felt heavy as earth.

'The courtyard. Immediately.'

My lover kissed me, he took my hand. He would come with me if I would lead him. Courage. When I thought of courage, I thought of my mother. Then I saw a muscle in my lover's face quiver.

'Hoofbeats!' he said.

I cast one last, desperate glance from the window and, like a miracle, I saw a horse and rider galloping at a vertiginous speed along the causeway, though the waves crashed, now, high as the horse's fetlocks. A rider, her black skirts tucked up around her waist so she could ride hard and fast, a crazy, magnificent horsewoman in widow's weeds.

As the telephone rang again.

'Am I to wait all morning?'

Every moment, my mother drew nearer.

'She will be too late,' Jean-Yves said and yet he could not restrain a note of hope that, though it must be so, yet it might not be so.

The third, intransigent call.

'Shall I come up to heaven to fetch you down, Saint Cecilia? You wicked woman, do you wish me to compound my crimes by desecrating the marriage bed?'

So I must go to the courtyard where my husband waited in his London-tailored trousers and the shirt from Turnbull and Asser, beside the mounting block, with, in his hand, the sword which his great-grandfather had presented to the little corporal, in token of surrender to the Republic, before he shot himself. The heavy sword, unsheathed, grey as that November morning, sharp as childbirth, mortal.

When my husband saw my companion, he observed: 'Let the blind lead the blind, eh? But does even a youth as besotted as you are think she was truly blind to her own desires when she took my ring? Give it me back, whore.'

The fires in the opal had all died down. I gladly slipped it from my finger and, even in that dolorous place, my heart was lighter for the lack of it. My husband took it lovingly and lodged it on the tip of his little finger; it would go no further.

'It will serve me for a dozen more fiances,' he said. 'To the block, woman. No--leave the boy; I shall deal with him later, utilizing a less exalted instrument than the one with which I do my wife the honour of her immolation, for do not fear that in death you will be divided.'

Slowly, slowly, one foot before the other, I crossed the cobbles. The longer I dawdled over my execution, the more time it gave the avenging angel to descend ...

'Don't loiter, girl! Do you think I shall lose appetite for the meal if you are so long about serving it? No; I shall grow hungrier, more ravenous with each moment, more cruel ... Run to me, run! I have a place prepared for your exquisite corpse in my display of flesh!'

He raised the sword and cut bright segments from the air with it, but still I lingered although my hopes, so recently raised, now began to flag. If she is not here by now, her horse must have stumbled on the causeway, have plunged into the sea ... One thing only made me glad; that my lover would not see me die.

My husband laid my branded forehead on the stone and, as he had done once before, twisted my hair into a rope and drew it away from my neck.

'Such a pretty neck,' he said with what seemed to be a genuine, retrospective tenderness. 'A neck like the stem of a young plant.'

I felt the silken bristle of his beard and the wet touch of his lips as he kissed my nape. And, once again, of my apparel I must retain only my gems; the sharp blade ripped my dress in two and it fell from me. A little green moss, growing in the crevices of the mounting block, would be the last thing I should see in all the world.

The whizz of that heavy sword.

And--a great battering and pounding at the gate, the jangling of the bell, the frenzied neighing of a horse! The unholy silence of the place shattered in an instant. The blade did not descend, the necklace did not sever, my head did not roll. For, for an instant, the beast wavered in his stroke, a sufficient split second of astonished indecision to let me spring upright and dart to the assistance of my lover as he struggled sightlessly with the great bolts that kept her out.

The Marquis stood transfixed, utterly dazed, at a loss. It must have been as if he had been watching his beloved Tristan for the twelfth, the thirteenth time and Tristan stirred, then leapt from his bier in the last act, announced in a jaunty aria interposed from Verdi that bygones were bygones, crying over spilt milk did nobody any good and, as for himself, he proposed to live happily ever after. The puppet master, open-mouthed, wide-eyed, impotent at the last, saw his dolls break free of their strings, abandon the rituals he had ordained for them since time began and start to live for themselves; the king, aghast, witnesses the revolt of his pawns.

You never saw such a wild thing as my mother, her hat seized by the winds and blown out to sea so that her hair was her white mane, her black lisle legs exposed to the thigh, her skirts tucked round her waist, one hand on the reins of the rearing horse while the other clasped my father's service revolver and, behind her, the breakers of the savage, indifferent sea, like the witnesses of a furious justice. And my husband stood stock-still, as if she had been Medusa, the sword still raised over his head as in those clockwork tableaux of Bluebeard that you see in glass cases at fairs.

And then it was as though a curious child pushed his centime into the slot and set all in motion. The heavy, bearded figure roared out aloud, braying with fury, and, wielding the honourable sword as if it were a matter of death or glory, charged us, all three.

On her eighteenth birthday, my mother had disposed of a man-eating tiger that had ravaged the villages in the hills north of Hanoi. Now, without a moment's hesitation, she raised my father's gun, took aim and put a single, irreproachable bullet through my husband's head.

We lead a quiet life, the three of us. I inherited, of course, enormous wealth but we have given most of it away to various charities. The castle is now a school for the blind, though I pray that the children who live there are not haunted by any sad ghosts looking for, crying for, the husband who will never return to the bloody chamber, the contents of which are buried or burned, the door sealed.

I felt I had a right to retain sufficient funds to start a little music school here, on the outskirts of Paris, and we do well enough. Sometimes we can even afford to go to the Opra, though never to sit in a box, of course. We know we are the source of many whisperings and much gossip but the three of us know the truth of it and mere chatter can never harm us. I can only bless the--what shall I call it?--the maternal telepathy that sent my mother running headlong from the telephone to the station after I had called her, that night. I never heard you cry before, she said, by way of explanation. Not when you were happy. And who ever cried because of gold bath taps?

The night train, the one I had taken; she lay in her berth, sleepless as I had been. When she could not find a taxi at that lonely halt, she borrowed old Dobbin from a bemused farmer, for some internal urgency told her that she must reach me before the incoming tide sealed me away from her for ever. My poor old nurse, left scandalized at home--what? interrupt milord on his honeymoon?--she died soon after. She had taken so much secret pleasure in the fact that her little girl had become a marquise; and now here I was, scarcely a penny the richer, widowed at seventeen in the most dubious circumstances and busily engaged in setting up house with a piano-tuner. Poor thing, she passed away in a sorry state of disillusion! But I do believe my mother loves him as much as I do.

No paint nor powder, no matter how thick or white, can mask that red mark on my forehead; I am glad he cannot see it--not for fear of his revulsion, since I know he sees me clearly with his heart--but, because it spares my shame.

Outside her kitchen window, the hedgerow glistened as if the snow possessed a light of its own; when the sky darkened towards evening, an unearthly, reflected pallor remained behind upon the winter's landscape, while still the soft flakes floated down. This lovely girl, whose skin possesses that same, inner light so you would have thought she, too, was made all of snow, pauses in her chores in the mean kitchen to look out at the country road. Nothing has passed that way all day; the road is white and unmarked as a spilled bolt of bridal satin.

Father said he would be home before nightfall.

The snow brought down all the telephone wires; he couldn't have called, even with the best of news.

The roads are bad. I hope he'll be safe.

But the old car stuck fast in a rut, wouldn't budge an inch; the engine whirred, coughed and died and he was far from home. Ruined, once; then ruined again, as he had learnt from his lawyers that very morning; at the conclusion of the lengthy, slow attempt to restore his fortunes, he had turned out his pockets to find the cash for petrol to take him home. And not even enough money left over to buy his Beauty, his girl-child, his pet, the one white rose she said she wanted; the only gift she wanted, no matter how the case went, how rich he might once again be. She had asked for so little and he had not been able to give it to her. He cursed the useless car, the last straw that broke his spirit; then, nothing for it but to fasten his old sheepskin coat around him, abandon the heap of metal and set off down the snow-filled lane to look for help.

Behind wrought iron gates, a short, snowy drive performed a reticent flourish before a miniature, perfect, Palladian house that seemed to hide itself shyly behind snow-laden skirts of an antique cypress. It was almost night; that house, with its sweet, retiring melancholy grace, would have seemed deserted but for a light that flickered in an upstairs window, so vague it might have been the reflection of a star, if any stars could have penetrated the snow that whirled yet more thickly. Chilled through, he pressed the latch of the gate and saw, with a pang, how, on the withered ghost of a tangle of thorns, there clung, still, the faded rag of a white rose.

The gate clanged loudly shut behind him; too loudly. For an instant, that reverberating clang seemed final, emphatic, ominous as if the gate, now closed, barred all within it from the world outside the walled, wintry garden. And, from a distance, though from what distance he could not tell, he heard the most singular sound in the world: a great roaring, as of a beast of prey.

In too much need to allow himself to be intimidated, he squared up to the mahogany door. This door was equipped with a knocker in the shape of a lion's head, with a ring through the nose; as he raised his hand towards it, it came to him this lion's head was not, as he had thought at first, made of brass, but, instead, of solid gold. Before, however, he could announce his presence, the door swung silently inward on well-oiled hinges and he saw a white hall where the candles of a great chandelier cast their benign light upon so many, many flowers in great, free-standing jars of crystal that it seemed the whole of spring drew him into its warmth with a profound intake of perfumed breath. Yet there was no living person in the hall.

The door behind him closed as silently as it had opened, yet, this time, he felt no fear although he knew by the pervasive atmosphere of a suspension of reality that he had entered a place of privilege where all the laws of the world he knew need not necessarily apply, for the very rich are often very eccentric and the house was plainly that of an exceedingly wealthy man. As it was, when nobody came to help him with his coat, he took it off himself. At that, the crystals of the chandelier tinkled a little, as if emitting a pleased chuckle, and the door of a cloakroom opened of its own accord. There were, however, no clothes at all in this cloakroom, not even the statutory country-house garden mackintosh to greet his own squirearchal sheepskin, but, when he emerged again into the hall, he found a greeting waiting for him at last--there was, of all things, a liver and white King Charles spaniel crouched, with head intelligently cocked, on the Kelim runner. It gave him further, comforting proof of his unseen host's wealth and eccentricity to see the dog wore, in place of a collar, a diamond necklace.

The dog sprang to its feet in welcome and busily shepherded him (how amusing!) to a snug little leather-panelled study on the first floor, where a low table was drawn up to a roaring log fire. On the table, a silver tray; round the neck of the whisky decanter, a silver tag with the legend: Drink me, while the cover of the silver dish was engraved with the exhortation: Eat me, in a flowing hand. This dish contained sandwiches of thick-cut roast beef, still bloody. He drank the one with soda and ate the other with some excellent mustard thoughtfully provided in a stoneware pot, and, when the spaniel saw to it he had served himself, she trotted off about her own business.

All that remained to make Beauty's father entirely comfortable was to find, in a curtained recess, not only a telephone but the card of a garage that advertised a twenty-four-hour rescue service; a couple of calls later and he had confirmed, thank God, there was no serious trouble, only the car's age and the cold weather ... could he pick it up from the village in an hour? And directions to the village, but half a mile away, were supplied, in a new tone of deference, as soon as he described the house from where he was calling.

And he was disconcerted but, in his impecunious circumstances, relieved to hear the bill would go on his hospitable if absent host's account; no question, assured the mechanic. It was the master's custom.

Time for another whisky as he tried, unsuccessfully, to call Beauty and tell her he would be late; but the lines were still down, although, miraculously, the storm had cleared as the moon rose and now a glance between the velvet curtains revealed a landscape as of ivory with an inlay of silver. Then the spaniel appeared again, with his hat in her careful mouth, prettily wagging her tail, as if to tell him it was time to be gone, that this magical hospitality was over.

As the door swung to behind him, he saw the lion's eyes were made of agate.

Great wreaths of snow now precariously curded the rose trees and, when he brushed against a stem on his way to the gate, a chill armful softly thudded to the ground to reveal, as if miraculously preserved beneath it, one last, single, perfect rose that might have been the last rose left living in all the white winter, and of so intense and yet delicate a fragrance it seemed to ring like a dulcimer on the frozen air.

How could his host, so mysterious, so kind, deny Beauty her present?

Not now distant but close at hand, close as that mahogany front door, rose a mighty, furious roaring; the garden seemed to hold its breath in apprehension. But still, because he loved his daughter, Beauty's father stole the rose.

At that, every window of the house blazed with furious light and a fugal baying, as of a pride of lions, introduced his host.

There is always a dignity about great bulk, an assertiveness, a quality of being more there than most of us are. The being who now confronted Beauty's father seemed to him, in his confusion, vaster than the house he owned, ponderous yet swift, and the moonlight glittered on his great, mazy head of hair, on the eyes green as agate, on the golden hairs of the great paws that grasped his shoulders so that their claws pierced the sheepskin as he shook him like an angry child shakes a doll.

This leonine apparition shook Beauty's father until his teeth rattled and then dropped him sprawling on his knees while the spaniel, darting from the open door, danced round them, yapping distractedly, like a lady at whose dinner party blows have been exchanged.

'My good fellow--' stammered Beauty's father; but the only response was a renewed roar.

'Good fellow? I am no good fellow! I am the Beast, and you must call me Beast, while I call you, Thief!'

'Forgive me for robbing your garden, Beast!'

Head of a lion; mane and mighty paws of a lion; he reared on his hind legs like an angry lion yet wore a smoking jacket of dull red brocade and was the owner of that lovely house and the low hills that cupped it.

'It was for my daughter,' said Beauty's father.' All she wanted, in the whole world, was one white, perfect rose.'

The Beast rudely snatched the photograph her father drew from his wallet and inspected it, first brusquely, then with a strange kind of wonder, almost the dawning of surmise. The camera had captured a certain look she had, sometimes, of absolute sweetness and absolute gravity, as if her eyes might pierce appearances and see your soul. When he handed the picture back, the Beast took good care not to scratch the surface with his claws.

'Take her the rose, then, but bring her to dinner,' he growled; and what else was there to be done?

Although her father had told her of the nature of the one who waited for her, she could not control an instinctual shudder of fear when she saw him, for a lion is a lion and a man is a man and, though lions are more beautiful by far than we are, yet they belong to a different order of beauty and, besides, they have no respect for us: why should they? Yet wild things have a far more rational fear of us than is ours of them, and some kind of sadness in his agate eyes, that looked almost blind, as if sick of sight, moved her heart.

He sat, impassive as a figurehead, at the top of the table; the dining room was Queen Anne, tapestried, a gem. Apart from an aromatic soup kept hot over a spirit lamp, the food, though exquisite, was cold--a cold bird, a cold souffl, cheese. He asked her father to serve them from a buffet and, himself, ate nothing. He grudgingly admitted what she had already guessed, that he disliked the presence of servants because, she thought, a constant human presence would remind him too bitterly of his otherness, but the spaniel sat at his feet throughout the meal, jumping up from time to time to see that everything was in order.

How strange he was. She found his bewildering difference from herself almost intolerable; its presence choked her. There seemed a heavy, soundless pressure upon her in his house, as if it lay under water, and when she saw the great paws lying on the arm of his chair, she thought: they are the death of any tender herbivore. And such a one she felt herself to be, Miss Lamb, spotless, sacrificial.

Yet she stayed, and smiled, because her father wanted her to do so; and when the Beast told her how he would aid her father's appeal against the judgement, she smiled with both her mouth and her eyes. But when, as they sipped their brandy, the Beast, in the diffuse, rumbling purr with which he conversed, suggested, with a hint of shyness, of fear of refusal, that she should stay here, with him, in comfort, while her father returned to London to take up the legal cudgels again, she forced a smile. For she knew with a pang of dread, as soon as he spoke, that it would be so and her visit to the Beast must be, on some magically reciprocal scale, the price of her father's good fortune.

Do not think she had no will of her own; only, she was possessed by a sense of obligation to an unusual degree and, besides, she would gladly have gone to the ends of the earth for her father, whom she loved dearly.

Her bedroom contained a marvellous glass bed; she had a bathroom, with towels thick as fleece and vials of suave unguents; and a little parlour of her own, the walls of which were covered with an antique paper of birds of paradise and Chinamen, where there were precious books and pictures and the flowers grown by invisible gardeners in the Beast's hothouses. Next morning, her father kissed her and drove away with a renewed hope about him that made her glad, but, all the same, she longed for the shabby home of their poverty. The unaccustomed luxury about her she found poignant, because it gave no pleasure to its possessor and himself she did not see all day as if, curious reversal, she frightened him, although the spaniel came and sat with her, to keep her company. Today, the spaniel wore a neat choker of turquoises.

Who prepared her meals? Loneliness of the Beast; all the time she stayed there, she saw no evidence of another human presence but the trays of food that arrived on a dumb waiter inside a mahogany cupboard in her parlour. Dinner was eggs Benedict and grilled veal; she ate it as she browsed in a book she had found in the rosewood revolving bookcase, a collection of courtly and elegant French fairy tales about white cats who were transformed princesses and fairies who were birds. Then she pulled a sprig of muscat grapes from a fat bunch for her dessert and found herself yawning; she discovered she was bored. At that, the spaniel took hold of her skirt with its velvet mouth and gave it a firm but gentle tug. She allowed the dog to trot before her to the study in which her father had been entertained and there, to her well-disguised dismay, she found her host, seated beside the fire with a tray of coffee at his elbow from which she must pour.

The voice that seemed to issue from a cave full of echoes, his dark, soft rumbling growl; after her day of pastel-coloured idleness, how could she converse with the possessor of a voice that seemed an instrument created to inspire the terror that the chords of great organs bring? Fascinated, almost awed, she watched the firelight play on the gold fringes of his mane; he was irradiated, as if with a kind of halo, and she thought of the first great beast of the Apocalypse, the winged lion with his paw upon the Gospel, Saint Mark. Small talk turned to dust in her mouth; small talk had never, at the best of times, been Beauty's forte, and she had little practice at it.

But he, hesitantly, as if he himself were in awe of a young girl who looked as if she had been carved out of a single pearl, asked after her father's law case; and her dead mother; and how they, who had been so rich, had come to be so poor. He forced himself to master his shyness, which was that of a wild creature, and so she contrived to master her own--to such effect that soon she was chattering away to him as if she had known him all her life. When the little cupid in the gilt clock on the mantelpiece struck its miniature tambourine, she was astonished to discover it did so twelve times.

'So late! You will want to sleep,' he said.

At that, they both fell silent, as if these strange companions were suddenly overcome with embarrassment to find themselves together, alone, in that room in the depths of the winter's night. As she was about to rise, he flung himself at her feet and buried his head in her lap. She stayed stock-still, transfixed; she felt his hot breath on her fingers, the stiff bristles of his muzzle grazing her skin, the rough lapping of his tongue and then, with a flood of compassion, understood: all he is doing is kissing my hands.

He drew back his head and gazed at her with his green, inscrutable eyes, in which she saw her face repeated twice, as small as if it were in bud. Then, without another word, he sprang from the room and she saw, with an indescribable shock, he went on all fours.

Next day, all day, the hills on which the snow still settled echoed with the Beast's rumbling roar: has master gone a-hunting? Beauty asked the spaniel. But the spaniel growled, almost bad-temperedly, as if to say, that she would not have answered, even if she could have.

Beauty would pass the day in her suite reading or, perhaps, doing a little embroidery; a box of coloured silks and a frame had been provided for her. Or, well wrapped up, she wandered in the walled garden, among the leafless roses, with the spaniel at her heels, and did a little raking and rearranging. An idle, restful time; a holiday. The enchantment of that bright, sad, pretty place enveloped her and she found that, against all her expectations, she was happy there. She no longer felt the slightest apprehension at her nightly interviews with the Beast. All the natural laws of the world were held in suspension, here, where an army of invisibles tenderly waited on her, and she would talk with the lion, under the patient chaperonage of the brown-eyed dog, on the nature of the moon and its borrowed light, about the stars and the substances of which they were made, about the variable transformations of the weather. Yet still his strangeness made her shiver; and when he helplessly fell before her to kiss her hands, as he did every night when they parted, she would retreat nervously into her skin, flinching at his touch.

The telephone shrilled; for her. Her father. Such news!

The Beast sunk his great head on to his paws. You will come back to me? It will be lonely here, without you.

She was moved almost to tears that he should care for her so. It was in her heart to drop a kiss upon his shaggy mane but, though she stretched out her hand towards him, she could not bring herself to touch him of her own free will, he was so different from herself. But, yes, she said; I will come back. Soon, before the winter is over. Then the taxi came and took her away.

You are never at the mercy of the elements in London, where the huddled warmth of humanity melts the snow before it has time to settle; and her father was as good as rich again, since his hirsute friend's lawyers had the business so well in hand that his credit brought them nothing but the best. A resplendent hotel; the opera, theatres; a whole new wardrobe for his darling, so she could step out on his arm to parties, to receptions, to restaurants, and life was as she had never known it, for her father had ruined himself before her birth killed her mother.

Although the Beast was the source of this new-found prosperity and they talked of him often, now that they were so far away from the timeless spell of his house it seemed to possess the radiant and finite quality of dream and the Beast himself, so monstrous, so benign, some kind of spirit of good fortune who had smiled on them and let them go. She sent him flowers, white roses in return for the ones he had given her; and when she left the florist, she experienced a sudden sense of perfect freedom, as if she had just escaped from an unknown danger, had been grazed by the possibility of some change but, finally, left intact. Yet, with this exhilaration, a desolating emptiness. But her father was waiting for her at the hotel; they had planned a delicious expedition to buy her furs and she was as eager for the treat as any girl might be.

Since the flowers in the shop were the same all the year round, nothing in the window could tell her that winter had almost gone.

Returning late from supper after the theatre, she took off her earrings in front of the mirror; Beauty. She smiled at herself with satisfaction. She was learning, at the end of her adolescence, how to be a spoiled child and that pearly skin of hers was plumping out, a little, with high living and compliments. A certain inwardness was beginning to transform the lines around her mouth, those signatures of the personality, and her sweetness and her gravity could sometimes turn a mite petulant when things went not quite as she wanted them to go. You could not have said that her freshness was fading but she smiled at herself in mirrors a little too often, these days, and the face that smiled back was not quite the one she had seen contained in the Beast's agate eyes. Her face was acquiring, instead of beauty, a lacquer of the invincible prettiness that characterizes certain pampered, exquisite, expensive cats.

The soft wind of spring breathed in from the nearby park through the open windows; she did not know why it made her want to cry.

There was a sudden, urgent, scrabbling sound, as of claws, at her door.

Her trance before the mirror broke; all at once, she remembered everything perfectly. Spring was here and she had broken her promise. Now the Beast himself had come in pursuit of her! First, she was frightened of his anger; then, mysteriously joyful, she ran to open the door. But it was his liver and white spotted spaniel who hurled herself into the girl's arms in a flurry of little barks and gruff murmurings, of whimpering and relief.

Yet where was the well-brushed, jewelled dog who had sat beside her embroidery frame in the parlour with birds of paradise nodding on the walls? This one's fringed ears were matted with mud, her coat was dusty and snarled, she was thin as a dog that has walked a long way and, if she had not been a dog, she would have been in tears.

After that first, rapturous greeting, she did not wait for Beauty to order her food and water; she seized the chiffon hem of her evening dress, whimpered and tugged. Threw back her head, howled, then tugged and whimpered again.

There was a slow, late train that would take her to the station where she had left for London three months ago. Beauty scribbled a note for her father, threw a coat round her shoulders. Quickly, quickly, urged the spaniel soundlessly; and Beauty knew the Beast was dying.

In the thick dark before dawn, the station master roused a sleepy driver for her. Fast as you can.

It seemed December still possessed his garden. The ground was hard as iron, the skirts of the dark cypress moved on the chill wind with a mournful rustle and there were no green shoots on the roses as if, this year, they would not bloom. And not one light in any of the windows, only, in the topmost attic, the faintest smear of radiance on a pane, the thin ghost of a light on the verge of extinction.

The spaniel had slept a little, in her arms, for the poor thing was exhausted. But now her grieving agitation fed Beauty's urgency and, as the girl pushed open the front door, she saw, with a thrust of conscience, how the golden door knocker was thickly muffled in black crpe.

The door did not open silently, as before, but with a doleful groaning of the hinges and, this time, on to perfect darkness. Beauty clicked her gold cigarette lighter; the tapers in the chandelier had drowned in their own wax and the prisms were wreathed with drifting arabesques of cobwebs. The flowers in the glass jars were dead, as if nobody had had the heart to replace them after she was gone. Dust, everywhere; and it was cold. There was an air of exhaustion, of despair in the house and, worse, a kind of physical disillusion, as if its glamour had been sustained by a cheap conjuring trick and now the conjurer, having failed to pull the crowds, had departed to try his luck elsewhere.

Beauty found a candle to light her way and followed the faithful spaniel up the staircase, past the study, past her suite, through a house echoing with desertion up a little back staircase dedicated to mice and spiders, stumbling, ripping the hem of her dress in her haste.

What a modest bedroom! An attic, with a sloping roof, they might have given the chambermaid if the Beast had employed staff. A night light on the mantelpiece, no curtains at the windows, no carpet on the floor and a narrow, iron bedstead on which he lay, sadly diminished, his bulk scarcely disturbing the faded patchwork quilt, his mane a greyish rat's nest and his eyes closed. On the stick-backed chair where his clothes had been thrown, the roses she had sent him were thrust into the jug from the washstand but they were all dead.

The spaniel jumped up on the bed and burrowed her way under the scanty covers, softly keening.

'Oh, Beast,' said Beauty. 'I have come home.'

His eyelids flickered. How was it she had never noticed before that his agate eyes were equipped with lids, like those of a man? Was it because she had only looked at her own face, reflected there?

'I'm dying, Beauty,' he said in a cracked whisper of his former purr. 'Since you left me, I have been sick. I could not go hunting, I found I had not the stomach to kill the gentle beasts, I could not eat. I am sick and I must die; but I shall die happy because you have come to say good-bye to me.'

She flung herself upon him, so that the iron bedstead groaned, and covered his poor paws with her kisses.

'Don't die, Beast! If you'll have me, I'll never leave you.' When her lips touched the meat-hook claws, they drew back into their pads and she saw how he had always kept his fists clenched but now, painfully, tentatively, at last began to stretch his fingers. Her tears fell on his face like snow and, under their soft transformation, the bones showed through the pelt, the flesh through the wide, tawny brow. And then it was no longer a lion in her arms but a man, a man with an unkempt mane of hair and, how strange, a broken nose, such as the noses of retired boxers, that gave him a distant, heroic resemblance to the handsomest of all the beasts.

'Do you know,' said Mr Lyon, 'I think I might be able to manage a little breakfast today, Beauty, if you would eat something with me.'

Mr and Mrs Lyon walk in the garden; the old spaniel drowses on the grass, in a drift of fallen petals.

My father lost me to The Beast at cards.

There's a special madness strikes travellers from the North when they reach the lovely land where the lemon trees grow. We come from countries of cold weather; at home, we are at war with nature but here, ah! you think you've come to the blessed plot where the lion lies down with the lamb. Everything flowers; no harsh wind stirs the voluptuous air. The sun spills fruit for you. And the deathly, sensual lethargy of the sweet South infects the starved brain; it gasps: 'Luxury! more luxury!' But then the snow comes, you cannot escape it, it followed us from Russia as if it ran behind our carriage, and in this dark, bitter city has caught up with us at last, flocking against the windowpanes to mock my father's expectations of perpetual pleasure as the veins in his forehead stand out and throb, his hands shake as he deals the Devil's picture books.

The candles dropped hot, acrid gouts of wax on my bare shoulders. I watched with the furious cynicism peculiar to women whom circumstances force mutely to witness folly, while my father, fired in his desperation by more and yet more draughts of the firewater they call 'grappa', rids himself of the last scraps of my inheritance. When we left Russia, we owned black earth, blue forest with bear and wild boar, serfs, cornfields, farmyards, my beloved horses, white nights of cool summer, the fireworks of the northern lights. What a burden all those possessions must have been to him, because he laughs as if with glee as he beggars himself; he is in such a passion to donate all to The Beast.

Everyone who comes to this city must play a hand with the grand seigneur; few come. They did not warn us at Milan, or, if they did, we did not understand them--my limping Italian, the bewildering dialect of the region. Indeed, I myself spoke up in favour of this remote, provincial place, out of fashion two hundred years, because, oh irony, it boasted no casino. I did not know that the price of a stay in its Decembral solitude was a game with Milord.

The hour was late. The chill damp of this place creeps into the stones, into your bones, into the spongy pith of the lungs; it insinuated itself with a shiver into our parlour, where Milord came to play in the privacy essential to him. Who could refuse the invitation his valet brought to our lodging? Not my profligate father, certainly; the mirror above the table gave me back his frenzy, my impassivity, the withering candles, the emptying bottles, the coloured tide of the cards as they rose and fell, the still mask that concealed all the features of The Beast but for the yellow eyes that strayed, now and then, from his unfurled hand towards myself.

'La Bestia!' said our landlady, gingerly fingering an envelope with his huge crest of a tiger rampant on it, something of fear, something of wonder in her face. And I could not ask her why they called the master of the place, 'La Bestia'--was it to do with that heraldic signature?--because her tongue was so thickened by the phlegmy, bronchitic speech of the region I scarcely managed to make out a thing she said except, when she saw me: 'Che bella!'

Since I could toddle, always the pretty one, with my glossy, nut-brown curls, my rosy cheeks. And born on Christmas Day--her 'Christmas rose', my English nurse called me. The peasants said: 'The living image of her mother,' crossing themselves out of respect for the dead. My mother did not blossom long; bartered for her dowry to such a feckless sprig of the Russian nobility that she soon died of his gaming, his whoring, his agonizing repentances. And The Beast gave me the rose from his own impeccable if outmoded buttonhole when he arrived, the valet brushing the snow off his black cloak. This white rose, unnatural, out of season, that now my nervous fingers ripped, petal by petal, apart as my father magnificently concluded the career he had made of catastrophe.

This is a melancholy, introspective region; a sunless, featureless landscape, the sullen river sweating fog, the shorn, hunkering willows. And a cruel city; the sombre piazza, a place uniquely suited to public executions, under the heeding shadow of that malign barn of a church. They used to hang condemned men in cages from the city walls; unkindness comes naturally to them, their eyes are set too close together, they have thin lips. Poor food, pasta soaked in oil, boiled beef with sauce of bitter herbs. A funereal hush about the place, the inhabitants huddled up against the cold so you can hardly see their faces. And they lie to you and cheat you, innkeepers, coachmen, everybody. God, how they fleeced us!

The treacherous South, where you think there is no winter but forget you take it with you.

My senses were increasingly troubled by the fuddling perfume of Milord, far too potent a reek of purplish civet at such close quarters in so small a room. He must bathe himself in scent, soak his shirts and underlinen in it; what can he smell of, that needs so much camouflage?

I never saw a man so big look so two-dimensional, in spite of the quaint elegance of The Beast, in the old-fashioned tailcoat that might, from its looks, have been bought in those distant years before he imposed seclusion on himself; he does not feel he need keep up with the times. There is a crude clumsiness about his outlines, that are on the ungainly, giant side; and he has an odd air of self-imposed restraint, as if fighting a battle with himself to remain upright when he would far rather drop down on all fours. He throws .our human aspirations to the godlike sadly awry, poor fellow; only from a distance would you think The Beast not much different from any other man, although he wears a mask with a man's face painted most beautifully on it. Oh, yes, a beautiful face; but one with too much formal symmetry of feature to be entirely human: one profile of his mask is the mirror image of the other, too perfect, uncanny. He wears a wig, too, false hair tied at the nape with a bow, a wig of the kind you see in old-fashioned portraits. A chaste silk stock stuck with a pearl hides his throat. And gloves of blond kid that are yet so huge and clumsy they do not seem to cover hands.

He is a carnival figure made of papier mch and crpe hair; and yet he has the Devil's knack at cards.

His masked voice echoes as from a great distance as he stoops over his hand and he has such a growling impediment in his speech that only his valet, who understands him, can interpret for him, as if his master were the clumsy doll and he the ventriloquist.

The wick slumped in the eroded wax, the candles guttered. By the time my rose had lost all its petals, my father, too, was left with nothing.

'Except the girl.'

Gambling is a sickness. My father said he loved me yet he staked his daughter on a hand of cards. He fanned them out; in the mirror, I saw wild hope light up his eyes. His collar was unfastened, his rumpled hair stood up on end, he had the anguish of a man in the last stages of debauchery. The draughts came out of the old walls and bit me, I was colder than I'd ever been in Russia, when nights are coldest there.

A queen, a king, an ace. I saw them in the mirror. Oh, I know he thought he could not lose me; besides, back with me would come all he had lost, the unravelled fortunes of our family at one blow restored. And would he not win, as well, The Beast's hereditary palazzo outside the city; his immense revenues; his lands around the river; his rents, his treasure chest, his Mantegnas, his Giulio Romanos, his Cellini saltcellars, his tides ... the very city itself.

You must not think my father valued me at less than a king's ransom; but, at no more than a king's ransom.

It was cold as hell in the parlour. And it seemed to me, child of the severe North, that it was not my flesh but, truly, my father's soul that was in peril.

My father, of course, believed in miracles; what gambler does not? In pursuit of just such a miracle as this, had we not travelled from the land of bears and shooting stars?

So we teetered on the brink.

The Beast bayed; laid down all three remaining aces.

The indifferent servants now glided smoothly forward as on wheels to douse the candles one by one. To look at them you would think that nothing of any moment had occurred. They yawned a little resentfully; it was almost morning, we had kept them out of bed. The Beast's man brought his cloak. My father sat amongst these preparations for departure, staring on at the betrayal of his cards upon the table.

The Beast's man informed me crisply that he, the valet, would call for me and my bags tomorrow, at ten, and conduct me forthwith to The Beast's palazzo. Capisco? So shocked was I that I scarcely did 'capisco'; he repeated my orders patiently, he was a strange, thin, quick little man who walked with an irregular, jolting rhythm upon splayed feet in curious, wedge-shaped shoes.

Where my father had been red as fire, now he was white as the snow that caked the window-pane. His eyes swam; soon he would cry.

'"Like the base Indian,"' he said; he loved rhetoric. '"One whose hand,/Like the base Indian, threw a pearl away/Richer than all his tribe ..." I have lost my pearl, my pearl beyond price.'

At that, The Beast made a sudden, dreadful noise, halfway between a growl and a roar; the candles flared. The quick valet, the prim hypocrite, interpreted unblinking: 'My master says: If you are so careless of your treasures, you should expect them to be taken from you.'

He gave us the bow and smile his master could not offer us and they departed.

I watched the snow until, just before dawn, it stopped falling; a hard frost settled, next morning there was a light like iron.

The Beast's carriage, of an elegant if antique design, was black as a hearse and it was drawn by a dashing black gelding who blew smoke from his nostrils and stamped upon the packed snow with enough sprightly appearance of life to give me some hope that not all the world was locked in ice, as I was. I had always held a little towards Gulliver's opinion, that horses are better than we are, and, that day, I would have been glad to depart with him to the kingdom of horses, if I'd been given the chance.

The valet sat up on the box in a natty black and gold livery, clasping, of all things, a bunch of his master's damned white roses as if a gift of flowers would reconcile a woman to any humiliation. He sprang down with preternatural agility to place them ceremoniously in my reluctant hand. My tear-beslobbered father wants a rose to show that I forgive him. When I break off a stem, I prick my finger and so he gets his rose all smeared with blood.

The valet crouched at my feet to tuck the rugs about.me with a strange kind of unflattering obsequiousness yet he forgot his station sufficiently to scratch busily beneath his white periwig with an over-supple index finger as he offered me what my old nurse would have called an 'old-fashioned look', ironic, sly, a smidgen of disdain in it. And pity? No pity. His eyes were moist and brown, his face seamed with the innocent cunning of an ancient baby. He had an irritating habit of chattering to himself under his breath all the time as he packed up his master's winnings. I drew the curtains to conceal the sight of my father's farewell; my spite was sharp as broken glass.

Lost to The Beast! And what, I wondered, might be the exact nature of his 'beastliness'? My English nurse once told me about a tiger-man she saw in London, when she was a little girl, to scare me into good behaviour, for I was a wild wee thing and she could not tame me into submission with a frown or the bribe of a spoonful of jam. If you don't stop plaguing the nursemaids, my beauty, the tiger-man will come and take you away. They'd brought him from Sumatra, in the Indies, she said; his hinder parts were all hairy and only from the head downwards did he resemble a man.

And yet The Beast goes always masked; it cannot be his face that looks like mine.

But the tiger-man, in spite of his hairiness, could take a glass of ale in his hand like a good Christian and drink it down. Had she not seen him do so, at the sign of The George, by the steps of Upper Moor Fields when she, was just as high as me and lisped and toddled, too. Then she would sigh for London, across the North Sea of the lapse of years. But, if this young lady was not a good little girl and did not eat her boiled beetroot, then the tiger-man would put on his big black travelling cloak lined with fur, just like your daddy's, and hire the Erl-King's galloper of wind and ride through the night straight to the nursery and--

Yes, my beauty! GOBBLE YOU UP!

How I'd squeal in delighted terror, half believing her, half knowing that she teased me. And there were things I knew that I must not tell her. In our lost farmyard, where the giggling nursemaids initiated me into the mysteries of what the bull did to the cows, I heard about the waggoner's daughter. Hush, hush, don't let on to your nursie we said so; the waggoner's lass, hare-lipped, squint-eyed, ugly as sin, who would have taken her? Yet, to her shame, her belly swelled amid the cruel mockery of the ostlers and her son was born of a bear, they whispered. Born with a full pelt and teeth; that proved it. But, when he grew up, he was a good shepherd, although he never married, lived in a hut outside the village and could make the wind blow any way he wanted to besides being able to tell which eggs would become cocks, which hens.

The wondering peasants once brought my father a skull with horns four inches long on either side of it and would not go back to the field where their poor plough disturbed it until the priest went with them; for this skull had the jaw-bone of a man, had it not?

Old wives' tales, nursery fears! I knew well enough the reason for the trepidation I cosily titillated with superstitious marvels of my childhood on the day my childhood ended. For now my own skin was my sole capital in the world and today I'd make my first investment

We had left the city far behind us and were now traversing a wide, flat dish of snow where the mutilated stumps of the willows flourished their ciliate heads athwart frozen ditches; mist diminished the horizon, brought down the sky until it seemed no more than a few inches above us. As far as eye could see, not one thing living. How starveling, how bereft the dead season of this spurious Eden in which all the fruit was blighted by cold! And my frail roses, already faded. I opened the carriage door and tossed the defunct bouquet into the rucked, frost-stiff mud of the road. Suddenly a sharp, freezing wind arose and pelted my face with a dry rice of powdered snow. The mist lifted sufficiently to reveal before me an acreage of half-derelict faades of sheer red brick, the vast man-trap, the megalomaniac citadel of his palazzo.

It was a world in itself but a dead one, a burned-out planet. I saw The Beast bought solitude, not luxury, with his money.

The little black horse trotted smartly through the figured bronze doors that stood open to the weather like those of a barn and the valet handed me out of the carriage on to the scarred tiles of the great hall itself, into the odorous warmth of a stable, sweet with hay, acrid with horse dung. An equine chorus of neighings and soft drummings of hooves broke out beneath the tall roof, where the beams were scabbed with last summer's swallows' nests; a dozen gracile muzzles lifted from their mangers and turned towards us, ears erect. The Beast had given his horses the use of the dining room. The walls were painted, aptly enough, with a fresco of horses, dogs and men in a wood where fruit and blossom grew on the bough together.

The valet tweaked politely at my sleeve. Milord is waiting.

Gaping doors and broken windows let the wind in everywhere. We mounted one staircase after another, our feet clopping on the marble. Through archways and open doors, I glimpsed suites of vaulted chambers opening one out of another like systems of Chinese boxes into the infinite complexity of the innards of the place. He and I and the wind were the only things stirring; and all the furniture was under dust sheets, the chandeliers bundled up in cloth, pictures taken from their hooks and propped with their faces to the walls as if their master could not bear to look at them. The palace was dismantled, as if its owner were about to move house or had never properly moved in; The Beast had chosen to live in an uninhabited place.

The valet darted me a reassuring glance from his brown, eloquent eyes, yet a glance with so much queer superciliousness in it that it did not comfort me, and went bounding ahead of me on his bandy legs, softly chattering to himself. I held my head high and followed him; but, for all my pride, my heart was heavy.

Milord has his eyrie high above the house, a small, stifling, darkened room; he keeps his shutters locked at noon. I was out of breath by the time we reached it and returned to him the silence with which he greeted me. I will not smile. He cannot smile.

In his rarely disturbed privacy, The Beast wears a garment of Ottoman design, a loose, dull purple gown with gold embroidery round the neck that falls from his shoulders to conceal his feet. The feet of the chair he sits in are handsomely clawed. He hides his hands in his ample sleeves. The artificial masterpiece of his face appals me. A small fire in a small grate. A rushing wind rattles the shutters.

The valet coughed. To him fell the delicate task of transmitting to me his master's wishes.

'My master--'

A stick fell in the grate. It made a mighty clatter in that dreadful silence; the valet started; lost his place in his speech, began again.

'My master has but one desire.'

The thick, rich, wild scent with which Milord had soaked himself the previous evening hangs all about us, ascends in cursive blue from the smoke of a precious Chinese pot.

'He wishes only--'

Now, in the face of my impassivity, the valet twittered, his ironic composure gone, for the desire of a master, however trivial, may yet sound unbearably insolent in the mouth of a servant and his role of go-between clearly caused him a good deal of embarrassment. He gulped; he swallowed, at last contrived to unleash an unpunctuated flood.

'My master's sole desire is to see the pretty young lady unclothed nude without her dress and that only for the one time after which she will be returned to her father undamaged with bankers' orders for the sum which he lost to my master at cards and also a number of fine presents such as furs, jewels and horses--'

I remained standing. During this interview, my eyes were level with those inside the mask that now evaded mine as if, to his credit, he was ashamed of his own request even as his mouthpiece made it for him. Agitato, molto agitato, the valet wrung his white-gloved hands.

'Desnuda--'

I could scarcely believe my ears. I let out a raucous guffaw; no young lady laughs like that! my old nurse used to remonstrate. But I did. And do. At the clamour of my heartless mirth, the valet danced backwards with perturbation, palpitating his fingers as if attempting to wrench them off, expostulating, wordlessly pleading. I felt that I owed it to him to make my reply in as exquisite a Tuscan as I could master.

'You may put me in a windowless room, sir, and I promise you I will pull my skirt up to my waist, ready for you. But there must be a sheet over my face, to hide it; though the sheet must be laid over me so lightly that it will not choke me. So I shall be covered completely from the waist upwards, and no lights. There you can visit me once, sir, and only the once. After that I must be driven directly to the city and deposited in the public square, in front of the church. If you wish to give me money, then I should be pleased to receive it. But I must stress that you should give me only the same amount of money that you would give to any other woman in such circumstances. However, if you choose not to give me a present, then that is your right.'

How pleased I was to see I struck The Beast to the heart! For, after a baker's dozen heartbeats, one single tear swelled, glittering, at the corner of the masked eye. A tear! A tear, I hoped, of shame. The tear trembled for a moment on an edge of painted bone, then tumbled down the painted cheek to fall, with an abrupt tinkle, on the tiled floor.

The valet, ticking and clucking to himself, hastily ushered me out of the room. A mauve cloud of his master's perfume billowed out into the chill corridor with us and dissipated itself on the spinning winds.

A cell had been prepared for me, a veritable cell, windowless, airless, lighdess, in the viscera of the palace. The valet lit a lamp for me; a narrow bed, a dark cupboard with fruit and flowers carved on it bulked out of the gloom.

'I shall twist a noose out of my bed linen and hang myself with it,' I said.

'Oh, no,' said the valet, fixing upon me wide and suddenly melancholy eyes. 'Oh, no, you will not. You are a woman of honour.'

And what was he doing in my bedroom, this jigging caricature of a man? Was he to be my warder until I submitted to The Beast's whim or he to mine? Am I in such reduced circumstances that I may not have a lady's maid? As if in reply to my unspoken demand, the valet clapped his hands.

"To assuage your loneliness, madame ...'

A knocking and clattering behind the door of the cupboard; the door swings open and out glides a soubrette from an operetta, with glossy, nut-brown curls, rosy cheeks, blue, rolling eyes; it takes me a moment to recognize her, in her little cap, her white stockings, her frilled petticoats. She carries a looking glass in one hand and a powder puff in the other and there is a musical box where her heart should be; she tinkles as she rolls towards me on her tiny wheels.

'Nothing human lives here,' said the valet.

My maid halted, bowed; from a split seam at the side of her bodice protrudes the handle of a key. She is a marvellous machine, the most delicately balanced system of cords and pulleys in the world.

'We have dispensed with servants,' the valet said. 'We surround ourselves, instead, for utility and pleasure, with simulacra and find it no less convenient than do most gentlemen.

This clockwork twin of mine halted before me, her bowels churning out a settecento minuet, and offered me the bold carnation of her smile. Click, click--she raises her arm and busily dusts my cheeks with pink, powdered chalk that makes me cough; then thrusts towards me her little mirror.

I saw within it not my own face but that of my father, as if I had put on his face when I arrived at The Beast's palace as the discharge of his debt. What, you self-deluding fool, are you crying still? And drunk, too. He tossed back his grappa and hurled the tumbler away.

Seeing my astonished fright, the valet took the mirror away from me, breathed on it, polished it with the ham of his gloved fist, handed it back to me. Now all I saw was myself, haggard from a sleepless night, pale enough to need my maid's supply of rouge.

I heard the key turn in the heavy door and the valet's footsteps patter down the stone passage. Meanwhile, my double continued to powder the air, emitting her jangling tune but, as it turned out, she was not inexhaustible; soon she was powdering more and yet more languorously, her metal heart slowed in imitation of fatigue, her musical box ran down until the notes separated themselves out of the tune and plopped like single raindrops and, as if sleep had overtaken her, at last she moved no longer. As she succumbed to sleep, I had no option but to do so, too. I dropped on that narrow bed as if felled.

Time passed but I do not know how much; then the valet woke me with rolls and honey. I gestured the tray away but he set it down firmly beside the lamp and took from it a little shagreen box, which he offered to me.

I turned away my head.

'Oh, my lady!' Such hurt cracked his high-pitched voice! He dextrously unfastened the gold clasp; on a bed of crimson velvet lay a single diamond earring, perfect as a tear.

I snapped the box shut and tossed it into a corner. This sudden, sharp movement must have disturbed the mechanism of the doll; she jerked her arm almost as if to reprimand me, letting out a rippling fart of gavotte. Then was still again.

'Very well,' said the valet, put out. And indicated it was time for me to visit my host again. He did not let me wash or comb my hair. There was so little natural light in the interior of the palace that I could not tell whether it was day or night.

You would not think The Beast had budged an inch, since I last saw him; he sat in his huge chair, with his hands in his sleeves, and the heavy air never moved. I might have slept an hour, a night, or a month, but his sculptured calm, the stifling air remained just as it had been. The incense rose from the pot, still traced the same signature on the air. The same fire burned.

Take off my clothes for you, like a ballet girl? Is that all you want of me?

'The sight of a young lady's skin that no man has seen before--' stammered the valet.

I wished I'd rolled in the hay with every lad on my father's farm, to disqualify myself from this humiliating bargain. That he should want so little was the reason why I could not give it; I did not need to speak for The Beast to understand me.

A tear came from his other eye. And then he moved; he buried his cardboard carnival head with its ribboned weight of false hair in, I would say, his arms; he withdrew his, I might say, hands from his sleeves and I saw his furred pads, his excoriating claws.

The dropped tear caught upon his fur and shone. And in my room for hours I hear those paws pad back and forth outside my door.

When the valet arrived again with his silver salver, I had a pair of diamond earrings of the finest water in the world; I threw the other into the corner where the first one lay. The valet twittered with aggrieved regret but did not offer to lead me to The Beast again. Instead, he smiled ingratiatingly and confided: 'My master, he say: invite the young lady to go riding.'

'What's this?'

He briskly mimicked the action of a gallop and, to my amazement, tunelessly croaked: 'Tantivy! tantivy! a-hunting we will go!'

'I'll run away, I'll ride to the city.'

'Oh, no,' he said. 'Are you not a woman of honour?'

He clapped his hands and my maidservant clicked and jangled into the imitation of life. She rolled towards the cupboard where she had come from and reached inside it to fetch out over her synthetic arm my riding habit. Of all things. My very own riding habit, that I'd left behind me in a trunk in a loft in that country house outside Petersburg that we'd lost long ago, before, even, we set out on this wild pilgrimage to the cruel South. Either the very riding habit my old nurse had sewn for me or else a copy of it perfect to the lost button on the right sleeve, the ripped hem held up with a pin. I turned the worn cloth about in my hands, looking for a clue. The wind that sprinted through the palace made the door tremble in its frame; had the north wind blown my garments across Europe to me? At home, the bear's son directed the winds at his pleasure; what democracy of magic held this palace and the fir forest in common? Or, should I be prepared to accept it as proof of the axiom my father had drummed into me: that, if you have enough money, anything is possible?

'Tantivy,' suggested the now twinkling valet, evidently charmed at the pleasure mixed with my bewilderment. The clockwork maid held my jacket out to me and I allowed myself to shrug into it as if reluctantly, although I was half mad to get out into the open air, away from this deathly palace, even in such company.

The doors of the hall let the bright day in; I saw that it was morning. Our horses, saddled and bridled, beasts in bondage, were waiting for us, striking sparks from the tiles with their impatient hooves while their stablemates lolled at ease among the straw, conversing with one another in the mute speech of horses. A pigeon or two, feathers puffed to keep out the cold, strutted about, pecking at ears of corn. The little black gelding who had brought me here greeted me with a ringing neigh that resonated inside the misty roof as in a sounding box and I knew he was meant for me to ride.

I always adored horses, noblest of creatures, such wounded sensitivity in their wise eyes, such rational restraint of energy at their high-strung hindquarters. I lirruped and hurrumphed to my shining black companion and he acknowledged my greeting with a kiss on the forehead from his soft lips. There was a little shaggy pony nuzzling away at the trompe l'oeil foliage beneath the hooves of the painted horses on the wall, into whose saddle the valet sprang with a flourish as of the circus. Then The Beast, wrapped in a black fur-lined cloak, came to heave himself aloft a grave grey mare. No natural horseman he; he clung to her mane like a shipwrecked sailor to a spar.

Cold, that morning, yet dazzling with the sharp winter sunlight that wounds the retina. There was a scurrying wind about that seemed to go with us, as if the masked, immense one who did not speak carried it inside his cloak and let it out at his pleasure, for it stirred the horses' manes but did not lift the lowland mists.

A bereft landscape in the sad browns and sepias of winter lay all about us, the marshland drearily protracting itself towards the wide river. Those decapitated willows. Now and then, the swoop of a bird, its irreconcilable cry.

A profound sense of strangeness slowly began to possess me. I knew my two companions were not, in any way, as other men, the simian retainer and the master for whom he spoke, the one with clawed fore-paws who was in a plot with the witches who let the winds out of their knotted handkerchiefs up towards the Finnish border. I knew they lived according to a different logic than I had done until my father abandoned me to the wild beasts by his human carelessness. This knowledge gave me a certain fearfulness still; but, I would say, not much ... I was a young girl, a virgin, and therefore men denied me rationality just as they denied it to all those who were not exactly like themselves, in all their unreason. If I could see not one single soul in that wilderness of desolation all around me, then the six of us--mounts and riders, both--could boast amongst us not one soul, either, since all the best religions in the world state categorically that not beasts nor women were equipped with the flimsy, insubstantial things when the good Lord opened the gates of Eden and let Eve and her familiars tumble out. Understand, then, that though I would not say I privately engaged in metaphysical speculation as we rode through the reedy approaches to the river, I certainly meditated on the nature of my own state, how I had been bought and sold, passed from hand to hand. That clockwork girl who powdered my cheeks for me; had I not been allotted only the same kind of imitative life amongst men that the doll-maker had given her?

Yet, as to the true nature of the being of this clawed magus who rode his pale horse in a style that made me recall how Kublai Khan's leopards went out hunting on horseback, of that I had no notion.

We came to the bank of the river that was so wide we could not see across it, so still with winter that it scarcely seemed to flow. The horses lowered their heads to drink. The valet cleared his throat, about to speak; we were in a place of perfect privacy, beyond a brake of winter-bare rushes, a hedge of reeds.

'If you will not let him see you without your clothes--'

I involuntarily shook my head--

'--you must, then, prepare yourself for the sight of my master, naked.'

The river broke on the pebbles with a diminishing sigh. My composure deserted me; all at once I was on the brink of panic. I did not think that I could bear the sight of him, whatever he was. The mare raised her dripping muzzle and looked at me keenly, as if urging me. This river broke again at my feet. I was far from home.

'You,' said the valet, 'must.'

When I saw how scared he was I might refuse, I nodded.

The reed bowed down in a sudden snarl of wind that brought with it a gust of the heavy odour of his disguise. The valet held out his master's cloak to screen him from me as he removed the mask. The horses stirred.

The tiger will never lie down with the lamb; he acknowledges no pact that is not reciprocal. The lamb must learn to run with the tigers.

A great, feline, tawny shape whose pelt was barred with a savage geometry of bars the colour of burned wood. His domed, heavy head, so terrible he must hide it. How subtle the muscles, how profound the tread. The annihilating vehemence of his eyes, like twin suns.

I felt my breast ripped apart as if I suffered a marvellous wound.

The valet moved forward as if to cover up his master now the girl had acknowledged him, but I said: 'No.' The tiger sat still as a heraldic beast, in the pact he had made with his own ferocity to do me no harm. He was far larger than I could have imagined, from the poor, shabby things I'd seen once, in the Czar's menagerie at Petersburg, the golden fruit of their eyes dimming, withering in the far North of captivity. Nothing about him reminded me of humanity.

I therefore, shivering, now unfastened my jacket, to show him I would do him no harm. Yet I was clumsy and blushed a little, for no man had seen me naked and I was a proud girl. Pride it was, not shame, that thwarted my fingers so; and a certain trepidation lest this frail little article of human upholstery before him might not be, in itself, grand enough to satisfy his expectations of us, since those, for all I knew, might have grown infinite during the endless time he had been waiting. The wind clattered in the rushes, purled and eddied in the river.

I showed his grave silence my white skin, my red nipples, and the horses turned their heads to watch me, also, as if they, too, were courteously curious as to the fleshly nature of women. Then The Beast lowered his massive head; Enough! said the valet with a gesture. The wind died down, all was still again.

Then they went off together, the valet on his pony, the tiger running before him like a hound, and I walked along the river bank for a while. I felt I was at liberty for the first time in my life. Then the winter sun began to tarnish, a few flakes of snow drifted from the darkening sky and, when I returned to the horses, I found The Beast mounted again on his grey mare, cloaked and masked and once more, to all appearances, a man, while the valet had a fine catch of waterfowl dangling from his hand and the corpse of a young roebuck slung behind his saddle. I climbed up on the black gelding in silence and so we returned to the palace as the snow fell more and more heavily, obscuring the tracks that we had left behind us.

The valet did not return me to my cell but, instead, to an elegant, if old-fashioned boudoir with sofas of faded pink brocade, a jinn's treasury of Oriental carpets, tintinnabulation of cut-glass chandeliers. Candles in antlered holders struck rainbows from the prismatic hearts of my diamond earrings, that lay on my new dressing table at which my attentive maid stood ready with her powder puff and mirror. Intending to fix the ornaments in my ears, I took the looking glass from her hand, but it was in the midst of one of its magic fits again and I did not see my own face in it but that of my father; at first I thought he smiled at me. Then I saw he was smiling with pure gratification.

He sat, I saw, in the parlour of our lodgings, at the very table where he had lost me, but now he was busily engaged in counting out a tremendous pile of banknotes. My father's circumstances had changed already; well-shaven, neatly barbered, smart new clothes. A frosted glass of sparkling wine sat convenient to his hand beside an ice bucket. The Beast had clearly paid cash on the nail for his glimpse of my bosom, and paid up promptly, as if it had not been a sight I might have died of showing. Then I saw my father's trunks were packed, ready for departure. Could he so easily leave me here?

There was a note on the table with the money, in a fine hand. I could read it quite clearly. 'The young lady will arrive immediately.' Some harlot with whom he'd briskly negotiated a liaison on the strength of his spoils? Not at all. For, at that moment, the valet knocked at my door to announce that I might leave the palace at any time hereafter, and he bore over his arm a handsome sable cloak, my very own little gratuity, The Beast's morning gift, in which he proposed to pack me up and send me off.

When I looked at the mirror again, my father had disappeared and all I saw was a pale, hollow-eyed girl whom I scarcely recognized. The valet asked politely when he should prepare the carriage, as if he did not doubt that I would leave with my booty at the first opportunity while my maid, whose face was no longer the spit of my own, continued bonnily to beam. I will dress her in my own clothes, wind her up, send her back to perform the part of my father's daughter.

'Leave me alone,' I said to the valet.

He did not need to lock the door, now. I fixed the earrings in my ears. They were very heavy. Then I took off my riding habit, left it where it lay on the floor. But, when I got down to my shift, my arms dropped to my sides. I was unaccustomed to nakedness. I was so unused to my own skin that to take off all my clothes involved a kind of flaying. I thought The Beast had wanted a little thing compared with what I was prepared to give him; but it is not natural for humankind to go naked, not since first we hid our loins with fig leaves. He had demanded the abominable. I felt as much atrocious pain as if I was stripping off my own underpelt and the smiling girl stood poised in the oblivion of her balked simulation of life, watching me peel down to the cold, white meat of contract and, if she did not see me, then so much more like the market place, where the eyes that watch you take no account of your existence.

And it seemed my entire life, since I had left the North, had passed under the indifferent gaze of eyes like hers.

Then I was flinching stark, except for his irreproachable tears.

I huddled in the furs I must return to him, to keep me from the lacerating winds that raced along the corridors. I knew the way to his den without the valet to guide me.

No response to my tentative rap on his door.

Then the wind blew the valet whirling along the passage. He must have decided that, if one should go naked, then all should go naked; without his livery, he revealed himself, as I had suspected, a delicate creature, covered with silken moth-grey fur, brown fingers supple as leather, chocolate muzzle, the gentlest creature in the world. He gibbered a little to see my fine furs and jewels as if I were dressed up for the opera and, with a great deal of tender ceremony, removed the sables from my shoulders. The sables thereupon resolved themselves into a pack of black, squeaking rats that rattled immediately down the stairs on their hard little feet and were lost to sight.

The valet bowed me inside The Beast's room.

The purple dressing gown, the mask, the wig, were laid out on his chair; a glove was planted on each arm. The empty house of his appearance was ready for him but he had abandoned it. There was a reek of fur and piss; the incense pot lay broken in pieces on the floor. Half-burned sticks were scattered from the extinguished fire. A candle stuck by its own grease to the mantelpiece lit two narrow flames in the pupils of the tiger's eyes.

He was pacing backwards and forwards, backwards and forwards, the tip of his heavy tail twitching as he paced out the length and breadth of his imprisonment between the gnawed and bloody bones.

He will gobble you up.

Nursery fears made flesh and sinew; earliest and most archaic of fears, fear of devourment. The beast and his carnivorous bed of bone and I, white, shaking, raw, approaching him as if offering, in myself, the key to a peaceable kingdom in which his appetite need not be my extinction.

He went still as stone. He was far more frightened of me than I was of him.

I squatted on the wet straw and stretched out my hand. I was now within the field of force of his golden eyes. He growled at the back of his throat, lowered his head, sank on to his forepaws, snarled, showed me his red gullet, his yellow teeth. I never moved. He snuffed the air, as if to smell my fear; he could not.

Slowly, slowly he began to drag his heavy, gleaming weight across the floor towards me.

A tremendous throbbing, as of the engine that makes the earth turn, filled the little room; he had begun to purr.

The sweet thunder of this purr shook the old walls, made the shutters batter the windows until they burst apart and let in the white light of the snowy moon. Tiles came crashing down from the roof; I heard them fall into the courtyard far below. The reverberations of his purring rocked the foundations of the house, the walls began to dance. I thought: 'It will all fall, everything will disintegrate.'

He dragged himself closer and closer to me, until I felt the harsh velvet of his head against my hand, then a tongue, abrasive as sandpaper. 'He will lick the skin off me!'

And each stroke of his tongue ripped off skin after successive skin, all the skins of a life in the world, and left behind a nascent patina of shining hairs. My earrings turned back to water and trickled down my shoulders; I shrugged the drops off my beautiful fur.

Figaro here; Figaro, there, I tell you! Figaro upstairs, Figaro downstairs and--oh, my goodness me, this little Figaro can slip into my lady's chamber smart as you like at any time whatsoever that he takes the fancy for, don't you know, he's a cat of the world, cosmopolitan, sophisticated; he can tell when a furry friend is the Missus' best company. For what lady in all the world could say 'no' to the passionate yet toujours discret advances of a fine marmalade cat? (Unless it be her eyes incontinently overflow at the slightest whiff of fur, which happened once, as you shall hear.)

A tom, sirs, a ginger tom and proud of it. Proud of his fine, white shirtfront that dazzles harmoniously against his orange and tangerine tessellations (oh! what a fiery suit of lights have I); proud of his bird-entrancing eye and more than military whiskers; proud, to a fault, some say, of his fine, musical voice. All the windows in the square fly open when I break into impromptu song at the spectacle of the moon above Bergamo. If the poor players in the square, the sullen rout of ragged trash that haunts the provinces, are rewarded with a hail of pennies when they set up their makeshift stage and start their raucous choruses, then how much more liberally do the citizens deluge me with pails of the freshest water, vegetables hardly spoiled and, occasionally, slippers, shoes and boots.

Do you see these fine, high, shining leather boots of mine? A young cavalry officer made me the tribute of, first, one; then, after I celebrate his generosity with a fresh obbligato, the moon no fuller than my heart--whoops! I nimbly spring aside--down comes the other. Their high heels will click like castanets when Puss takes his promenade upon the tiles, for my song recalls flamenco, all cats have a Spanish tinge although Puss himself elegantly lubricates his virile, muscular, native Bergamasque with French, since that is the only language in which you can purr.

'Merrrrrrrrrrrci!'

Instanter I draw my new boots on over the natty white stockings that terminate my hinder legs. That young man, observing with curiosity by moonlight the use to which I put his footwear, calls out: 'Hey, Puss! Puss, there!'

'At your service, sir!'

'Up to my balcony, young Puss!'

He leans out, in his nightshirt, offering encouragement as I swing succinctly up the faade, forepaws on a curly cherub's pate, hindpaws on a stucco wreath, bring them up to meet your forepaws while, first paw forward, hup! on to the stone nymph's tit; left paw down a bit, the satyr's bum should do the trick. Nothing to it, once you know how, rococo's no problem. Acrobatics? Born to them; Puss can perform a back somersault whilst holding aloft a glass of vino in his right paw and never spill a drop.

But, to my shame, the famous death-defying triple somersault en plein air, that is, in middle air, that is, unsupported and without a safety net, I, Puss, have never yet attempted though often I have dashingly brought off the double tour, to the applause of all.

'You strike me as a cat of parts,' says this young man when I'm arrived at his window-sill. I made him a handsome genuflection, rump out, tail up, head down, to facilitate his friendly chuck under my chin; and, as involuntary free gift, my natural, my habitual smile.

For all cats have this particularity, each and every one, from the meanest alley sneaker to the proudest, whitest she that ever graced a pontiff's pillow--we have our smiles, as it were, painted on. Those small, cool, quiet Mona Lisa smiles that smile we must, no matter whether it's been fun or it's been not. So all cats have a politician's air; we smile and smile and so they think we're villains. But, I note, this young man is something of a smiler hisself.

'A sandwich,' he offers. 'And, perhaps, a snifter of brandy.'

His lodgings are poor, though he's handsome enough and even en dshabill, nightcap and all, there's a neat, smart, dandified air about him. Here is one who knows what's what, thinks I; a man who keeps up appearances in the bedchamber can never embarrass you out of it. And excellent beef sandwiches; I relish a lean slice of roast beef and early learned a taste for spirits, since I started life as a wine-shop cat, hunting cellar rats for my keep, before the world sharpened my wits enough to let me live by them.

And the upshot of this midnight interview? I'm engaged, on the spot, as Sir's valet: valet de chambre and, from time to time, his body servant, for, when funds are running low, as they must do for every gallant officer when the pickings fall off, he pawns the quilt, doesn't he. Then faithful Puss curls up on his chest to keep him warm at nights.

And if he don't like me to knead his nipples, which, out of the purest affection and the desire--ouch! he says--to test the retractability of my claws, I do in moments of absence of mind, then what other valet could slip into a young girl's sacred privacy and deliver her a billet-doux at the very moment when she's reading her prayerbook with her sainted mother? A task I once or twice perform for him, to his infinite gratitude.

And, as you will hear, brought him at last to the best of fortunes for us all.

So Puss got his post at the same time as his boots and I dare say the Master and I have much in common for he's proud as the devil, touchy as tin-tacks, lecherous as liquorice and, though I say it as loves him, as quick-witted a rascal as ever put on clean linen.

When times were hard, I'd pilfer the market for breakfast--a herring, an orange, a loaf; we never went hungry. Puss served him well in the gaming salons, too, for a cat may move from lap to lap with impunity and cast his eye over any hand of cards. A cat can jump on the dice--he can't resist to see it roll! poor thing, mistook it for a bird; and, after I've been, limp-spined, stiff-legged, playing the silly buggers, scooped up to be chastised, who can remember how the dice fell in the first place?

And we had, besides, less ... gentlemanly means of maintenance when they closed the tables to us, as, churlishly, they sometimes did. I'd perform my little Spanish dance while he went round with his hat: ol! But he only put my loyalty and affection to the test of this humiliation when the cupboard was as bare as his backside; after, in fact, he'd sunk so low as to pawn his drawers.

So all went right as ninepence and you never saw such boon companions as Puss and his master; until the man must needs go fall in love.

'Head over heels, Puss.'

I went about my ablutions, tonguing my arsehole with the impeccable hygienic integrity of cats, one leg stuck in the air like a ham bone; I choose to remain silent. Love? What has my rakish master, for whom I've jumped through the window of every brothel in the city, besides haunting the virginal back garden of the convent and god knows what other goatish errands, to do with the tender passion?

'And she. A princess in a tower. Remote and shining as Aldebaran. Chained to a dolt and dragon-guarded.'

I withdrew my head from my privates and fixed him with my most satiric smile; I dare him warble on in that strain.

'All cats are cynics,' he opines, quailing beneath my yellow glare.

It is the hazard of it draws him, see.

There is a lady sits in a window for one hour and one hour only, at the tenderest time of dusk. You can scarcely see her features, the curtains almost hide her; shrouded like a holy image, she looks out at the piazza as the shops shut up, the stalls go down, the night comes on. And that is all the world she ever sees. Never a girl in all Bergamo so secluded except, on Sundays, they let her go to Mass, bundled up in black, with a veil on. And then she is in the company of an aged hag, her keeper, who grumps along grim as a prison dinner.

How did he see that secret face? Who else but Puss revealed it?

Back we come from the tables so late, so very late at night we found, to our emergent surprise, that all at once it was early in the morning. His pockets were heavy with silver and both our guts sweetly a-gurgle with champagne; Lady Luck had sat with us, what fine spirits were we in! Winter and cold weather. The pious trot to church already with little lanterns through the chill fog as we go ungodly rolling home.

See, a black barque, like a state funeral; and Puss takes it into his bubbly-addled brain to board her. Tacking obliquely to her side, I rub my marmalade pate against her shin; how could any duenna, be she never so stern, take offence at such attentions to her chargeling from a little cat? (As it turns out, this one: attishooo! does.) A white hand fragrant as Arabia descends from the black cloak and reciprocally rubs behind his ears at just the ecstatic spot. Puss lets rip a roaring purr, rears briefly on his high-heeled boots; jig with joy and pirouette with glee--she laughs to see and draws her veil aside. Puss glimpses high above, as it were, an alabaster lamp lit behind by dawn's first flush: her face.

And she smiling.

For a moment, just that moment, you would have thought it was May morning.

'Come along! Come! Don't dawdle over the nasty beast!' snaps the old hag, with the one tooth in her mouth, and warts; she sneezes.

The veil comes down; so cold it is, and dark, again.

It was not I alone who saw her; with that smile he swears she stole his heart.

Love.

I've sat inscrutably by and washed my face and sparkling dicky with my clever paw while he made the beast with two backs with every harlot in the city, besides a number of good wives, dutiful daughters, rosy country girls come to sell celery and endive on the corner, and the chambermaid who strips the bed, what's more. The Mayor's wife, even, shed her diamond earrings for him and the wife of the notary un-shufiled her petticoats and, if I could, I would blush to remember how her daughter shook out her flaxen plaits and jumped in bed between them and she not sixteen years old. But never the word, 'love', has fallen from his lips, nor in nor out of any of these transports, until my master saw the wife of Signor Panteleone as she went walking out to Mass, and she lifted up her veil though not for him.

And now he is half sick with it and will go to the tables no more for lack of heart and never even pats the bustling rump of the chambermaid in his new-found, maudlin celibacy, so we get our slops left festering for days and the sheets filthy and the wench goes banging about bad-temperedly with her broom enough to fetch the plaster off the walls.

I'll swear he lives for Sunday morning, though never before was he a religious man. Saturday nights, he bathes himself punctiliously, even, I'm glad to see, washes behind his ears, perfumes himself, presses his uniform so you'd think he had a right to wear it. So much in love he very rarely panders to the pleasures, even of Onan, as he lies tossing on his couch, for he cannot sleep for fear he miss the summoning bell. Then out into the cold morning, harking after that black, vague shape, hapless fisherman for this sealed oyster with such a pearl in it. He creeps behind her across the square; how can so amorous bear to be so inconspicuous? And yet, he must; though, sometimes, the old hag sneezes and says she swears there is a cat about.

He will insinuate himself into the pew behind milady and sometimes contrive to touch the hem of her garment, when they all kneel, and never a thought to his orisons; she is the divinity he's come to worship. Then sits silent, in a dream, till bed-time; what pleasure is his company for me?

He won't eat, either. I brought him a fine pigeon from the inn kitchen, fresh off the spit, parfum avec tarragon, but he wouldn't touch it so I crunched it up, bones and all. Performing, as ever after meals, my meditative toilette, I pondered, thus: one, he is in a fair way to ruining us both by neglecting his business; two, love is desire sustained by unfulfilment. If I lead him to her bedchamber and there he takes his fill of her lily-white, he'll be right as rain in two shakes and next day tricks as usual.

Then Master and his Puss will soon be solvent once again.

Which, at the moment, very much not, sir.

This Signor Panteleone employs, his only servant but the hag, a kitchen cat, a sleek, spry tabby whom I accost. Grasping the slack of her neck firmly between my teeth, I gave her the customary tribute of a few firm thrusts of my striped loins and, when she got her breath back, she assured me in the friendliest fashion the old man was a fool and a miser who kept herself on short commons for the sake of the mousing and the young lady a soft-hearted creature who smuggled breast of chicken and sometimes, when the hag-dragon-governess napped at midday, snatched this pretty kitty out of the hearth and into her bedroom to play with reels of silk and run after trailed handkerchiefs, when she and she had as much fun together as two Cinderellas at an all-girls' ball.

Poor, lonely lady, married so young to an old dodderer with his bald pate and his goggle eyes and his limp, his avarice, his gore belly, his rheumaticks, and his flag hangs all the time at half-mast indeed; and jealous as he is impotent, tabby declares--he'd put a stop to all the rutting in the world, if he had his way, just to certify his young wife don't get from another what she can't get from him.

'Then shall we hatch a plot to antler him, my precious?'

Nothing loath, she tells me the best time for this accomplishment should be the one day in all the week he forsakes his wife and his counting-house to ride off into the country to extort most grasping rents from starveling tenant farmers. And she's left all alone, then, behind so many bolts and bars you wouldn't believe; all alone--but for the hag!

Aha! This hag turns out to be the biggest snag; an iron-plated, copper-bottomed, sworn man-hater of some sixty bitter winters who--as ill luck would have it--shatters, clatters, erupts into paroxysms of the sneeze at the very glimpse of a cat's whisker. No chance of Puss worming his winsome way into that one's affections, nor for my tabby, neither! But, oh my dear, I say; see how my ingenuity rises to this challenge ... So we resume the sweetest part of our conversation in the dusty convenience of the coalhole and she promises me, least she can do, to see the fair, hitherto-inaccessible one gets a letter safe if I slip it to her and slip it to her forthwith I do, though somewhat discommoded by my boots.

He spent three hours over his letter, did my master, as long as it takes me to lick the coaldust off my dicky. He tears up half a quire of paper, splays five pen-nibs with the force of his adoration: 'Look not for any peace, my heart; having become a slave to this beauty's tyranny, dazzled am I by this sun's rays and my torments cannot be assuaged.' That's not the high road to the rumpling of the bedcovers; she's got one ninny between them already!

'Speak from the heart,' I finally exhort. 'And all good women have a missionary streak, sir; convince her her orifice will be your salvation and she's yours.'

'When I want your advice, Puss, I'll ask for it,' he says, all at once hoity-toity. But at last he manages to pen ten pages; a rake, a profligate, a card-sharper, a cashiered officer well on the way to rack and ruin when first he saw, as if it were a glimpse of grace, her face ... his angel, his good angel, who will lead him from perdition.

Oh, what a masterpiece he penned!

'Such tears she wept at his addresses!' says my tabby friend. 'Oh, Tabs, she sobs--for she calls me "Tabs"--I never meant to wreak such havoc with a pure heart when I smiled to see a booted cat! And put his paper next to her heart and swore, it was a good soul that sent her his vows and she was too much in love with virtue to withstand him. If, she adds, for she's a sensible girl, he's neither old as the hills nor ugly as sin, that is.'

An admirable little note the lady's sent him in return, per Figaro here and there; she adopts a responsive yet uncompromising tone. For, says she, how can she usefully discuss his passion further without a glimpse of his person?

He kisses her letter once, twice, a thousand times; she must and will see me! I shall serenade her this very evening!

So, when dusk falls, off we trot to the piazza, he with an old guitar he pawned his sword to buy and most, if I may say so, outlandishly rigged out in some kind of vagabond mountebank's outfit he bartered his gold-braided waistcoat with poor Pierrot braying in the square for, moonstruck zany, lovelorn loon he was himself and even plastered his face with flour to make it white, poor fool, and so ram home his heartsick state.

There she is, the evening star with the clouds around her; but such a creaking of carts in the square, such a clatter and crash as they dismantle the stalls, such an ululation of ballad-singers and oration of nostrum-peddlers and perturbation of errand boys that though he wails out his heart to her: 'Oh, my beloved!', why she, all in a dream, sits with her gaze in the middle distance, where there's a crescent moon stuck on the sky behind the cathedral pretty as a painted stage, and so is she.

Does she hear him?

Not a grace-note.

Does she see him?

Never a glance.

'Up you go, Puss; tell her to look my way!'

If rococo's a piece of cake, that chaste, tasteful, early Palladian stumped many a better cat than I in its time. Agility's not in it, when it comes to Palladian; daring alone will carry the day and, though the first storey's graced with a hefty caryatid whose bulbous loincloth and tremendous pects facilitate the first ascent, the Doric column on her head proves a horse of a different colour, I can tell you. Had I not seen my precious Tabby crouched in the gutter above me keening encouragement, I, even I, might never have braved that flying, upward leap that brought me, as if Harlequin himself on wires, in one bound to her window-sill.

'Dear god!' the lady says, and jumps. I see she, too, ah, sentimental thing! clutches a well-thumbed letter. 'Puss in boots!'

I bow her with a courtly flourish. What luck to hear no sniff or sneeze; where's hag? A sudden flux sped her to the privy--not a moment to lose.

'Cast your eye below,' I hiss. 'Him you know of lurks below, in white with the big hat, ready to sing you an evening ditty.'

The bedroom door creaks open, then, and: wheel through the air Puss goes, discretion is the better part. And, for both their sweet sakes I did it, the sight of both their bright eyes inspired me to the never-before-attempted, by me or any other cat, in boots or out of them--the death-defying triple somersault!

And a three-storey drop to ground, what's more; a grand descent.

Only the merest trifle winded, I'm proud to say, I neatly land on all my fours and Tabs goes wild, huzzah! But has my master witnessed my triumph? Has he, my arse. He's tuning up that old mandolin and breaks, as down I come, again into his song.

I would never have said, in the normal course of things, his voice would charm the birds out of the trees, like mine; and yet the bustle died for him, the homeward-turning costers paused in their tracks to hearken, the preening street girls forgot their hard-edged smiles as they turned to him and some of the old ones wept, they did.

Tabs, up on the roof there, prick up your ears! For by its power I know my heart is in his voice.

And now the lady lowers her eyes to him and smiles, as once she smiled at me.

Then, bang! a stern hand pulls the shutters to. And it was as if all the violets in all the baskets of all the flower-sellers drooped and faded at once; and spring stopped dead in its tracks and might, this time, not come at all; and the bustle and the business of the square, that had so magically quieted for his song, now rose up again with the harsh clamour of the loss of love.

And we trudge drearily off to dirty sheets and a mean supper of bread and cheese, all I can steal him, but at least the poor soul manifests a hearty appetite now she knows he's in the world and not the ugliest of mortals; for the first time since that fateful morning, sleeps sound. But sleep conies hard to Puss tonight. He takes a midnight stroll across the square, soon comfortably discusses a choice morsel of salt cod his tabby friend found among the ashes on the hearth before our converse turns to other matters.

'Rats!' she says. 'And take your boots off, you uncouth bugger; those three-inch heels wreak havoc with the soft flesh of my underbelly!'

When we'd recovered ourselves a little, I ask her what she means by those 'rats' of hers and she proposes her scheme to me. How my master must pose as a rat-catcher and I, his ambulant marmalade rat-trap. How we will then go kill the rats that ravage milady's bedchamber, the day the old fool goes to fetch his rents, and she can have her will of the lad at leisure for, if there is one thing the hag fears more than a cat, it is a rat and she'll cower in a cupboard till the last rat is off the premises before she comes out. Oh, this tabby one, sharp as a tack is she! I congratulate her ingenuity with a few affectionate cuffs round the head and home again, for breakfast, ubiquitous Puss, here, there and everywhere, who's your Figaro?

Master applauds the rat ploy; but, as to the rats themselves, how are they to arrive in the house in the first place? he queries.

'Nothing easier, sir; my accomplice, a witty soubrette who lives among the cinders, dedicated as she is to the young lady's happiness, will personally strew a large number of dead and dying rats she has herself collected about the bedroom of the said ingenue's duenna, and, most particularly, that of the said ingnue herself. This to be done tomorrow morning, as soon as Sir Pantaloon rides out to fetch his rents. By good fortune, down in the square, plying for hire, a ratcatcher ! Since our hag cannot abide either a rat or a cat, it falls to milady to escort the rat-catcher, none other than yourself, sir, and his intrepid hunter, myself, to the site of the infestation.

'Once you're in her bedroom, sir, if you don't know what to do, then I can't help you.'

'Keep your foul thoughts to yourself, Puss.'

Some things, I see, are sacrosanct from humour.

Sure enough, prompt at five in the bleak next morning, I observe with my own eyes the lovely lady's lubbery husband hump off on his horse like a sack of potatoes to rake in his dues. We're ready with our sign: SIGNOR FURIOSO, THE LIVING DEATH OF RATS; and in the leathers he's borrowed from the porter, I hardly recognize him myself, not with the false moustache. He coaxes the chambermaid with a few kisses--poor, deceived girl! love knows no shame--and so we install ourselves under a certain shuttered window with the great pile of traps she's lent us, the sign of our profession, Puss perched atop them bearing the humble yet determined look of a sworn enemy of vermin.

We've not waited more than fifteen minutes--and just as well, so many rat-plagued Bergamots approach us already and are not easily dissuaded from employing us--when the front door flies open on a lusty scream. The hag, aghast, flings her arms round flinching Furioso, how fortuitous to find him! But, at the whiff of me, she's sneezing so valiantly, her eyes awash, the vertical gutters of her nostrils aswill with snot, she barely can depict the scenes inside, rattus domesticus dead in her bed and all; and worse! in the Missus' room.

So Signer Furioso and his questing Puss are ushered into the very sanctuary of the goddess, our presence announced by a fanfare from her keeper on the noseharp. Attishhoooo ! ! !

Sweet and pleasant in a morning gown of loose linen, our ingenue jumps at the tattoo of my boot heels but recovers instantly and the wheezing, hawking hag is in no state to sniffle more than: 'Ain't I seen that cat before?'

'Not a chance,' says my master. 'Why, he's come but yesterday with me from Milano.'

So she has to make do with that.

My Tabs has lined the very stairs with rats; she's made a morgue of the hag's room but something more lively of the lady's. For some of her prey she's very cleverly not killed but crippled; a big black beastie weaves its way towards us over the turkey carpet, Puss, pounce! Between screaming and sneezing, the hag's in a fine state, I can tell you, though milady exhibits a most praiseworthy and collected presence of mind, being, I guess, a young woman of no small grasp so, perhaps, she has a sniff of the plot, already.

My master goes down hands and knees under the bed.

'My god!' he cries. 'There's the biggest hole, here in the wainscoting, I ever saw in all my professional career! And there's an army of black rats gathering behind it, ready to storm through! To arms!'

But, for all her terror, the hag's loath to leave the Master and me alone to deal with the rats; she casts her eye on a silver-backed hairbrush, a coral rosary, twitters, hovers, screeches, mutters until milady assures her, amidst scenes of rising pandemonium:

'I shall stay here myself and see that Signor Furioso doesn't make off with my trinkets. You go and recover yourself with an infusion of friar's balsam and don't come back until I call.'

The hag departs; quick as a flash, la belle turns the key in the door on her and softly laughs, the naughty one.

Dusting the slut-fluff from his knees, Signer Furioso now stands slowly upright; swiftly, he removes his false moustache, for no element of the farcical must mar this first, delirious encounter of these lovers, must it. (Poor soul, how his hands tremble!)

Accustomed as I am to the splendid, feline nakedness of my kind, that offers no concealment of that soul made manifest in the flesh of lovers, I am always a little moved by the poignant reticence with which humanity shyly hesitates to divest itself of its clutter of concealing rags in the presence of desire. So, first, these two smile, a little, as if to say: 'How strange to meet you here!', uncertain of a loving welcome, still. And do I deceive myself, or do I see a tear a-twinkle in the corner of his eye? But who is it steps towards the other first? Why, she; women, I think, are, of the two sexes, the more keenly tuned to the sweet music of their bodies. (A penny for my foul thoughts, indeed! Does she, that wise, grave personage in the nglig, think you've staged this grand charade merely in order to kiss her hand?) But, then--oh, what a pretty blush! steps back; now it's his turn to take two steps forward in the saraband of Eros.

I could wish, though, they'd dance a little faster; the hag will soon recover from her spasms and shall she find them in flagrante?

His hand, then, trembling, upon her bosom; hers, initially more hesitant, sequentially more purposeful, upon his breeches. Then their strange trance breaks; that sentimental havering done, I never saw two fall to it with such appetite. As if the whirlwind got into their fingers, they strip each other bare in a twinkling and she falls back on the bed, shows him the target, he displays the dart, scores an instant bullseye. Bravo! Never can that old bed have shook with such a storm before. And their sweet, choked mutterings, poor things: 'I never ...' 'My darling ...' 'More ...' And etc. etc. Enough to melt the thorniest heart.

He rises up on his elbows once and gasps at me: 'Mimic the murder of the rats, Puss! Mask the music of Venus with the clamour of Diana!'

A-hunting we shall go! Loyal to the last, I play catch as catch can with Tab's dead rats, giving the dying the coup de grace and baying with resonant vigour to drown the extravagant screeches that break forth from that (who would have suspected?) more passionate young woman as she comes off in fine style. (Full marks, Master.)

At that, the old hag comes battering at the door. What's going on? Whyfor the racket? And the door rattles on its hinges.

'Peace!' cries Signor Furioso. 'Haven't I just now blocked the great hole?'

But milady's in no hurry to don her smock again, she takes her lovely time about it; so full of pleasure gratified her languorous limbs you'd think her very navel smiled. She pecks my master prettily thank-you on the cheek, wets the gum on his false moustache with the tip of her strawberry tongue and sticks it back on his upper lip for him, then lets her wardress into the scene of the faux carnage with the most modest and irreproachable air in the world.

'See! Puss has slaughtered all the rats.'

I rush, purring proud, to greet the hag; instantly, her eyes o'erflow.

'Why the bedclothes so disordered?' she squeaks, not quite blinded, yet, by phlegm and chosen for her post from all the other applicants on account of her suspicious mind, even (oh, dutiful) when in grande peur des rats.

'Puss had a mighty battle with the biggest beast you ever saw upon this very bed; can't you see the bloodstains on the sheets? And now, what do we owe you, Signor Furioso, for this singular service?'

'A hundred ducats,' says I, quick as a flash, for I know my master, left to himself, would, like an honourable fool, take nothing.

'That's the entire household expenses for a month!' wails avarice's well-chosen accomplice.

'And worth every penny! For those rats would have eaten us out of house and home.' I see the glimmerings of sturdy backbone in this little lady. 'Go, pay them from your private savings that I know of, that you've skimmed off the housekeeping.'

Muttering and moaning but nothing for it except do as she is bid; and the furious Sir and I take off a laundry basket full of dead rats as souvenir--we drop it, plop! in the nearest sewer. And sit down to one dinner honestly paid for, for a wonder.

But the young fool is offhis feed, again. Pushes his plate aside, laughs, weeps, buries his head in his hands and, time and time again, goes to the window to stare at the shutters behind which his sweetheart scrubs the blood away and my dear Tabs rests from her supreme exertions. He sits, for a while, and scribbles; rips the page in four, hurls it aside. I spear a falling fragment with a claw. Dear God, he's took to writing poetry.

'I must and will have her for ever,' he exclaims.

I see my plan has come to nothing. Satisfaction has not satisfied him; that soul they both saw in one another's bodies has such insatiable hunger no single meal could ever appease it. I fall to the toilette of my hinder parts, my favourite stance when contemplating the ways of the world.

'How can I live without her?'

You did so for twenty-seven years, sir, and never missed her for a moment.

'I'm burning with the fever of love!'

Then we're spared the expense of fires.

'I shall steal her away from her husband to live with me.'

'What do you propose to live on, sir?'

'Kisses,' he said distractedly. 'Embraces.'

'Well, you won't grow fat on that, sir; though she will. And then, more mouths to feed.'

'I'm sick and tired of your foul-mouthed barbs, Puss,' he snaps. And yet my heart is moved, for now he speaks the plain, clear, foolish rhetoric of love and who is there cunning enough to help him to happiness but I? Scheme, loyal Puss, scheme!

My wash completed, I step out across the square to visit that charming she who's wormed her way directly into my own hitherto-untrammelled heart with her sharp wits and her pretty ways. She exhibits warm emotion to see me; and, oh! what news she has to tell me! News of a rapt and personal nature, that turns my mind to thoughts of the future, and, yes, domestic plans of most familial nature. She's saved me a pig's trotter, a whole, entire pig's trotter the Missus smuggled to her with a wink. A feast! Masticating, I muse.

'Recapitulate,' I suggest, 'the daily motions of Sir Pantaloon when he's at home.'

They set the cathedral clock by him, so rigid and so regular his habits. Up at the crack, he meagrely breakfasts off yesterday's crusts and a cup of cold water, to spare the expense of heating it up. Down to his counting-house, counting out his money, until a bowl of well-watered gruel at midday. The afternoon he devotes to usury, bankrupting, here, a small tradesman, there, a weeping widow, for fun and profit. Dinner's luxurious, at four; soup, with a bit of rancid beef or a tough bird in it--he's an arrangement with the butcher, takes unsold stock off his hands in return for a shut mouth about a pie that had a finger in it. From four-thirty until five-thirty, he unlocks the shutters and lets his wife look out, oh, don't I know! while hag sits beside her to make sure she doesn't smile. (Oh, that blessed flux, those precious loose minutes that set the game in motion!)

And while she breathes the air of evening, why, he checks up on his chest of gems, his bales of silk, all those treasures he loves too much to share with daylight and if he wastes a candle when he so indulges himself, why, any man is entitled to one little extravagance. Another draught of Adam's ale healthfully concludes the day; up he tucks besides Missus and, since she is his prize possession, consents to finger her a little. He palpitates her hide and slaps her flanks: 'What a good bargain!' Alack, can do no more, not wishing to profligate his natural essence. And so drifts off to sinless slumber amid the prospects of tomorrow's gold.

'How rich is he?'

'Croesus.'

'Enough to keep two loving couples?"

'Sumptuous.'

Early in the uncandled morning, groping to the privy bleared with sleep, were the old man to place his foot upon the subfusc yet volatile fur of a shadow-camouflaged young tabby cat--

'You read my thoughts, my love."

I say to my master: 'Now, you get yourself a doctor's gown, impedimenta all complete or I'm done with you.'

'What's this, Puss?'

'Do as I say and never mind the reason! The less you know of why, the better.'

So he expends a few of the hag's ducats on a black gown with a white collar and his skull cap and his black bag and, under my direction, makes himself another sign that announces, with all due pomposity, how he is Il Famed Dottore: Aches cured, pains prevented, bones set, graduate of Bologna, physician extraordinary. He demands to know, is she to play the invalid to give him further access to her bedroom?

'I'll clasp her in my arms and jump out of the window; we too shall both perform the triple somersault of love.'

'You just mind your own business, sir, and let me mind it for you after my own fashion.'

Another raw and misty morning! Here in the hills, will the weather ever change? So bleak it is, and dreary; but there he stands, grave as a sermon in his black gown and half the market people come with coughs and boils and broken heads and I dispense the plasters and the vials of coloured water I'd forethoughtfully stowed in his bag, he too agitato to sell for himself. (And, who knows, might we not have stumbled on a profitable profession for future pursuit, if my present plans miscarry?)

Until dawn shoots his little yet how flaming arrow past the cathedral on which the clock strikes six. At the last stroke, that famous door flies open once again and-- eeeeeeeeeeeeech ! the hag lets rip.

'Oh, Doctor, oh, Doctor, come quick as you can; our good man's taken a sorry tumble!'

And weeping fit to float a smack, she is, so doesn't see the doctor's apprentice is most colourfully and completely furred and whiskered.

The old booby's flat out at the foot of the stair, his head at an acute angle that might turn chronic and a big bunch of keys, still, gripped in his right hand as if they were the keys to heaven marked: Wanted on voyage. And Missus, in her wrap, bends over him with a pretty air of concern.

'A fall--' she begins when she sees the doctor but stops short when she sees your servant, Puss, looking as suitably down-in-the-mouth as his chronic smile will let him, humping his master's stock-in-trade and hawing like a sawbones. 'You, again,' she says, and can't forbear to giggle. But the dragon's too blubbered to hear.

My master puts his ear to the old man's chest and shakes his head dolefully; then takes the mirror from his pocket and puts it to the old man's mouth. Not a breath clouds it. Oh, sad! Oh, sorrowful!

'Dead, is he?' sobs the hag. 'Broke his neck, has he?'

And she slyly makes a little grab for the keys, in spite of her well-orchestrated distress; but Missus slaps her hand and she gives over.

'Let's get him to a softer bed,' says Master.

He ups the corpse, carries it aloft to the room we know full well, bumps Pantaloon down, twitches an eyelid, taps a kneecap, feels a pulse.

'Dead as a doornail,' he pronounces. 'It's not a doctor you want, it's an undertaker.'

Missus has a handkerchief very dutifully and correctly to her eyes.

'You just run along and get one,' she says to hag. 'And then I'll read the will. Because don't think he's forgotten you, thou faithful servant. Oh, my goodness, no.'

So off goes hag; you never saw a woman of her accumulated Christmases sprint so fast. As soon as they are left alone, no trifling, this time; they're at it, hammer and tongs, down on the carpet since the bed is occup. Up and down, up and down his arse; in and out, in and out her legs. Then she heaves him up and throws him on his back, her turn at the grind, now, and you'd think she'll never stop.

Toujours discret, Puss occupies himself in unfastening the shutters and throwing the windows open to the beautiful beginnings of morning in whose lively yet fragrant air his sensitive nostrils catch the first and vernal hint of spring. In a few moments, my dear friend joins me. I notice already--or is it only my fond imagination?--a charming new portliness in her gait, hitherto so elastic, so spring-heeled. And there we sit upon the window-sill, like the two genii and protectors of the house; ah, Puss, your rambling days are over. I shall become a hearthrug cat, a fat and cosy cushion cat, sing to the moon no more, settle at last amid the sedentary joys of a domesticity we two, she and I, have so richly earned;

Their cries of rapture rouse me from this pleasant revery.

The hag chooses, naturellement, this tender if outrageous moment to return with the undertaker in his chiffoned topper, plus a brace of mutes black as beetles, glum as bailiffs, bearing the elm box between them to take the corpse away in. But they cheer up something wonderful at the unexpected spectacle before them and he and she conclude their amorous interlude amidst roars of approbation and torrents of applause.

But what a racket the hag makes! Police, murder, thieves! Until the Master chucks her purseful of gold back again, for a gratuity. (Meanwhile, I note that sensible young woman, mother-naked as she is, has yet the presence of mind to catch hold of her husband's keyring and sharply tug it from his sere, cold grip. Once she's got the keys secure, she's in charge of all.)

'Now, no more of your nonsense!' she snaps to hag. 'If I hereby give you the sack, you'll get a handsome gift to go along with you for now'--flourishing the keys--'I am a rich widow and here'--indicating to all my bare yet blissful master--'is the young man who'll be my second husband.'

When the governess found Signor Panteleone had indeed remembered her in his will, left her a keepsake of the cup he drank his morning water from, she made not a squeak more, pocketed a fat sum with thanks and, sneezing, took herself off with no more cries of 'murder', neither. The old buffoon briskly bundled in his coffin and buried; Master comes into a great fortune and Missus rounding out already and they as happy as pigs in plunk.

But my Tabs beat her to it, since cats don't take much time about engendering; three fine, new-minted ginger kittens, all complete with snowy socks and shirtfronts, tumble in the cream and tangle Missus's knitting and put a smile on every face, not just their mother's and proud father's for Tabs and I smile all day long and, these days, we put our hearts in it.

So may all your wives, if you need them, be rich and pretty; and all your husbands, if you want them, be young and virile; and all your cats as wily, perspicacious and resourceful as:

PUSS-IN-BOOTS.

The lucidity, the clarity of the light that afternoon was sufficient to itself; perfect transparency must be impenetrable, these vertical bars of a brass-coloured distillation of light coming down from sulphur-yellow interstices in a sky hunkered with grey clouds that bulge with more rain. It struck the wood with nicotine-stained fingers, the leaves glittered. A cold day of late October, when the withered blackberries dangled like their own dour spooks on the discoloured brambles. There were crisp husks of beechmast and cast acorn cups underfoot in the russet slime of dead bracken where the rains of the equinox had so soaked the earth that the cold oozed up through the soles of the shoes, lancinating cold of the approach of winter that grips hold of your belly and squeezes it tight. Now the stark elders have an anorexic look; there is not much in the autumn wood to make you smile but it is not yet, not quite yet, the saddest time of the year. Only, there is a haunting sense of the imminent cessation of being; the year, in turning, turns in on itself. Introspective weather, a sickroom hush.

The woods enclose. You step between the first trees and then you are no longer in the open air; the wood swallows you up. There is no way through the wood any more, this wood has reverted to its original privacy. Once you are inside it, you must stay there until it lets you out again for there is no clue to guide you through in perfect safety; grass grew over the track years ago and now the rabbits and the foxes make their own runs in the subtle labyrinth and nobody comes. The trees stir with a noise like taffeta skirts of women who have lost themselves in the woods and hunt round hopelessly for the way out. Tumbling crows play tig in the branches of the elms they clotted with their nests, now and then raucously cawing. A little stream with soft margins of marsh runs through the wood but it has grown sullen with the time of the year; the silent, blackish water thickens, now, to ice. All will fall still, all lapse.

A young girl would go into the wood as trustingly as Red Riding Hood to her granny's house but this light admits of no ambiguities and, here, she will be trapped in her own illusion because everything in the wood is exactly as it seems.

The woods enclose and then enclose again, like a system of Chinese boxes opening one into another; the intimate perspectives of the wood changed endlessly around the interloper, the imaginary traveller walking towards an invented distance that perpetually receded before me. It is easy to lose yourself in these woods.

The two notes of the song of a bird rose on the still air, as if my girlish and delicious loneliness had been made into a sound. There was a little tangled mist in the thickets, mimicking the tufts of old man's beard that flossed the lower branches of the trees and bushes; heavy bunches of red berries as ripe and delicious as goblin or enchanted fruit hung on the hawthorns but the old grass withers, retreats. One by one, the ferns have curled up their hundred eyes and curled back into the earth. The trees threaded a cat's cradle of half-stripped branches over me so that I felt I was in a house of nets and though the cold wind that always heralds your presence, had I but known it then, blew gentle around me, I thought that nobody was in the wood but me.

Erl-King will do you grievous harm.

Piercingly, now, there came again the call of the bird, as desolate as if it came from the throat of the last bird left alive. That call, with all the melancholy of the failing year in it, went directly to my heart.

I walked through the wood until all its perspectives converged upon a darkening clearing; as soon as I saw them, I knew at once that all its occupants had been waiting for me from the moment I first stepped into the wood, with the endless patience of wild things, who have all the time in the world.

It was a garden where all the flowers were birds and beasts; ash-soft doves, diminutive wrens, freckled thrushes, robins in their tawny bibs, huge, helmeted crows that shone like patent leather, a blackbird with a yellow bill, voles, shrews, fieldfares, little brown bunnies with their ears laid together along their backs like spoons, crouching at his feet. A lean, tall, reddish hare, up on its great hind legs, nose a-twitch. The rusty fox, its muzzle sharpened to a point, laid its head upon his knee. On the trunk of a scarlet rowan a squirrel clung, to watch him; a cock pheasant delicately stretched his shimmering neck from a brake of thorn to peer at him. There was a goat of uncanny whiteness, gleaming like a goat of snow, who turned her mild eyes towards me and bleated softly, so that he knew I had arrived.

He smiles. He lays down his pipe, his elder bird-call. He lays upon me his irrevocable hand.

His eyes are quite green, as if from too much looking at the wood.

There are some eyes can eat you.

The Erl-King lives by himself all alone in the heart of the wood in a house which has only the one room. His house is made of sticks and stones and has grown a pelt of yellow lichen. Grass and weeds grow in the mossy roof. He chops fallen branches for his fire and draws his water from the stream in a tin pail.

What does he eat? Why, the bounty of the woodland! Stewed nettles; savoury messes of chickweed sprinkled with nutmeg; he cooks the foliage of shepherd's purse as if it were cabbage. He knows which of the frilled, blotched, rotted fungi are fit to eat; he understands their eldritch ways, how they spring up overnight in lightless places and thrive on dead things. Even the homely wood blewits, that you cook like tripe, with milk and onions, and the egg-yolk yellow chanterelle with its fan-vaulting and faint scent of apricots, all spring up overnight like bubbles of earth, unsustained by nature, existing in a void. And I could believe that it has been the same with him; he came alive from the desire of the woods.

He goes out in the morning to gather his unnatural treasures, he handles them as delicately as he does pigeons' eggs, he lays them in one of the baskets he weaves from osiers. He makes salads of the dandelion that he calls rude names, 'bum-pipes' or 'piss-the-beds', and flavours them with a few leaves of wild strawberry but he will not touch the brambles, he says the Devil spits on them at Michaelmas.

His nanny goat, the colour of whey, gives him her abundant milk and he can make soft cheese that has a unique, rank, amniotic taste. Sometimes he traps a rabbit in a snare of string and makes a soup or stew, seasoned with wild garlic. He knows all about the wood and the creatures in it. He told me about the grass snakes, how the old ones open their mouths wide when they smell danger and the thin little ones disappear down the old ones' throats until the fright is over and out they come again, to run around as usual. He told me how the wise toad who squats among the kingcups by the stream in summer has a very precious jewel in his head. He said the owl was a baker's daughter; then he smiled at me. He showed me how to thread mats from reeds and weave osier twigs into baskets and into the little cages in which he keeps his singing birds.

His kitchen shakes and shivers with birdsong from cage upon cage of singing birds, larks and linnets, which he piles up one on another against the wall, a wall of trapped birds. How cruel it is, to keep wild birds in cages! But he laughs at me when I say that; laughs, and shows his white, pointed teeth with the spittle gleaming on them.

He is an excellent housewife. His rustic home is spick and span. He puts his well-scoured saucepan and skillet neatly on the hearth side by side, like a pair of polished shoes. Over the hearth hang bunches of drying mushrooms, the thin, curling kind they call jew's-ears, which have grown on the elder trees since Judas hanged himself on one; this is the kind of lore he tells me, tempting my half-belief. He hangs up herbs in bunches to dry, too--thyme, marjoram, sage, vervain, southernwood, yarrow. The room is musical and aromatic and there is always a wood fire crackling in the grate, a sweet, acrid smoke, a bright, glancing flame. But you cannot get a tune out of the old fiddle hanging on the wall beside the birds because all its strings are broken.

Now, when I go for walks, sometimes in the mornings when the frost has put its shiny thumbprint on the undergrowth or sometimes, though less frequently, yet more enticingly, in the evenings when the cold darkness settles down, I always go to the Erl-King and he lays me down on his bed of rustling straw where I lie at the mercy of his huge hands.

He is the tender butcher who showed me how the price of flesh is love; skin the rabbit, he says! Off come all my clothes.

When he combs his hair that is the colour of dead leaves, dead leaves fall out of it; they rustle and drift to the ground as though he were a tree and he can stand as still as a tree, when he wants the doves to flutter softly, crooning as they come, down upon his shoulders, those silly, fat, trusting woodies with the pretty wedding rings round their necks. He makes his whistles out of an elder twig and that is what he uses to call the birds out of the air--all the birds come; and the sweetest singers he will keep in cages.

The wind stirs the dark wood; it blows through the bushes. A little of the cold air that blows over graveyards always goes with him, it crisps the hairs on the back of my neck but I am not afraid of him; only, afraid of vertigo, of the vertigo with which he seizes me. Afraid of falling down.

Falling as a bird would fall through the air if the Erl-King tied up the winds in his handkerchief and knotted the ends together so they could not get out. Then the moving currents of the air would no longer sustain them and all the birds would fall at the imperative of gravity, as I fall down for him, and I know it is only because he is kind to me that I do not fall still further. The earth with its fragile fleece of last summer's dying leaves and grasses supports me only out of complicity with him, because his flesh is of the same substance as those leaves that are slowly turning into earth.

He could thrust me into the seed-bed of next year's generation and I would have to wait until he whistled me up from my darkness before I could come back again.

Yet, when he shakes out those two clear notes from his bird call, I come, like any other trusting thing that perches on the crook of his wrist.

I found the Erl-King sitting on an ivy-covered stump winding all the birds in the wood to him on a diatonic spool of sound, one rising note, one falling note; such a sweet piercing call that down there came a soft, chirruping jostle of birds. The clearing was cluttered with dead leaves, some the colour of honey, some the colour of cinders, some the colour of earth. He seemed so much the spirit of the place I saw without surprise how the fox laid its muzzle fearlessly upon his knee. The brown light of the end of the day drained into the moist, heavy earth; all silent, all still and the cool smell of night coming. The first drops of rain fell. In the wood, no shelter but his cottage.

That was the way I walked into the bird-haunted solitude of the Erl-King, who keeps his feathered things in little cages he has woven out of osier twigs and there they sit and sing for him.

Goat's milk to drink, from a chipped tin mug; we shall eat the oatcakes he has baked on the hearthstone. Rattle of the rain on the roof. The latch clanks on the door; we are shut up inside with one another, in the brown room crisp with the scent of burning logs that shiver with tiny flame, and I lie down on the Erl-King's creaking palliasse of straw. His skin is the tint and texture of sour cream, he has stiff, russet nipples ripe as berries. Like a tree that bears bloom and fruit on the same bough together, how pleasing, how lovely.

And now--ach! I feel your sharp teeth in the subaqueous depths of your kisses. The equinoctial gales seize the bare elms and make them whizz and whirl like dervishes; you sink your teeth into my throat and make me scream.

The white moon above the clearing coldly illuminates the still tableaux of our embracements. How sweet I roamed, or, rather, used to roam; once I was the perfect child of the meadows of summer, but then the year turned, the light clarified and I saw the gaunt Erl-King, tall as a tree with birds in its branches, and he drew me towards him on his magic lasso of inhuman music.

If I strung that old fiddle with your hair, we could waltz together to the music as the exhausted daylight founders among the trees; we should have better music than the shrill prothalamions of the larks stacked in their pretty cages as the roof creaks with the freight of birds you've lured to it while we engage in your profane mysteries under the leaves.

He strips me to my last nakedness, that underskin of mauve, pearlized satin, like a skinned rabbit; then dresses me again in an embrace so lucid and encompassing it might be made of water. And shakes over me dead leaves as if into the stream I have become.

Sometimes the birds, at random, all singing, strike a chord.

His skin covers me entirely; we are like two halves of a seed, enclosed in the same integument. I should like to grow enormously small, so that you could swallow me, like those queens in fairy tales who conceive when they swallow a grain of corn or a sesame seed. Then I could lodge inside your body and you would bear me.

The candle flutters and goes out. His touch both consoles and devastates me; I feel my heart pulse, then wither, naked as a stone on the roaring mattress while the lovely, moony night slides through the window to dapple the flanks of this innocent who makes cages to keep the sweet birds in. Eat me, drink me; thirsty, cankered, goblin-ridden, I go back and back to him to have his fingers strip the tattered skin away and clothe me in his dress of water, this garment that drenches me, its slithering odour, its capacity for drowning.

Now the crows drop winter from their wings, invoke the harshest season with their cry.

It is growing colder. Scarcely a leaf left on the trees and the birds come to him in even greater numbers because, in this hard weather, it is lean pickings. The blackbirds and thrushes must hunt the snails from hedge bottoms and crack the shells on stones. But the Erl-King gives them corn and when he whistles to them, a moment later you cannot see him for the birds that have covered him like a soft fall of feathered snow. He spreads out a goblin feast of fruit for me, such appalling succulence; I lie above him and see the light from the fire sucked into the black vortex of his eye, the omission of light at the centre, there, that exerts on me such a tremendous pressure, it draws me inwards.

Eyes green as apples. Green as dead sea fruit.

A wind rises; it makes a singular, wild, low, rushing sound.

What big eyes you have. Eyes of an incomparable luminosity, the numinous phosphorescence of the eyes of lycanthropes. The gelid green of your eyes fixes my reflective face; It is a preservative, like a green liquid amber; it catches me. I am afraid I will be trapped in it for ever like the poor little ants and flies that stuck their feet in resin before the sea covered the Baltic. He winds me into the circle of his eye on a reel of birdsong. There is a black hole in the middle of both your eyes; it is their still centre, looking there makes me giddy, as if I might fall into it.

Your green eye is a reducing chamber. If I look into it long enough, I will become as small as my own reflection, I will diminish to a point and vanish. I will be drawn down into that black whirlpool and be consumed by you. I shall become so small you can keep me in one of your osier cages and mock my loss of liberty. I have seen the cage you are weaving for me; it is a very pretty one and I shall sit, hereafter, in my cage among the other singing birds but I--I shall be dumb, from spite.

When I realized what the Erl-King meant to do to me, I was shaken with a terrible fear and I did not know what to do for I loved him with all my heart and yet I had no wish to join the whistling congregation he kept in his cages although he looked after them very affectionately, gave them fresh water every day and fed them well. His embraces were his enticements and yet, oh yet! they were the branches of which the trap itself was woven. But in his innocence he never knew he might be the death of me, although I knew from the first moment I saw him how Erl-King would do me grievous harm.

Although the bow hangs beside the old fiddle on the wall, all the strings are broken so you cannot play it. I don't know what kind of tunes you might play on it, if it were strung again; lullabies for foolish virgins, perhaps, and now I know the birds don't sing, they only cry because they can't find their way out of the wood, have lost their flesh when they were dipped in the corrosive pools of his regard and now must live in cages.

Sometimes he lays his head on my lap and lets me comb his lovely hair for him; his combings are leaves of every tree in the wood and dryly susurrate around my feet. His hair falls down over my knees. Silence like a dream in front of the spitting fire while he lies at my feet and I comb the dead leaves out of his languorous hair. The robin has built his nest in the thatch again, this year; he perches on an unburnt log, cleans his beak, ruffles his plumage. There is a plaintive sweetness in his song and a certain melancholy, because the year is over--the robin, the friend of man, in spite of the wound in his breast from which Erl-King tore out his heart.

Lay your head on my knee so that I can't see the greenish inward-turning suns of your eyes any more.

My hands shake.

I shall take two huge handfuls of his rustling hair as he lies half dreaming, half waking, and wind them into ropes, very softly, so he will not wake up, and, softly, with hands as gentle as rain, I shall strangle him with them.

Then she will open all the cages and let the birds free; they will change back into young girls, every one, each with the crimson imprint of his love-bite on their throats.

She will carve off his great mane with the knife he uses to skin the rabbits; she will string the old fiddle with five single strings of ash-brown hair.

Then it will play discordant music without a hand touching it. The bow will dance over the new strings of its own accord and they will cry out: 'Mother, mother, you have murdered me!'

Midwinter--invincible, immaculate. The Count and his wife go riding, he on a grey mare and she on a black one, she wrapped in the glittering pelts of black foxes; and she wore high, black, shining boots with scarlet heels, and spurs. Fresh snow fell on snow already fallen; when it ceased, the whole world was white. 'I wish I had a girl as white as snow,' says the Count. They ride on. They come to a hole in the snow; this hole is filled with blood. He says: 'I wish I had a girl as red as blood.' So they ride on again; here is a raven, perched on a bare bough. 'I wish I had a girl as black as that bird's feather.' As soon as he completed her description, there she stood, beside the road, white skin, red mouth, black hair and stark naked; she was the child of his desire and the Countess hated her. The Count lifted her up and sat her in front of him on his saddle but the Countess had only one thought: how shall I be rid of her?

The Countess dropped her glove in the snow and told the girl to get down to look for it; she meant to gallop off and leave her there but the Count said: 'I'll buy you new gloves.' At that, the furs sprang off the Countess's shoulders and twined round the naked girl. Then the Countess threw her diamond brooch through the ice of a frozen pond: 'Dive in and fetch it for me,' she said; she thought the girl would drown. But the Count said: 'Is she a fish, to swim in such cold weather?' Then her boots leapt off the Countess's feet and on to the girl's legs. Now the Countess was bare as a bone and the girl furred and booted; the Count felt sorry for his wife. They came to a bush of roses, all in flower. 'Pick me one,' said the Countess to the girl. 'I can't deny you that,' said the Count.

So the girl picks a rose; pricks her finger on the thorn; bleeds; screams; falls.

Weeping, the Count got off his horse, unfastened his breeches and thrust his virile member into the dead girl. The Countess reined in her stamping mare and watched him narrowly; he was soon finished.

Then the girl began to melt. Soon there was nothing left of her but a feather a bird might have dropped; a bloodstain, like the trace of a fox's kill on the snow; and the rose she had pulled off the bush. Now the Countess had all her clothes on again. With her long hand, she stroked her furs. The Count picked up the rose, bowed and handed it to his wife; when she touched it, she dropped it.

'It bites!' she said.

At last the revenants became so troublesome the peasants abandoned the village and it fell solely into the possession of subtle and vindictive inhabitants who manifest their presences by shadows that fall almost imperceptibly awry, too many shadows, even at midday, shadows that have no source in anything visible; by the sound, sometimes, of sobbing in a derelict bedroom where a cracked mirror suspended from a wall does not reflect a presence; by a sense of unease that will afflict the traveller unwise enough to pause to drink from the fountain in the square that still gushes spring water from a faucet stuck in a stone lion's mouth. A cat prowls in a weedy garden; he grins and spits, arches his back, bounces away from an intangible on four fear-stiffened legs. Now all shun the village below the chateau in which the beautiful somnambulist helplessly perpetuates her ancestral crimes.

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, each one of whom, through her, projects a baleful posthumous existence; she counts out the Tarot cards, ceaselessly construing a constellation of possibilities as if the random fall of the cards on the red plush tablecloth before her could precipitate her from her chill, shuttered room into a country of perpetual summer and obliterate the perennial sadness of a girl who is both death and the maiden.

Her voice is filled with distant sonorities, like reverberations in a cave: now you are at the place of annihilation, now you are at the place of annihilation. And she is herself a cave full of echoes, she is a system of repetitions, she is a closed circuit.' Can a bird sing only the song it knows or can it learn a new song?' She draws her long, sharp fingernail across the bars of the cage in which her pet lark sings, striking a plangent twang like that of the plucked heartstrings of a woman of metal. Her hair falls down like tears.

The castle is mostly given over to ghostly occupants but she herself has her own suite of drawing room and bedroom. Closely barred shutters and heavy velvet curtains keep out every leak of natural light. There is a round table on a single leg covered with a red plush cloth on which she lays out her inevitable Tarot; this room is never more than faintly illuminated by a heavily shaded lamp on the mantelpiece and the dark red figured wallpaper is obscurely, distressingly patterned by the rain that drives in through the neglected roof and leaves behind it random areas of staining, ominous marks like those left on the sheets by dead lovers. Depredations of rot and fungus everywhere. The unlit chandelier is so heavy with dust the individual prisms no longer show any shapes; industrious spiders have woven canopies in the corners of this ornate and rotting place, have trapped the porcelain vases on the mantelpiece in soft grey nets. But the mistress of all this disintegration notices nothing.

She sits in a chair covered in moth-ravaged burgundy velvet at the low, round table and distributes the cards; sometimes the lark sings, but more often remains a sullen mound of drab feathers. Sometimes the Countess will wake it for a brief cadenza by strumming the bars of its cage; she likes to hear it announce how it cannot escape.

She rises when the sun sets and goes immediately to her table where she plays her game of patience until she grows hungry, until she becomes ravenous. She is so beautiful she is unnatural; her beauty is an abnormality, a deformity, for none of her features exhibit any of those touching imperfections that reconcile us to the imperfection of the human condition. Her beauty is a symptom of her disorder, of her soullessness.

The white hands of the tenebrous belle deal the hand of destiny. Her fingernails are longer than those of the mandarins of ancient China and each is pared to a fine point. These and teeth as fine and white as spikes of spun sugar are the visible signs of the destiny she wistfully attempts to evade via the arcana; her claws and teeth have been sharpened on centuries of corpses, she is the last bud of the poison tree that sprang from the loins of Vlad the Impaler who picnicked on corpses in the forests of Transylvania.

The walls of her bedroom are hung with black satin, embroidered with tears of pearl. At the room's four corners are funerary urns and bowls which emit slumbrous, pungent fumes of incense. In the centre is an elaborate catafalque, in ebony, surrounded by long candles in enormous silver candlesticks. In a white lace nglig stained a little with blood, the Countess climbs up on her catafalque at dawn each morning and lies down in an open coffin.

A chignoned priest of the Orthodox faith staked out her wicked father at a Carpathian crossroad before her milk teeth grew. Just as they staked him out, the fatal Count cried: 'Nosferatu is dead; long live Nosferatu!' Now she possesses all the haunted forests and mysterious habitations of his vast domain; she is the hereditary commandant of the army of shadows who camp in the village below her chateau, who penetrate the woods in the form of owls, bats and foxes, who make the milk curdle and the butter refuse to come, who ride the horses all night on a wild hunt so they are sacks of skin and bone in the morning, who milk the cows dry and, especially, torment pubescent girls with fainting fits, disorders of the blood, diseases of the imagination.

But the Countess herself is indifferent to her own weird authority, as if she were dreaming it. In her dream, she would like to be human; but she does not know if that is possible. The Tarot always shows the same configuration: always she turns up La Papesse, La Mort, La Tour Abolie, wisdom, death, dissolution.

On moonless nights, her keeper lets her out into the garden. This garden, an exceedingly sombre place, bears a strong resemblance to a burial ground and all the roses her dead mother planted have grown up into a huge, spiked wall that incarcerates her in the castle of her inheritance. When the back door opens, the Countess will sniff the air and howl. She drops, now, on all fours. Crouching, quivering, she catches the scent of her prey. Delicious crunch of the fragile bones of rabbits and small, furry things she pursues with fleet, four-footed speed; she will creep home, whimpering, with blood smeared on her cheeks. She pours water from the ewer in her bedroom into the bowl, she washes her face with the wincing, fastidious gestures of a cat.

The voracious margin of huntress's nights in the gloomy garden, crouch and pounce, surrounds her habitual tormented somnambulism, her life or imitation of life. The eyes of this nocturnal creature enlarge and glow. All claws and teeth, she strikes, she gorges; but nothing can console her for the ghastliness of her condition, nothing. She resorts to the magic comfort of the Tarot pack and shuffles the cards, lays them out, reads them, gathers them up with a sigh, shuffles them again, constantly constructing hypotheses about a future which is irreversible.

An old mute looks after her, to make sure she never sees the sun, that all day she stays in her coffin, to keep mirrors and all reflective surfaces away from her--in short, to perform all the functions of the servants of vampires. Everything about this beautiful and ghastly lady is as it should be, queen of night, queen of terror--except her horrible reluctance for the role.

Nevertheless, if an unwise adventurer pauses in the square of the deserted village to refresh himself at the fountain, a crone in a black dress and white apron presently emerges from a house. She will invite you with smiles and gestures; you will follow her. The Countess wants fresh meat. When she was a little girl, she was like a fox and contented herself entirely with baby rabbits that squeaked piteously as she bit into their necks with a nauseated voluptuousness, with voles and field-mice that palpitated for a bare moment between her embroidress's fingers. But now she is a woman, she must have men. If you stop too long beside the giggling fountain, you will be led by the hand to the Countess's larder.

All day, she lies in her coffin in her nglig of blood-stained lace. When the sun drops behind the mountain, she yawns and stirs and puts on the only dress she has, her mother's wedding dress, to sit and read her cards until she grows hungry. She loathes the food she eats; she would have liked to take the rabbits home with her, feed them on lettuce, pet them and make them a nest in her red-and-black chinoiserie escritoire, but hunger always overcomes her. She sinks her teeth into the neck where an artery throbs with fear; she will drop the deflated skin from which she has extracted all the nourishment with a small cry of both pain and disgust. And it is the same with the shepherd boys and gipsy lads who, ignorant or foolhardy, come to wash the dust from their feet in the water of the fountain; the Countess's governess brings them into the drawing room where the cards on the table always show the Grim Reaper. The Countess herself will serve them coffee in tiny cracked, precious cups, and little sugar cakes. The hobbledehoys sit with a spilling cup in one hand and a biscuit in the other, gaping at the Countess in her satin finery as she pours from a silver pot and chatters distractedly to put them at their fatal ease. A certain desolate stillness of her eyes indicates she is inconsolable. She would like to caress their lean brown cheeks and stroke their ragged hair. When she takes them by the hand and leads them to her bedroom, they can scarcely believe their luck.

Afterwards, her governess will tidy the remains into a neat pile and wrap it in its own discarded clothes. This mortal parcel she then discreetly buries in the garden. The blood on the Countess's cheeks will be mixed with tears; her keeper probes her fingernails for her with a little silver toothpick, to get rid of the fragments of skin and bone that have lodged there

Fee fie fo film
I smell the blood of an Englishman.

One hot, ripe summer in the pubescent years of the present century, a young officer in the British army, blond, blue-eyed, heavy-muscled, visiting friends in Vienna, decided to spend the remainder of his furlough exploring the little-known uplands of Romania. When he quixotically decided to travel the rutted cart-tracks by bicycle, he saw all the humour of it: 'on two wheels in the land of the vampires'. So, laughing, he sets out on his adventure.

He has the special quality of virginity, most and least ambiguous of states: ignorance, yet at the same time, power in potentia, and, furthermore, unknowingness, which is not the same as ignorance. He is more than he knows--and has about him, besides, the special glamour of that generation for whom history has already prepared a special, exemplary fate in the trenches of France. This being, rooted in change and time, is about to collide with the timeless Gothic eternity of the vampires, for whom all is as it has always been and will be, whose cards always fall in the same pattern.

Although so young, he is also rational. He has chosen the most rational mode of transport in the world for his trip round the Carpathians. To ride a bicycle is in itself some protection against superstitious fears, since the bicycle is the product of pure reason applied to motion. Geometry at the service of man! Give me two spheres and a straight line and I will show you how far I can take them. Voltaire himself might have invented the bicycle, since it contributes so much to man's welfare and nothing at all to his bane. Beneficial to the health, it emits no harmful fumes and permits only the most decorous speeds. How can a bicycle ever be an implement of harm?

A single kiss woke up the Sleeping Beauty in the Wood.

The waxen fingers of the Countess, fingers of a holy image, turn up the card called Les Amoureux. Never, never before ... never before has the Countess cast herself a fate involving love. She shakes, she trembles, her great eyes close beneath her finely veined, nervously fluttering eyelids; the lovely cartomancer has, this time, the first time, dealt herself a hand of love and death.

Be he alive or be he dead
I'll grind his bones to make my bread.

At the mauvish beginnings of evening, the English m'sieu toils up the hill to the village he glimpsed from a great way off; he must dismount and push his bicycle before him, the path too steep to ride. He hopes to find a friendly inn to rest the night; he's hot, hungry, thirsty, weary, dusty ... At first, such disappointment, to discover the roofs of all the cottages caved in and tall weeds thrusting through the piles of fallen tiles, shutters hanging disconsolately from their hinges, an entirely uninhabited place. And the rank vegetation whispers, as if foul secrets, here, where, if one were sufficiently imaginative, one could almost imagine twisted faces appearing momentarily beneath the crumbling eaves ... but the adventure of it all, and the consolation of the poignant brightness of the hollyhocks still bravely blooming in the shaggy gardens, and the beauty of the flaming sunset, all these considerations soon overcame his disappointment, even assuaged the faint unease he'd felt. And the fountain where the village women used to wash their clothes still gushed out bright, clear water; he gratefully washed his feet and hands, applied his mouth to the faucet, then let the icy stream run over his face.

When he raised his dripping, gratified head from the lion's mouth, he saw, silently arrived beside him in the square, an old woman who smiled eagerly, almost conciliatorily at him. She wore a black dress and a white apron, with a housekeeper's key ring at the waist; her grey hair was neatly coiled in a chignon beneath the white linen headdress worn by elderly women of that region. She bobbed a curtsy at the young man and beckoned him to follow her. When he hesitated, she pointed towards the great bulk of the mansion above them, whose faade loured over the village, rubbed her stomach, pointed to her mouth, rubbed her stomach again, clearly miming an invitation to supper. Then she beckoned him again, this time turning determinedly upon her heel as though she would brook no opposition.

A great, intoxicated surge of the heavy scent of red roses blew into his face as soon as they left the village, inducing a sensuous vertigo; a blast of rich, faintly corrupt sweetness strong enough almost, to fell him. Too many roses. Too many roses bloomed on enormous thickets that lined the path, thickets bristling with thorns, and the flowers themselves were almost too luxuriant, their huge congregations of plush petals somehow obscene in their excess, their whorled, tightly budded cores outrageous in their implications. The mansion emerged grudgingly out of this jungle.

In the subtle and haunting light of the setting sun, that golden light rich with nostalgia for the day that is just past, the sombre visage of the place, part manor house, part fortified farmhouse, immense, rambling, a dilapidated eagle's nest atop the crag down which its attendant village meandered, reminded him of childhood tales on winter evenings, when he and his brothers and sisters scared themselves half out of their wits with ghost stories set in just such places and then had to have candles to light them up newly terrifying stairs to bed. He could almost have regretted accepting the crone's unspoken invitation; but now, standing before the door of time-eroded oak while she selected a huge iron key from the clanking ringful at her waist, he knew it was too late to turn back and brusquely reminded himself he was no child, now, to be frightened of his own fancies.

The old lady unlocked the door, which swung back on melodramatically creaking hinges, and fussily took charge of his bicycle, in spite of his protests. He felt a certain involuntary sinking of the heart to see his beautiful two-wheeled symbol of rationality vanish into the dark entrails of the mansion, to, no doubt, some damp outhouse where they would not oil it or check its tyres. But, in for a penny, in for a pound--in his youth and strength and blond beauty, in the invisible, even unacknowledged pentacle of his virginity, the young man stepped over the threshold of Nosferatu's castle and did not shiver in the blast of cold air, as from the mouth of a grave, that emanated from the lightless, cavernous interior.

The crone took him to a little chamber where there was a black oak table spread with a clean white cloth and this cloth was carefully laid with heavy silverware, a little tarnished, as if someone with foul breath had breathed on it, but laid with one place only. Curiouser and curiouser; invited to the castle for dinner, now he must dine alone. All the same, he sat down as she had bid him. Although it was not yet dark outside, the curtains were closely drawn and only the sparing light trickling from a single oil lamp showed him how dismal his surroundings were. The crone bustled about to get him a bottle of wine and a glass from an ancient cabinet of wormy oak; while he bemusedly drank his wine, she disappeared but soon returned bearing a steaming platter of the local spiced meat stew with dumplings, and a shank of black bread. He was hungry after his long day's ride, he ate heartily and polished his plate with the crust, but this coarse food was hardly the entertainment he'd expected from the gentry and he was puzzled by the assessing glint in the dumb woman's eyes as she watched him eating.

But she darted off to get him a second helping as soon as he'd finished the first one and she seemed so friendly and helpful, besides, that he knew he could count on a bed for the night in the castle, as well as his supper, so he sharply reprimanded himself for his own childish lack of enthusiasm for the eerie silence, the clammy chill of the place.

When he'd put away the second plateful, the old woman came and gestured he should leave the table and follow her once again. She made a pantomime of drinking; he deduced he was now invited to take after-dinner coffee in another room with some more elevated member of the household who had not wished to dine with him but, all the same, wanted to make his acquaintance. An honour, no doubt; in deference to his host's opinion of himself, he straightened his tie, brushed the crumbs from his tweed jacket.

He was surprised to find how ruinous the interior of the house was--cobwebs, worm-eaten beams, crumbling plaster; but the mute crone resolutely wound him on the reel of her lantern down endless corridors, up winding staircases, through the galleries where the painted eyes of family portraits briefly flickered as they passed, eyes that belonged, he noticed, to faces, one and all, of a quite memorable beastliness. At last she paused and, behind the door where they'd halted, he heard a faint, metallic twang as of, perhaps, a chord struck on a harpsichord. And then, wonderfully, the liquid cascade of the song of a lark, bringing to him, in the heart--had he but known it--of Juliet's tomb, all the freshness of morning.

The crone rapped with her knuckles on the panels; the most seductively caressing voice he had ever heard in his life softly called out, in heavily accented French, the adopted language of the Romanian aristocracy: 'Entrez.'

First of all, he saw only a shape, a shape imbued with a faint luminosity since it caught and reflected in its yellowed surfaces what little light there was in the ill-lit room; this shape resolved itself into that of, of all things, a hoop-skirted dress of white satin draped here and there with lace, a dress fifty or sixty years out of fashion but once, obviously, intended for a wedding. And then he saw the girl who wore the dress, a girl with the fragility of the skeleton of a moth, so thin, so frail that her dress seemed to him to hang suspended, as if untenanted in the dank air, a fabulous lending, a self-articulated garment in which she lived like a ghost in a machine. All the light in the room came from a low-burning lamp with a thick greenish shade on a distant mantelpiece; the crone who accompanied him shielded her lantern with her hand, as if to protect her mistress from too suddenly seeing, or their guest from too suddenly seeing her.

So that it was little by little, as his eyes grew accustomed to the half-dark, that he saw how beautiful and how very young the bedizened scarecrow was, and he thought of a child dressing up in her mother's clothes, perhaps a child putting on the clothes of a dead mother in order to bring her, however briefly, to life again.

The Countess stood behind a low table, beside a pretty, silly, gilt-and-wire birdcage, hands outstretched in a distracted attitude that was almost one of flight; she looked as startled by their entry as if she had not requested it. With her stark white face, her lovely death's head surrounded by long dark hair that fell down as straight as if it were soaking wet, she looked like a shipwrecked bride. Her huge dark eyes almost broke his heart with their waiflike, lost look; yet he was disturbed, almost repelled, by her extraordinarily fleshy mouth, a mouth with wide, full, prominent lips of a vibrant purplish-crimson, a morbid mouth. Even--but he put the thought away from him immediately--a whore's mouth. She shivered all the time, a starveling chill, a malarial agitation of the bones. He thought she must be only sixteen or seventeen years old, no more, with the hectic, unhealthy beauty of a consumptive. She was the chatelaine of all this decay.

With many tender precautions, the crone now raised the light she held to show his hostess her guest's face. At that, the Countess let out a faint, mewing cry and made a blind, appalled gesture with her hands, as if pushing him away, so that she knocked against the table and a butterfly dazzle of painted cards fell to the floor. Her mouth formed a round' o' of woe, she swayed a little and then sank into her chair, where she lay as if now scarcely capable of moving. A bewildering reception. Tsk'ing under her breath, the crone busily poked about on the table until she found an enormous pair of dark green glasses, such as blind beggars wear, and perched them on the Countess's nose.

He went forward to pick up her cards for her from a carpet that, he saw to his surprise, was part rotted away, partly encroached upon by all kinds of virulent-looking fungi. He retrieved the cards and shuffled them carelessly together, for they meant nothing to him, though they seemed strange playthings for a young girl. What a grisly picture of a capering skeleton! He covered it up with a happier one--of two young lovers, smiling at one another, and put her toys back into a hand so slender you could almost see the frail net of bone beneath the translucent skin, a hand with fingernails as long, as finely pointed, as banjo picks.

At his touch, she seemed to revive a little and almost smiled, raising herself upright.

'Coffee,' she said. 'You must have coffee.' And scooped up her cards into a pile so that the crone could set before her a silver spirit kettle, a silver coffee pot, cream jug, sugar basin, cups ready on a silver tray, a strange touch of elegance, even if discoloured, in this devastated interior whose mistress ethereally shone as if with her own blighted, submarine radiance.

The crone found him a chair and, tittering noiselessly, departed, leaving the room a little darker.

While the young lady attended to the coffee-making, he had time to contemplate with some distaste a further series of family portraits which decorated the stained and peeling walls of the room; these livid faces all seemed contorted with a febrile madness and the blubber lips, the huge, demented eyes that all had in common bore a disquieting resemblance to those of the hapless victim of inbreeding now patiently filtering her fragrant brew, even if some rare grace has so finely transformed those features when it came to her case. The lark, its chorus done, had long ago fallen silent; no sound but the chink of silver on china. Soon, she held out to him a tiny cup of rose-painted china.

'Welcome,' she said in her voice with the rushing sonorities of the ocean in it, a voice that seemed to come elsewhere than from her white, still throat. 'Welcome to my chateau. I rarely receive visitors and that's a misfortune since nothing animates me half as much as the presence of a stranger ... This place is so lonely, now the village is deserted, and my one companion, alas, she cannot speak. Often I am so silent that I think I, too, will soon forget how to do so and nobody here will ever talk any more.'

She offered him a sugar biscuit from a Limoges plate; her fingernails struck carillons from the antique china. Her voice, issuing from those red lips like the obese roses in her garden, lips that do not move--her voice is curiously disembodied; she is like a doll, he thought, a ventriloquist's doll, or, more, like a great, ingenious piece of clockwork. For she seemed inadequately powered by some slow energy of which she was not in control; as if she had been wound up years ago, when she was born, and now the mechanism was inexorably running down and would leave her lifeless. This idea that she might be an automaton, made of white velvet and black fur, that could not move of its own accord, never quite deserted him; indeed, it deeply moved his heart. The carnival air of her white dress emphasized her unreality, like a sad Columbine who lost her way in the wood a long time ago and never reached the fair.

'And the light. I must apologize for the lack of light ... a hereditary affliction of the eyes ...'

Her blind spectacles gave him his handsome face back to himself twice over; if he presented himself to her naked face, he would dazzle her like the sun she is forbidden to look at because it would shrivel her up at once, poor night bird, poor butcher bird.

Vous serez ma proie.

You have such a fine throat, m'sieu, like a column of marble. When you came through the door retaining about you all the golden light of the summer's day of which I know nothing, nothing, the card called 'Les Amoureux' had just emerged from the tumbling chaos of imagery before me; it seemed to me you had stepped off the card into my darkness and, for a moment, I thought, perhaps, you might irradiate it.

I do not mean to hurt you. I shall wait for you in my bride's dress in the dark.

The bridegroom is come, he will go into the chamber which has been prepared for him.

I am condemned to solitude and dark; I do not mean to hurt you.

I will be very gentle.

(And could love free me from the shadows? Can a bird sing only the song it knows, or can it learn a new song?)

See, how I'm ready for you. I've always been ready for you; I've been waiting for you in my wedding dress, why have you delayed for so long ... it will all be over very quickly.

You will feel no pain, my darling.

She herself is a haunted house. She does not possess herself; her ancestors sometimes come and peer out of the windows of her eyes and that is very frightening. She has the mysterious solitude of ambiguous states; she hovers in a no-man's land between life and death, sleeping and waking, behind the hedge of spiked flowers, Nosferatu's sanguinary rosebud. The beastly forebears on the walls condemn her to a perpetual repetition of their passions.

(One kiss, however, and only one, woke up the Sleeping Beauty in the Wood.)

Nervously, to conceal her inner voices, she keeps up a front of inconsequential chatter in French while her ancestors leer and grimace on the walls; however hard she tries to think of any other, she only knows of one kind of consummation.

He was struck, once again, by the birdlike, predatory claws which tipped her marvellous hands; the sense of strangeness that had been growing on him since he buried his head under the streaming water in the village, since he entered the dark portals of the fatal castle, now fully overcame him. Had he been a cat, he would have bounced backwards from her hands on four fear-stiffened legs, but he is not a cat: he is a hero.

A fundamental disbelief in what he sees before him sustains him, even in the boudoir of Countess Nosferatu herself; he would have said, perhaps, that there are some things which, even if they are true, we should not believe possible. He might have said: it is folly to believe one's eyes. Not so much that he does not believe in her; he can see her, she is real. If she takes off her dark glasses, from her eyes will stream all the images that populate this vampire-haunted land, but, since he himself is immune to shadow, due to his virginity--he does not yet know what there is to be afraid of--and due to his heroism, which makes him like the sun, he sees before him, first and foremost, an inbred, highly strung girl child, fatherless, motherless, kept in the dark too long and pale as a plant that never sees the light, half-blinded by some hereditary condition of the eyes. And though he feels unease, he cannot feel terror; so he is like the boy in the fairy tale, who does not know how to shudder, and not spooks, ghouls, beasties, the Devil himself and all his retinue could do the trick.

This lack of imagination gives his heroism to the hero.

He will learn to shudder in the trenches. But this girl cannot make him shudder.

Now it is dark. Bats swoop and squeak outside the tightly shuttered windows. The coffee is all drunk, the sugar biscuits eaten. Her chatter comes trickling and diminishing to a stop; she twists her fingers together, picks at the lace of her dress, shifts nervously in her chair. Owls shriek; the impedimenta of her condition squeak and gibber all around us. Now you are at the place of annihilation, now you are at the place of annihilation. She turns her head away from the blue beams of his eyes; she knows no other consummation than the only one she can offer him. She has not eaten for three days. It is dinner-time. It is bedtime.

Suivez-moi.
Je vous attendais.
Vous serez ma proie.

The raven caws on the accursed roof. 'Dinnertime, dinnertime,' clang the portraits on the walls. A ghastly hunger gnaws her entrails; she has waited for him all her life without knowing it.

The handsome bicyclist, scarcely believing his luck, will follow her into her bedroom; the candles around her sacrificial altar burn with a low, clear flame, light catches on the silver tears stitched to the wall. She will assure him, in the very voice of temptation: 'My clothes have but to fall and you will see before you a succession of mysteries.'

She has no mouth with which to kiss, no hands with which to caress, only the fangs and talons of a beast of prey. To touch the mineral sheen of the flesh revealed in the cool candle gleam is to invite her fatal embrace; in her low, sweet voice, she will croon the lullaby of the House of Nosferatu.

Embraces, kisses; your golden head, of a lion, although I have never seen a lion, only imagined one, of the sun, even if I've only seen the picture of the sun on the Tarot card, your golden head of the lover whom I dreamed would one day free me, this head will fall back, its eyes roll upwards in a spasm you will mistake for that of love and not of death. The bridegroom bleeds on my inverted marriage bed. Stark and dead, poor bicyclist; he has paid the price of a night with the Countess and some think it too high a fee while some do not.

Tomorrow, her keeper will bury his bones under her roses. The food her roses feed on gives them their rich colour, their swooning odour, that breathes lasciviously of forbidden pleasures.

Suivez-moi.

'Suivez-moi!'

The handsome bicyclist, fearful for his hostess's health, her sanity, gingerly follows her hysterical imperiousness into the other room; he would like to take her into his arms and protect her from the ancestors who leer down from the walls.

What a macabre bedroom!

His colonel, an old goat with jaded appetites, had given him the visiting card of a brothel in Paris where, the satyr assured him, ten louis would buy just such a lugubrious bedroom, with a naked girl upon a coffin; offstage, the brothel pianist played the Dies Irae on a harmonium and, amidst all the perfumes of the embalming parlour, the customer took his necrophiliac pleasure of a pretended corpse. He had good-naturedly refused the old man's offer of such an initiation; how can he now take criminal advantage of the disordered girl with fever-hot, bone-dry, taloned hands and eyes that deny all the erotic promises of her body with their terror, their sadness, their dreadful, balked tenderness?

So delicate and damned, poor thing. Quite damned.

Yet I do believe she scarcely knows what she is doing.

She is shaking as if her limbs were not efficiently joined together, as if she might shake into pieces. She raises her hands to unfasten the neck of her dress and her eyes well with tears, they trickle down beneath the rim of her dark glasses. She can't take off her mother's wedding dress unless she takes off her dark glasses; she has fumbled the ritual, it is no longer inexorable. The mechanism within her fails her, now, when she needs it most. When she takes off the dark glasses, they slip from her fingers and smash to pieces on the tiled floor. There is no room in her drama for improvisation; and this unexpected, mundane noise of breaking glass breaks the wicked spell in the room, entirely. She gapes blindly down at the splinters and ineffectively smears the tears across her face with her fist. What is she to do now?

When she kneels to try to gather the fragments of glass together, a sharp sliver pierces deeply into the pad of her thumb; she cries out, sharp, real. She kneels among the broken glass and watches the bright bead of blood form a drop. She has never seen her own blood before, not her own blood. It exercises upon her an awed fascination.

Into this vile and murderous room, the handsome bicyclist brings the innocent remedies of the nursery; in himself, by his presence, he is an exorcism. He gently takes her hand away from her and dabs the blood with his own handkerchief, but still it spurts out. And so he puts his mouth to the wound. He will kiss it better for her, as her mother, had she lived, would have done.

All the silver tears fall from the wall with a flimsy tinkle. Her painted ancestors turn away their eyes and grind their fangs.

How can she bear the pain of becoming human?

The end of exile is the end of being.

He was awakened by larksong. The shutters, the curtains, even the long-sealed windows of the horrid bedroom were all opened up and light and air streamed in; now you could see how tawdry it all was, how thin and cheap the satin, the catafalque not ebony at all but black-painted paper stretched on struts of wood, as in the theatre. The wind had blown droves of petals from the roses outside into the room and this crimson residue swirled fragrantly about the floor. The candles had burnt out and she must have set her pet lark free because it perched on the edge of the silly coffin to sing him its ecstatic morning song. His bones were stiff and aching, he'd slept on the floor with his bundled-up jacket for a pillow, after he'd put her to bed.

But now there was no trace of her to be seen, except, lightly tossed across the crumpled black satin bedcover, a lace nglig lightly soiled with blood, as it might be from a woman's menses, and a rose that must have come from the fierce bushes nodding through the window. The air was heavy with incense and roses and made him cough. The Countess must have got up early to enjoy the sunshine, slipped outside to gather him a rose. He got to his feet, coaxed the lark on to his wrist and took it to the window. At first, it exhibited the reluctance for the sky of a long-caged thing, but, when he tossed it up on to the currents of the air, it spread its wings and was up and away into the clear blue bowl of the heavens; he watched its trajectory with a lift of joy in his heart.

Then he padded into the boudoir, his mind busy with plans. We shall take her to Zurich, to a clinic; she will be treated for nervous hysteria. Then to an eye specialist, for her photophobia, and to a dentist to put her teeth into better shape. Any competent manicurist will deal with her claws. We shall turn her into the lovely girl she is; I shall cure her of all these nightmares.

The heavy curtains are pulled back, to let in brilliant fusillades of early morning light; in the desolation of the boudoir, she sits at her round table in her white dress, with the cards laid out before her. She has dropped off to sleep over the cards of destiny that are so fingered, so soiled, so worn by constant shuffling that you can no longer make the image out on any single one of them.

She is not sleeping.

In death, she looked far older, less beautiful and so, for the first time, fully human.

I will vanish in the morning light; I was only an invention of darkness.

And I leave you as a souvenir the dark, fanged rose I plucked from between my thighs, like a flower laid on a grave. On a grave.

My keeper will attend to everything.

Nosferatu always attends his own obsequies; she will not go to the graveyard unattended. And now the crone materialized, weeping, and roughly gestured him to begone. After a search in some foul-smelling outhouses, he discovered his bicycle and, abandoning his holiday, rode directly to Bucharest where, at the poste restante, he found a telegram summoning him to rejoin his regiment at once. Much later, when he changed back into uniform in his quarters, he discovered he still had the Countess's rose, he must have tucked it into the breast pocket of his cycling jacket after he had found her body. Curiously enough, although he had brought it so far away from Romania, the flower did not seem to be quite dead and, on impulse, because the girl had been so lovely and her death so unexpected and pathetic, he decided to try and resurrect her rose. He filled his tooth glass with water from the carafe on his locker and popped the rose into it, so that its withered head floated on the surface.

When he returned from the mess that evening, the heavy fragrance of Count Nosferatu's roses drifted down the stone corridor of the barracks to greet him, and his spartan quarters brimmed with the reeling odour of a glowing, velvet, monstrous flower whose petals had regained all their former bloom and elasticity, their corrupt, brilliant, baleful splendour. Next day, his regiment embarked for France.

It is a northern country; they have cold weather, they have cold hearts.

Cold; tempest; wild beasts in the forest. It is a hard life. Their houses are built of logs, dark and smoky within. There will be a crude icon of the virgin behind a guttering candle, the leg of a pig hung up to cure, a string of drying mushrooms. A bed, a stool, a table. Harsh, brief, poor lives.

To these upland woodsmen, the Devil is as real as you or I. More so; they have not seen us nor even know that we exist, but the Devil they glimpse often in the graveyards, those bleak and touching townships of the dead where the graves are marked with portraits of the deceased in the naif style and there are no flowers to put in front of them, no flowers grow there, so they put out small, votive offerings, little loaves, sometimes a cake that the bears come lumbering from the margins of the forest to snatch away. At midnight, especially on Walpurgisnacht, the Devil holds picnics in the graveyards and invites the witches; then they dig up fresh corpses, and eat them. Anyone will tell you that.

Wreaths of garlic on the doors keep out the vampires. A blue-eyed child born feet first on the night of St John's Eve will have second sight. When they discover a witch--some old woman whose cheeses ripen when her neighbours' do not, another old woman whose black cat, oh, sinister! follows her about all the time, they strip the crone, search for her marks, for the supernumerary nipple her familiar sucks. They soon find it. Then they stone her to death.

Winter and cold weather.

Go and visit grandmother, who has been sick. Take her the oatcakes I've baked for her on the hearthstone and a little pot of butter.

The good child does as her mother bids--five miles' trudge through the forest; do not leave the path because of the bears, the wild boar, the starving wolves. Here, take your father's hunting knife; you know how to use it.

The child had a scabby coat of sheepskin to keep out the cold, she knew the forest too well to fear it but she must always be on her guard. When she heard that freezing howl of a wolf, she dropped her gifts, seized her knife and turned on the beast.

It was a huge one, with red eyes and running, grizzled chops; any but a mountaineer's child would have died of fright at the sight of it. It went for her throat, as wolves do, but she made a great swipe at it with her father's knife and slashed off its right forepaw.

The wolf let out a gulp, almost a sob, when it saw what had happened to it; wolves are less brave than they seem. It went lolloping off disconsolately between the trees as well as it could on three legs, leaving a trail of blood behind it. The child wiped the blade of her knife clean on her apron, wrapped up the wolf's paw in the cloth in which her mother had packed the oatcakes and went on towards her grandmother's house. Soon it came on to snow so thickly that the path and any footsteps, track or spoor that might have been upon it were obscured.

She found her grandmother was so sick she had taken to her bed and fallen into a fretful sleep, moaning and shaking so that the child guessed she had a fever. She felt the forehead, it burned. She shook out the cloth from her basket, to use it to make the old woman a cold compress, and the wolf's paw fell to the floor.

But it was no longer a wolf's paw. It was a hand, chopped off at the wrist, a hand toughened with work and freckled with old age. There was a wedding ring on the third finger and a wart on the index finger. By the wart, she knew it for her grandmother's hand.

She pulled back the sheet but the old woman woke up, at that, and began to struggle, squawking and shrieking like a thing possessed. But the child was strong, and armed with her father's hunting knife; she managed to hold her grandmother down long enough to see the cause of her fever. There was a bloody stump where her right hand should have been, festering already.

The child crossed herself and cried out so loud the neighbours heard her and come rushing in. They knew the wart on the hand at once for a witch's nipple; they drove the old woman, in her shift as she was, out into the snow with sticks, beating her old carcass as far as the edge of the forest, and pelted her with stones until she fell down dead. Now the child lived in her grandmother's house; she prospered.

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.

Could this ragged girl with brindled lugs have spoken like we do she would have called herself a wolf, but she cannot speak, although she howls because she is lonely--yet' howl' is not the right word for it, since she is young enough to make the noise that pups do, bubbling, delicious, like that of a panful of fat on the fire. Sometimes the sharp ears of her foster kindred hear her across the irreparable gulf of absence; they answer her from faraway pine forest and the bald mountain rim. Their counterpoint crosses and criss-crosses the night sky; they are trying to talk to her but they cannot do so because she does not understand their language even if she knows how to use it for she is not a wolf herself, although suckled by wolves.

Her panting tongue hangs out; her red lips are thick and fresh. Her legs are long, lean and muscular. Her elbows, hands and knees are thickly callused because she always runs on all fours. She never walks; she trots or gallops. Her pace is not our pace.

Two-legs looks, four-legs sniffs. Her long nose is always a-quiver, sifting every scent it meets. With this useful tool, she lengthily investigates everything she glimpses. She can net so much more of the world than we can through the fine, hairy, sensitive filters of her nostrils that her poor eyesight does not trouble her. Her nose is sharper by night than' our eyes are by day so it is the night she prefers, when the cool reflected light of the moon does not make her eyes smart and draws out the various fragrances from the woodland where she wanders when she can. But the wolves keep well away from the peasants' shotguns, now, and she will no longer find them there.

Wide shoulders, long arms and she sleeps succinctly curled into a ball as if she were cradling her spine in her tail. Nothing about her is human except that she is not a wolf; it is as if the fur she thought she wore had melted into her skin and become part of it, although it does not exist. Like the wild beasts, she lives without a future. She inhabits only the present tense, a fugue of the continuous, a world of sensual immediacy as without hope as it is without despair.

When they found her in the wolf's den beside the bullet-riddled corpse of her foster mother, she was no more than a little brown scrap so snarled in her own brown hair they did not, at first, think she was a child but a cub; she snapped at her would-be saviours with her spiky canines until they tied her up by force. She spent her first days amongst us crouched stockstill, staring at the whitewashed wall of her cell in the convent to which they took her. The nuns poured water over her, poked her with sticks to rouse her. Then she might snatch bread from their hands and race with it into a corner to mumble it with her back towards them; it was a great day among the novices when she learned to sit up on her hind legs and beg for a crust.

They found that, if she were treated with a little kindness, she was not intractable. She learned to recognize her own dish; then, to drink from a cup. They found that she could quite easily be taught a few, simple tricks but she did not feel the cold and it took a long time to wheedle a shift over her head to cover up her bold nakedness. Yet she always seemed wild, impatient of restraint, capricious in temper; when the Mother Superior tried to teach her to give thanks for her recovery from the wolves, she arched her back, pawed the floor, retreated to a far corner of the chapel, crouched, trembled, urinated, defecated--reverted entirely, it would seem, to her natural state. Therefore, without a qualm, this nine days' wonder and continuing embarrassment of a child was delivered over to the bereft and unsanctified household of the Duke.

Deposited at the castle, she huffed and snuffed and smelled only a reek of meat, not the least whiff of sulphur, nor of familiarity. She settled down on her hunkers with that dog's sigh that is only the expulsion of breath and does not mean either relief or resignation.

The Duke is sere as old paper; his dry skin rustics against the bed-sheets as he throws them back to thrust out his thin legs scabbed with old scars where thorns scored his pelt. He lives in a gloomy mansion, all alone but for this child who has as little in common with the rest of us as he does. His bedroom is painted terracotta, rusted with a wash of pain, like the interior of an Iberian butcher's shop, but for himself, nothing can hurt him since he ceased to cast an image in the mirror.

He sleeps in an antlered bed of dull black wrought iron until the moon, the governess of transformations and overseer of somnambulists, pokes an imperative finger through the narrow window and strikes his face: then his eyes start open.

At night, those huge, inconsolable, rapacious eyes of his are eaten up by swollen, gleaming pupil. His eyes see only appetite. These eyes open to devour the world in which he sees, nowhere, a reflection of himself; he passed through the mirror and now, henceforward, lives as if upon the other side of things.

Spilt, glistering milk of moonlight on the frost-crisped grass; on such a night, in moony, metamorphic weather, they say you might easily find him, if you had been foolish enough to venture out late, scuttling along by the churchyard wall with half a juicy torso slung across his back. The white light scours the fields and scours them again until everything gleams and he will leave paw-prints in the hoar-frost when he runs howling round the graves at night in his lupine fiestas.

By the red early hour of midwinter sunset, all the doors are barred for miles. The cows low fretfully in the byre when he goes by, the whimpering dogs sink their noses in their paws. He carries on his frail shoulders a weird burden of fear; he is cast in the role of the corpse-eater, the body-snatcher who invades the last privacies of the dead. He is white as leprosy, with scrabbling fingernails, and nothing deters him. If you stuff a corpse with garlic, why, he only slavers at the treat: cadavre provenale. He will use the holy cross as a scratching post and crouch above the font to thirstily lap up holy water.

She sleeps in the soft, warm ashes of the hearth; beds are traps, she will not stay in one. She can perform the few, small tasks to which the nuns trained her, she sweeps up the hairs, vertebrae and phalanges that litter his room into a dustpan, she makes up his bed at sunset, when he leaves it and the grey beasts outside howl, as if they know his transformation is their parody. Unkind to their prey, to their own they are tender; had the Duke been a wolf, they would have angrily expelled him from the pack, he would have had to lollop along miles behind them, creeping in submission on his belly up to the kill only after they had eaten and were sleeping, to gnaw the well-chewed bones and chew the hide. Yet, suckled as she was by wolves on the high uplands where her mother bore and left her, only his kitchen maid, who is not wolf or woman, knows no better than to do his chores for him.

She grew up with wild beasts. If you could transport her, in her filth, rags and feral disorder, to the Eden of our first beginnings where Eve and grunting Adam squat on a daisy bank, picking the lice from one another's pelts, then she might prove to be the wise child who leads them all and her silence and her howling a language as authentic as any language of nature. In a world of talking beasts and flowers, she would be the bud of flesh in the kind lion's mouth: but how can the bitten apple flesh out its scar again?

Mutilation is her lot; though, now and then, she will emit an involuntary rustle of sound, as if the unused chords in her throat were a wind-harp that moved with the random impulses of the air, her whisper, more obscure than the voices of the dumb.

Familiar desecrations in the village graveyard. The coffin had been ripped open with the abandon with which a child unwraps a gift on Christmas morning and, of its contents, not a trace could be found but for a rag of the bridal veil in which the corpse had been wrapped that was caught, fluttering, in the brambles at the churchyard gate so they knew which way he had taken it, towards his gloomy castle.

In the lapse of time, the trance of being of that exiled place, this girl grew amongst things she could neither name nor perceive. How did she think, how did she feel, this perennial stranger with her furred thoughts and her primal sentience that existed in a flux of shifting impressions; there are no words to describe the way she negotiated the abyss between her dreams, those wakings strange as her sleepings. The wolves had tended her because they knew she was an imperfect wolf; we secluded her in animal privacy out of fear of her imperfection because it showed us what we might have been, and so time passed, although she scarcely knew it. Then she began to bleed.

Her first blood bewildered her. She did not know what it meant and the first stirrings of surmise that ever she felt were directed towards its possible cause. The moon had been shining into the kitchen when she woke to feel the trickle between her thighs and it seemed to her that a wolf who, perhaps, was fond of her, as wolves were, and who lived, perhaps, in the moon? must have nibbled her cunt while she was sleeping, had subjected her to a series of affectionate nips too gentle to wake her yet sharp enough to break the skin. The shape of this theory was blurred yet, out of it, there took root a kind of wild reasoning, as it might have from a seed dropped in her brain off the foot of a flying bird.

The flow continued for a few days, which seemed to her an endless time. She had, as yet, no direct notion of past, or of future, or of duration, only of a dimensionless, immediate moment. At night, she prowled the empty house looking for rags to sop the blood up; she had learned a little elementary hygiene in the convent, enough to know how to bury her excrement and cleanse herself of her natural juices, although the nuns had not the means to inform her how it should be, it was not fastidiousness but shame that made her do so.

She found towels, sheets and pillowcases in closets that had not been opened since the Duke came shrieking into the world with all his teeth, to bite his mother's nipple off and weep. She found once-worn ball dresses in cobwebbed wardrobes, and, heaped in the corners of his bloody chamber, shrouds, nightdresses and burial clothes that had wrapped items on the Duke's menus. She tore strips of the most absorbent fabrics to clumsily diaper herself. In the course of these prowlings, she bumped against that mirror over whose surface the Duke passed like a wind on ice.

First, she tried to nuzzle her reflection; then, nosing it industriously, she soon realized it gave out no smell. She bruised her muzzle on the cold glass and broke her claws trying to tussle with this stranger. She saw, with irritation, then amusement, how it mimicked every gesture of hers when she raised her forepaw to scratch herself or dragged her bum along the dusty carpet to rid herself of a slight discomfort in her hindquarters. She rubbed her head against her reflected face, to show that she felt friendly towards it, and felt a cool, solid, immovable surface between herself and she--some kind, possibly, of invisible cage? In spite of this barrier, she was lonely enough to ask this creature to try to play with her, baring her teeth and grinning; at once she received a reciprocal invitation. She rejoiced; she began to whirl round on herself, yapping exultantly, but, when she retreated from the mirror, she halted in the midst of her ecstasy, puzzled, to see how her new friend grew less in size.

The moonlight spilled into the Duke's motionless bedroom from behind a cloud and she saw how pale this wolf, not-wolf who played with her was. The moon and mirrors have this much in common: you cannot see behind them. Moonlit and white, Wolf-Alice looked at herself in the mirror and wondered whether there she saw the beast who came to bite her in the night. Then her sensitive ears pricked at the sound of a step in the hall; trotting at once back to her kitchen, she encountered the Duke with the leg of a man over his shoulder. Her toenails clicked against the stairs as she padded incuriously past, she, the serene, inviolable one in her absolute and verminous innocence.

Soon the flow ceased. She forgot it. The moon vanished; but, little by little, reappeared. When it again visited her kitchen at full strength, Wolf-Alice was surprised into bleeding again and so it went on, with a punctuality that transformed her vague grip on time. She learned to expect these bleedings, to prepare her rags against them, and afterwards, neatly to bury the dirtied things. Sequence asserted itself with custom and then she understood the circumambulatory principle of the clock perfectly, even if all clocks were banished from the den where she and the Duke inhabited their separate solitudes, so that you might say she discovered the very action of time by means of this returning cycle.

When she curled up among the cinders, the colour, texture and warmth of them brought her foster mother's belly out of the past and printed it on her flesh; her first conscious memory, painful as the first time the nuns combed her hair. She howled a little, in a firmer, deepening trajectory, to obtain the inscrutable consolation of the wolves' response, for now the world around her was assuming form. She perceived an essential difference between herself and her surroundings that you might say she could not put her finger on--only, the trees and grass of the meadows outside no longer seemed the emanation of her questing nose and erect ears, and yet sufficient to itself, but a kind of backdrop for her, that waited for her arrivals to give it meaning. She saw herself upon it and her eyes, with their sombre clarity, took on a veiled, introspective look.

She would spend hours examining the new skin that had been born, it seemed to her, of her bleeding. She would lick her soft upholstery with her long tongue and groom her hair with her fingernails. She examined her new breasts with curiosity; the white growths reminded her of nothing so much as the night-sprung puffballs she had found, sometimes, on evening rambles in the woods, a natural if disconcerting apparition, but then, to her astonishment, she found a little diadem of fresh hairs tufting between her thighs. She showed it to her mirror littermate, who reassured her by showing her she shared it.

The damned Duke haunts the graveyard; he believes himself to be both less and more than a man, as if his obscene difference were a sign of grace. During the day, he sleeps. His mirror faithfully reflects his bed but never the meagre shape within the disordered covers.

Sometimes, on those white nights when she was left alone in the house, she dragged out his grandmother's ball dresses and rolled on suave velvet and abrasive lace because to do so delighted her adolescent skin. Her intimate in the mirror wound the old clothes round herself, wrinkling its nose in delight at the ancient yet still potent scents of musk and civet that woke up in the sleeves and bodices. This habitual, at last boring, fidelity to her every movement finally woke her up to the regretful possibility that her companion was, in fact, no more than a particularly ingenious variety of the shadow she cast on sunlit grass. Had not she and the rest of the litter tussled and romped with their shadows long ago? She poked her agile nose around the back of the mirror; she found only dust, a spider stuck in his web, a heap of rags. A little moisture leaked from the corners of her eyes, yet her relation with the mirror was now far more intimate since she knew she saw herself within it.

She pawed and tumbled the dress the Duke had tucked away behind the mirror for a while. The dust was soon shaken out of it; she experimentally inserted her front legs in the sleeves. Although the dress was torn and crumpled, it was so white and of such a sinuous texture that she thought, before she put it on, she must thoroughly wash off her coat of ashes in the water from the pump in the yard, which she knew how to manipulate with her cunning forepaw. In the mirror, she saw how this white dress made her shine.

Although she could not run so fast on two legs in petticoats, she trotted out in her new dress to investigate the odorous October hedgerows, like a dbutante from the castle, delighted with herself but still, now and then, singing to the wolves with a kind of wistful triumph, because now she knew how to wear clothes and so had put on the visible sign of her difference from them.

Her footprints on damp earth are beautiful and menacing as those Man Friday left.

The young husband of the dead bride spent a long time planning his revenge. He filled the church with an arsenal of bells, books and candles; a battery of silver bullets; they brought a ten-gallon tub of holy water in a wagon from the city, where it had been blessed by the Archbishop himself, to drown the Duke, if the bullets bounced off him. They gathered in the church to chant a litany and wait for the one who would visit with the first deaths of winter.

She goes out at night more often now; the landscape assembles itself about her, she informs it with her presence. She is its significance.

It seemed to her the congregation in the church was ineffectually attempting to imitate the wolves' chorus. She lent them the assistance of her own, educated voice for a while, rocking contemplatively on her haunches by the graveyard gate; then her nostrils twitched to catch the rank stench of the dead that told her her co-habitor was at hand; raising her head, who did her new, keen eyes spy but the lord of cobweb castle intent on performing his cannibal rituals?

And if her nostrils flare suspiciously at the choking reek of incense and his do not, that is because she is far more sentient than he. She will, therefore, run, run! when she hears the crack of bullets, because they killed her foster mother; so, with the self-same lilting lope, drenched with holy water, will he run, too, until the young widower fires the silver bullet that bites his shoulder and drags off half his fictive pelt, so that he must rise up like any common forked biped and limp distressfully on as best he may.

When they saw the white bride leap out of the tombstones and scamper off towards the castle with the werewolf stumbling after, the peasants thought the Duke's dearest victim had come back to take matters into her own hands. They ran screaming from the presence of a ghostly vengeance on him.

Poor, wounded thing ... locked half and half between such strange states, an aborted transformation, an incomplete mystery, now he lies writhing on his black bed in the room like a Mycenaean tomb, howls like a wolf with his foot in a trap or a woman in labour, and bleeds.

First, she was fearful when she heard the sound of pain, in case it hurt her, as it had done before. She prowled round the bed, growling, snuffing at his wound that does not smell like her wound. Then, she was pitiful as her gaunt grey mother; she leapt upon his bed to lick, without hesitation, without disgust, with a quick, tender gravity, the blood and dirt from his cheeks and forehead.

The lucidity of the moonlight lit the mirror propped against the red wall; the rational glass, the master of the visible, impartially recorded the crooning girl.

As she continued her ministrations, this glass, with infinite slowness, yielded to the reflexive strength of its own material construction. Little by little, there appeared within it, like the image on photographic paper that emerges, first, a formless web of tracery, the prey caught in its own fishing net, then in firmer yet still shadowed outline until at last as vivid as real life itself, as if brought into being by her soft, moist, gentle tongue, finally, the face of the Duke.

About The Author:

Angela Carter was born in 1940. When she published her first novel, Shadow Dance, in 1966, she was immediately recognized as one of Britain's most original writers. Eight other novels followed: The Magic Toyshop (1967, John Llewellyn Rhys Prize), Several Perceptions (1968, Somerset Maugham Award), Heroes and Villains (1969), Love (1971), The Infernal Desire Machines of Doctor Hoffman (1972), The Passion of New Eve (1977), Nights at the Circus (1984, James Tait Black Memorial Prize), and Wise Children (1991). Angela Carter also published three collections of short stories The Bloody Chamber (1979, Cheltenham Festival of Literature Award), Fireworks: Nine Profane Pieces (1984), and Saints and Strangers (1985, published in the UK as Black Venus)a book of essays called The Sadeian Woman, two collections of journalism, and a volume of radio plays. She translated the fairy stories of Charles Perrault and edited collections of fairy and folk tales as well as Wayward Girls & Wicked Women: An Anthology of Subversive Stories (1986). She also wrote the screenplay for the 1984 film The Company of Wolves, based on her short story. A fourth collection of stories was published in the United Kingdom in 1993 as American Ghosts and Old World Wonders. Angela Carter's stories have been collected in one volume entitled Burning Your Boats.

From 1976 through 1978 Angela Carter was Arts Council of Great Britain Fellow in Creative Writing at Sheffield University, and from 1980 through 1981 she was visiting professor in the Writing Program at Brown University. She traveled and taught widely in the United States and Australia but lived in London. Angela Carter died in February, 1992.

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Angela Carter - The Bloody Chamber And Other Stories

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Published by the Penguin Group Penguin Books USA Inc.,375 Hudson Street, New York, New York 10014, U.S.A.Penguin Books Ltd, 27 Wrights Lane, London W8 5TZ, EnglandPenguin Books Australia Ltd, Ringwood, Victoria, AustraliaPenguin Books Canada Ltd., 10 Alcorn Avenue,Toronto, Ontario, Canada M4V 3B2Penguin Books (N.Z.)

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Angela Carter - The Bloody Chamber And Other Stories

Published by the Penguin Group
Penguin Books USA Inc.,
375 Hudson Street, New York, New York 10014, U.S.A.
Penguin Books Ltd, 27 Wrights Lane, London W8 5TZ, England
Penguin Books Australia Ltd, Ringwood, Victoria, Australia
Penguin Books Canada Ltd., 10 Alcorn Avenue,
Toronto, Ontario, Canada M4V 3B2
Penguin Books (N.Z.) Ltd, 182-190 Wairau Road,
Auckland 10, New Zealand

Penguin Books Ltd, Registered Offices:
Harmondsworth, Middlesex, England

First published in Great Britain by Victor Gollancz Ltd. 1979
First published in the United States of America by
Harper & Row, Publishers, Inc. 1980
Published in Penguin Books (UK) 1981
Published in Penguin Books (USA) 1987
This edition published 1993

17 19 20 18

Copyright Angela Carter, 1979
All rights reserved

Some of the stories in this collection originally appeared in somewhat different form, in the following publications: "The Courtship of Mr. Lyon," British Vogue, "The Erl-King" and "The Company of Wolves," Bananas; "The Lady of the House of Love," The Iowa Review; "The Werewolf," South-West Arts Review; "Wolf-Alice," Stand; all are reprinted here with the permission of the editors. "The Snow Child" was broadcast on the BBC Radio 4 program Not Now, I'm Listening. "Puss-in-Boots" appeared in an anthology, The Straw and the Gold, edited by Emma Tennant (Pierrot Books, 1979).

ISBN 01401.7821X

Printed in the United States of America
Set in Monotype Ehrhardt

Except in the United States of America, this book is sold subject to the condition that it shall not, by way of trade or otherwise, be lent, re-sold, hired out, or otherwise circulated without the publisher's prior consent in any form of binding or cover other than that in which it is published and without a similar condition including this condition being imposed on the subsequent purchaser.

Contents

I remember how, that night, I lay awake in the wagon-lit in a tender, delicious ecstasy of excitement, my burning cheek pressed against the impeccable linen of the pillow and the pounding of my heart mimicking that of the great pistons ceaselessly thrusting the train that bore me through the night, away from Paris, away from girlhood, away from the white, enclosed quietude of my mother's apartment, into the unguessable country of marriage.

And I remember I tenderly imagined how, at this very moment, my mother would be moving slowly about the narrow bedroom I had left behind for ever, folding up and putting away all my little relics, the tumbled garments I would not need any more, the scores for which there had been no room in my trunks, the concert programmes I'd abandoned; she would linger over this torn ribbon and that faded photograph with all the half-joyous, half-sorrowful emotions of a woman on her daughter's wedding day. And, in the midst of my bridal triumph, I felt a pang of loss as if, when he put the gold band on my finger, I had, in some way, ceased to be her child in becoming his wife.

Are you sure, she'd said when they delivered the gigantic box that held the wedding dress he'd bought me, wrapped up in tissue paper and red ribbon like a Christmas gift of crystallized fruit. Are you sure you love him? There was a dress for her, too; black silk, with the dull, prismatic sheen of oil on water, finer than anything she'd worn since that adventurous girlhood in Indo-China, daughter of a rich tea planter. My eagle-featured, indomitable mother; what other student at the Conservatoire could boast that her mother had outfaced a junkful of Chinese pirates, nursed a village through a visitation of the plague, shot a man-eating tiger with her own hand and all before she was as old as I?

'Are you sure you love him?'

'I'm sure I want to marry him,' I said.

And would say no more. She sighed, as if it was with reluctance that she might at last banish the spectre of poverty from its habitual place at our meagre table. For my mother herself had gladly, scandalously, defiantly beggared herself for love; and, one fine day, her gallant soldier never returned from the wars, leaving his wife and child a legacy of tears that never quite dried, a cigar box full of medals and the antique service revolver that my mother, grown magnificently eccentric in hardship, kept always in her reticule, in case--how I teased her--she was surprised by footpads on her way home from the grocer's shop.

Now and then a starburst of lights spattered the drawn blinds as if the railway company had lit up all the stations through which we passed in celebration of the bride. My satin nightdress had just been shaken from its wrappings; it had slipped over my young girl's pointed breasts and shoulders, supple as a garment of heavy water, and now teasingly caressed me, egregious, insinuating, nudging between my thighs as I shifted restlessly in my narrow berth. His kiss, his kiss with tongue and teeth in it and a rasp of beard, had hinted to me, though with the same exquisite tact as this nightdress he'd given me, of the wedding night, which would be voluptuously deferred until we lay in his great ancestral bed in the sea-girt, pinnacled domain that lay, still, beyond the grasp of my imagination ... that magic place, the fairy castle whose walls were made of foam, that legendary habitation in which he had been born. To which, one day, I might bear an heir. Our destination, my destiny.

Above the syncopated roar of the train, I could hear his even, steady breathing. Only the communicating door kept me from my husband and it stood open. If I rose up on my elbow, I could see the dark, leonine shape of his head and my nostrils caught a whiff of the opulent male scent of leather and spices that always accompanied him and sometimes, during his courtship, had been the only hint he gave me that he had come into my mother's sitting room, for, though he was a big man, he moved as softly as if all his shoes had soles of velvet, as if his footfall turned the carpet into snow.

He had loved to surprise me in my abstracted solitude at the piano. He would tell them not to announce him, then soundlessly open the door and softly creep up behind me with his bouquet of hot-house flowers or his box of marrons glacs, lay his offering upon the keys and clasp his hands over my eyes as I was lost in a Debussy prelude. But that perfume of spiced leather always betrayed him; after my first shock, I was forced always to mimic surprise, so that he would not be disappointed.

He was older than I. He was much older than I; there were streaks of pure silver in his dark mane. But his strange, heavy, almost waxen face was not lined by experience. Rather, experience seemed to have washed it perfectly smooth, like a stone on a beach whose fissures have been eroded by successive tides. And sometimes that face, in stillness when he listened to me playing, with the heavy eyelids folded over eyes that always disturbed me by their absolute absence of light, seemed to me like a mask, as if his real face, the face that truly reflected all the life he had led in the world before he met me, before, even, I was born, as though that face lay underneath this mask. Or else, elsewhere. As though he had laid by the face in which he had lived for so long in order to offer my youth a face unsigned by the years.

And, elsewhere, I might see him plain. Elsewhere. But, where?

In, perhaps, that castle to which the train now took us, that marvellous castle in which he had been born.

Even when he asked me to marry him, and I said: 'Yes,' still he did not lose that heavy, fleshy composure of his. I know it must seem a curious analogy, a man with a flower, but sometimes he seemed to me like a lily. Yes. A lily. Possessed of that strange, ominous calm of a sentient vegetable, like one of those cobra-headed, funereal lilies whose white sheaths are curled out of a flesh as thick and tensely yielding to the touch as vellum. When I said that I would marry him, not one muscle in his face stirred, but he let out a long, extinguished sigh. I thought: Oh! how he must want me! And it was as though the imponderable weight of his desire was a force I might not withstand, not by virtue of its violence but because of its very gravity.

He had the ring ready in a leather box lined with crimson velvet, a fire opal the size of a pigeon's egg set in a complicated circle of dark antique gold. My old nurse, who still lived with my mother and me, squinted at the ring askance: opals are bad luck, she said. But this opal had been his own mother's ring, and his grandmother's, and her mother's before that, given to an ancestor by Catherine de Medici ... every bride that came to the castle wore it, time out of mind. And did he give it to his other wives and have it back from them? asked the old woman rudely; yet she was a snob. She hid her incredulous joy at my marital coup--her little Marquise--behind a faade of fault-finding. But, here, she touched me. I shrugged and turned my back pettishly on her. I did not want to remember how he had loved other women before me, but the knowledge often teased me in the threadbare self-confidence of the small hours.

I was seventeen and knew nothing of the world; my Marquis had been married before, more than once, and I remained a little bemused that, after those others, he should now have chosen me. Indeed, was he not still in mourning for his last wife? Tsk, tsk, went my old nurse.

And even my mother had been reluctant to see her girl whisked off by a man so recently bereaved. A Romanian countess, a lady of high fashion. Dead just three short months before I met him, a boating accident, at his home, in Brittany. They never found her body but I rummaged through the back copies of the society magazines my old nanny kept in a trunk under her bed and tracked down her photograph. The sharp muzzle of a pretty, witty, naughty monkey; such potent and bizarre charm, of a dark, bright, wild yet worldly thing whose natural habitat must have been some luxurious interior decorator's jungle filled with potted palms and tame, squawking parakeets.

Before that? Her face is common property; everyone painted her but the Redon engraving I liked best, The Evening Star Walking on the Rim of Night. To see her skeletal, enigmatic grace, you would never think she had been a barmaid in a caf in Montmartre until Puvis de Chavannes saw her and had her expose her flat breasts and elongated thighs to his brush. And yet it was the absinthe doomed her, or so they said.

The first of all his ladies? That sumptuous diva; I had heard her sing Isolde, precociously musical child that I was, taken to the opera for a birthday treat. My first opera; I had heard her sing Isolde. With what white-hot passion had she burned from the stage! So that you could tell she would die young. We sat high up, halfway to heaven in the gods, yet she half-blinded me. And my father, still alive (oh, so long ago), took hold of my sticky little hand, to comfort me, in the last act, yet all I heard was the glory of her voice.

Married three times within my own brief lifetime to three different graces, now, as if to demonstrate the eclecticism of his taste, he had invited me to join this gallery of beautiful women, I, the poor widow's child with my mouse-coloured hair that still bore the kinks of the plaits from which it had so recently been freed, my bony hips, my nervous, pianist's fingers.

He was rich as Croesus. The night before our wedding--a simple affair, at the Mairie, because his countess was so recently gone--he took my mother and me, curious coincidence, to see Tristan. And, do you know, my heart swelled and ached so during the Liebestod that I thought I must truly love him. Yes. I did. On his arm, all eyes were upon me. The whispering crowd in the foyer parted like the Red Sea to let us through. My skin crisped at his touch.

How my circumstances had changed since the first time I heard those voluptuous chords that carry such a charge of deathly passion in them! Now, we sat in a loge, in red velvet armchairs, and a braided, bewigged flunkey brought us a silver bucket of iced champagne in the interval. The froth spilled over the rim of my glass and drenched my hands, I thought: My cup runneth over. And I had on a Poiret dress. He had prevailed upon my reluctant mother to let him buy my trousseau; what would I have gone to him in, otherwise? Twice-darned underwear, faded gingham, serge skirts, hand-me-downs. So, for the opera, I wore a sinuous shift of white muslin tied with a silk string under the breasts. And everyone stared at me. And at his wedding gift.

His wedding gift, clasped round my throat. A choker of rubies, two inches wide, like an extraordinarily precious slit throat.

After the Terror, in the early days of the Directory, the aristos who'd escaped the guillotine had an ironic fad of tying a red ribbon round their necks at just the point where the blade would have sliced it through, a red ribbon like the memory of a wound. And his grandmother, taken with the notion, had her ribbon made up in rubies; such a gesture of luxurious defiance! That night at the opera comes back to me even now ... the white dress; the frail child within it; and the flashing crimson jewels round her throat, bright as arterial blood.

I saw him watching me in the gilded mirrors with the assessing eye of a connoisseur inspecting horseflesh, or even of a housewife in the market, inspecting cuts on the slab. I'd never seen, or else had never acknowledged, that regard of his before, the sheer carnal avarice of it; and it was strangely magnified by the monocle lodged in his left eye. When I saw him look at me with lust, I dropped my eyes but, in glancing away from him, I caught sight of myself in the mirror. And I saw myself, suddenly, as he saw me, my pale face, the way the muscles in my neck stuck out like thin wire. I saw how much that cruel necklace became me. And, for the first time in my innocent and confined life, I sensed in myself a potentiality for corruption that took my breath away.

The next day, we were married.

The train slowed, shuddered to a halt. Lights; clank of metal; a voice declaring the name of an unknown, never-to-be visited station; silence of the night; the rhythm of his breathing, that I should sleep with, now, for the rest of my life. And I could not sleep. I stealthily sat up, raised the blind a little and huddled against the cold window that misted over with the warmth of my breathing, gazing out at the dark platform towards those rectangles of domestic lamplight that promised warmth, company, a supper of sausages hissing in a pan on the stove for the station master, his children tucked up in bed asleep in the brick house with the painted shutters ... all the paraphernalia of the everyday world from which I, with my stunning marriage, had exiled myself.

Into marriage, into exile; I sensed it, I knew it--that, henceforth, I would always be lonely. Yet that was part of the already familiar weight of the fire opal that glimmered like a gypsy's magic ball, so that I could not take my eyes off it when I played the piano. This ring, the bloody bandage of rubies, the wardrobe of clothes from Poiret and Worth, his scent of Russian leather--all had conspired to seduce me so utterly that I could not say I felt one single twinge of regret for the world of tar-tines and maman that now receded from me as if drawn away on a string, like a child's toy, as the train began to throb again as if in delighted anticipation of the distance it would take me.

The first grey streamers of the dawn now flew in the sky and an eldritch half-light seeped into the railway carriage. I heard no change in his breathing but my heightened, excited senses told me he was awake and gazing at me. A huge man, an enormous man, and his eyes, dark and motionless as those eyes the ancient Egyptians painted upon their sarcophagi, fixed upon me. I felt a certain tension in the pit of my stomach, to be so watched, in such silence. A match struck. He was igniting a Romeo y Julieta fat as a baby's arm.

'Soon,' he said in his resonant voice that was like the tolling of a bell and I felt, all at once, a sharp premonition of dread that lasted only as long as the match flared and I could see his white, broad face as if it were hovering, disembodied, above the sheets, illuminated from below like a grotesque carnival head. Then the flame died, the cigar glowed and filled the compartment with a remembered fragrance that made me think of my father, how he would hug me in a warm fug of Havana, when I was a little girl, before he kissed me and left me and died.

As soon as my husband handed me down from the high step of the train, I smelled the amniotic salinity of the ocean. It was November; the trees, stunted by the Atlantic gales, were bare and the lonely halt was deserted but for his leather-gaitered chauffeur waiting meekly beside the sleek black motor car. It was cold; I drew my furs about me, a wrap of white and black, broad stripes of ermine and sable, with a collar from which my head rose like the calyx of a wildflower. (I swear to you, I had never been vain until I met him.) The bell clanged; the straining train leapt its leash and left us at that lonely wayside halt where only he and I had descended. Oh, the wonder of it; how all that might of iron and steam had paused only to suit his convenience. The richest man in France.

'Madame.'

The chauffeur eyed me; was he comparing me, invidiously, to the countess, the artist's model, the opera singer? I hid behind my furs as if they were a system of soft shields. My husband liked me to wear my opal over my kid glove, a showy, theatrical trick--but the moment the ironic chauffeur glimpsed its simmering flash he smiled, as though it was proof positive I was his master's wife. And we drove towards the widening dawn, that now streaked half the sky with a wintry bouquet of pink of roses, orange of tiger-lilies, as if my husband had ordered me a sky from a florist. The day broke around me like a cool dream.

Sea; sand; a sky that melts into the sea--a landscape of misty pastels with a look about it of being continuously on the point of melting. A landscape with all the deliquescent harmonies of Debussy, of the tudes I played for him, the reverie I'd been playing that afternoon in the salon of the princess where I'd first met him, among the teacups and the little cakes, I, the orphan, hired out of charity to give them their digestive of music.

And, ah! his castle. The faery solitude of the place; with its turrets of misty blue, its courtyard, its spiked gate, his castle that lay on the very bosom of the sea with seabirds mewing about its attics, the casements opening on to the green and purple, evanescent departures of the ocean, cut off by the tide from land for half a day ... that castle, at home neither on the land nor on the water, a mysterious, amphibious place, contravening the materiality of both earth and the waves, with the melancholy of a mermaiden who perches on her rock and waits, endlessly, for a lover who had drowned far away, long ago. That lovely, sad, sea-siren of a place!

The tide was low; at this hour, so early in the morning, the causeway rose up out of the sea. As the car turned on to the wet cobbles between the slow margins of water, he reached out for my hand that had his sultry, witchy ring on it, pressed my fingers, kissed my palm with extraordinary tenderness. His face was as still as ever I'd seen it, still as a pond iced thickly over, yet his lips, that always looked so strangely red and naked between the black fringes of his beard, now curved a little. He smiled; he welcomed his bride home.

No room, no corridor that did not rustle with the sound of the sea and all the ceilings, the walls on which his ancestors in the stern regalia of rank lined up with their dark eyes and white faces, were stippled with refracted light from the waves which were always in motion; that luminous, murmurous castle of which I was the chatelaine, I, the little music student whose mother had sold all her jewellery, even her wedding ring, to pay the fees at the Conservatoire.

First of all, there was the small ordeal of my initial interview with the housekeeper, who kept this extraordinary machine, this anchored, castellated ocean liner, in smooth running order no matter who stood on the bridge; how tenuous, I thought, might be my authority here! She had a bland, pale, impassive, dislikeable face beneath the impeccably starched white linen head-dress of the region. Her greeting, correct but lifeless, chilled me; daydreaming, I dared presume too much on my status ... briefly wondered how I might install my old nurse, so much loved, however cosily incompetent, in her place. Ill-considered schemings! He told me this one had been his foster mother; was bound to his family in the utmost feudal complicity, 'as much part of the house as I am, my dear'. Now her thin lips offered me a proud little smile. She would be my ally as long as I was his. And with that, I must be content.

But, here, it would be easy to be content. In the turret suite he had given me for my very own, I could gaze out over the tumultuous Atlantic and imagine myself the Queen of the Sea. There was a Bechstein for me in the music room and, on the wall, another wedding present--an early Flemish primitive of Saint Cecilia at her celestial organ. In the prim charm of this saint, with her plump, sallow cheeks and crinkled brown hair, I saw myself as I could have wished to be. I warmed to a loving sensitivity I had not hitherto suspected in him. Then he led me up a delicate spiral staircase to my bedroom; before she discreetly vanished, the housekeeper set him chuckling with some, I dare say, lewd blessing for newlyweds in her native Breton. That I did not understand. That he, smiling, refused to interpret.

And there lay the grand, hereditary matrimonial bed, itself the size, almost, of my little room at home, with the gargoyles carved on its surfaces of ebony, vermilion lacquer, gold leaf; and its white gauze curtains, billowing in the sea breeze. Our bed. And surrounded by so many mirrors! Mirrors on all the walls, in stately frames of contorted gold, that reflected more white lilies than I'd ever seen in my life before. He'd filled the room with them, to greet the bride, the young bride. The young bride, who had become that multitude of girls I saw in the mirrors, identical in their chic navy blue tailor-mades, for travelling, madame, or walking. A maid had dealt with the furs. Henceforth, a maid would deal with everything.

'See,' he said, gesturing towards those elegant girls. 'I have acquired a whole harem for myself!'

I found that I was trembling. My breath came thickly. I could not meet his eye and turned my head away, out of pride, out of shyness, and watched a dozen husbands approach me in a dozen mirrors and slowly, methodically, teasingly, unfasten the buttons of my jacket and slip it from my shoulders. Enough! No; more! Off comes the skirt; and, next, the blouse of apricot linen that cost more than the dress I had for first communion. The play of the waves outside in the cold sun glittered on his monocle; his movements seemed to me deliberately coarse, vulgar. The blood rushed to my face again, and stayed there.

And yet, you see, I guessed it might be so--that we should have a formal disrobing of the bride, a ritual from the brothel. Sheltered as my life had been, how could I have failed, even in the world of prim bohemia in which I lived, to have heard hints of his world?

He stripped me, gourmand that he was, as if he were stripping the leaves off an artichoke--but do not imagine much finesse about it; this artichoke was no particular treat for the diner nor was he yet in any greedy haste. He approached his familiar treat with a weary appetite. And when nothing but my scarlet, palpitating core remained, I saw, in the mirror, the living image of an etching by Rops from the collection he had shown me when our engagement permitted us to be alone together ... the child with her sticklike limbs, naked but for her button boots, her gloves, shielding her face with her hand as though her face were the last repository of her modesty; and the old, monocled lecher who examined her, limb by limb. He in his London tailoring; she, bare as a lamb chop. Most pornographic of all confrontations. And so my purchaser unwrapped his bargain. And, as at the opera, when I had first seen my flesh in his eyes, I was aghast to feel myself stirring.

At once he closed my legs like a book and I saw again the rare movement of his lips that meant he smiled.

Not yet. Later. Anticipation is the greater part of pleasure, my little love.

And I began to shudder, like a racehorse before a race, yet also with a kind of fear, for I felt both a strange, impersonal arousal at the thought of love and at the same time a repugnance I could not stifle for his white, heavy flesh that had too much in common with the armfuls of arum lilies that filled my bedroom in great glass jars, those undertakers' lilies with the heavy pollen that powders your fingers as if you had dipped them in turmeric. The lilies I always associate with him; that are white. And stain you.

This scene from a voluptuary's life was now abruptly terminated. It turns out he has business to attend to; his estates, his companies--even on your honeymoon? Even then, said the red lips that kissed me before he left me alone with my bewildered senses--a wet, silken brush from his beard; a hint of the pointed tip of the tongue. Disgruntled, I wrapped a neglige of antique lace around me to sip the little breakfast of hot chocolate the maid brought me; after that, since it was second nature to me, there was nowhere to go but the music room and soon I settled down at my piano.

Yet only a series of subtle discords flowed from beneath my fingers: out of tune ... only a little out of tune; but I'd been blessed with perfect pitch and could not bear to play any more. Sea breezes are bad for pianos; we shall need a resident piano-tuner on the premises if I'm to continue with my studies! I flung down the lid in a little fury of disappointment; what should I do now, how shall I pass the long, sea-lit hours until my husband beds me?

I shivered to think of that.

His library seemed the source of his habitual odour of Russian leather. Row upon row of calf-bound volumes, brown and olive, with gilt lettering on their spines, the octavo in brilliant scarlet morocco. A deep-buttoned leather sofa to recline on. A lectern, carved like a spread eagle, that held open upon it an edition of Huysmans's L-bas, from some over-exquisite private press; it had been bound like a missal, in brass, with gems of coloured glass. The rugs on the floor, deep, pulsing blues of heaven and red of the heart's dearest blood, came from Isfahan and Bokhara; the dark panelling gleamed; there was the lulling music of the sea and a fire of apple logs. The flames flickered along the spines inside a glass-fronted case that held books still crisp and new. Eliphas Levy; the name meant nothing to me. I squinted at a title or two: The Initiation, The Key of Mysteries, The Secret of Pandora's Box, and yawned. Nothing, here, to detain a seventeen-year-old girl waiting for her first embrace. I should have liked, best of all, a novel in yellow paper; I wanted to curl up on the rug before the blazing fire, lose myself in a cheap novel, munch sticky liqueur chocolates. If I rang for them, a maid would bring me chocolates.

Nevertheless, I opened the doors of that bookcase idly to browse. And I think I knew, I knew by some tingling of the fingertips, even before I opened that slim volume with no title at all on the spine, what I should find inside it. When he showed me the Rops, newly bought, dearly prized, had he not hinted that he was a connoisseur of such things? Yet I had not bargained for this, the girl with tears hanging on her cheeks like stuck pearls, her cunt a split fig below the great globes of her buttocks on which the knotted tails of the cat were about to descend, while a man in a black mask fingered with his free hand his prick, that curved upwards like the scimitar he held. The picture had a caption: 'Reproof of curiosity'. My mother, with all the precision of her eccentricity, had told me what it was that lovers did; I was innocent but not nave. The Adventures of Eulalie at the Harem of the Grand Turk had been printed, according to the flyleaf, in Amsterdam in 1748, a rare collector's piece. Had some ancestor brought it back himself from that northern city? Or had my husband bought it for himself, from one of those dusty little bookshops on the Left Bank where an old man peers at you through spectacles an inch thick, daring you to inspect his wares ... I turned the pages in the anticipation of fear; the print was rusty. Here was another steel engraving: 'Immolation of the wives of the Sultan'. I knew enough for what I saw in that book to make me gasp.

There was a pungent intensification of the odour of leather that suffused his library; his shadow fell across the massacre.

'My little nun has found the prayerbooks, has she?' he demanded, with a curious mixture of mockery and relish; then, seeing my painful, furious bewilderment, he laughed at me aloud, snatched the book from my hands and put it down on the sofa.

'Have the nasty pictures scared Baby? Baby mustn't play with grownups' toys until she's learned how to handle them, must she?'

Then he kissed me. And with, this time, no reticence. He kissed me and laid his hand imperatively upon my breast, beneath the sheath of ancient lace. I stumbled on the winding stair that led to the bedroom, to the carved, gilded bed on which he had been conceived. I stammered foolishly: We've not taken luncheon yet; and, besides, it is broad daylight...

All the better to see you.

He made me put on my choker, the family heirloom of one woman who had escaped the blade. With trembling fingers, I fastened the thing about my neck. It was cold as ice and chilled me. He twined my hair into a rope and lifted it off my shoulders so that he could the better kiss the downy furrows below my ears; that made me shudder. And he kissed those blazing rubies, too. He kissed them before he kissed my mouth. Rapt, he intoned:' Of her apparel she retains/Only her sonorous jewellery.'

A dozen husbands impaled a dozen brides while the mewing gulls swung on invisible trapezes in the empty air outside.

I was brought to my senses by the insistent shrilling of the telephone. He lay beside me, felled like an oak, breathing stertorously, as if he had been fighting with me. In the course of that one-sided struggle, I had seen his deathly composure shatter like a porcelain vase flung against a wall; I had heard him shriek and blaspheme at the orgasm; I had bled. And perhaps I had seen his face without its mask; and perhaps I had not. Yet I had been infinitely dishevelled by the loss of my virginity.

I gathered myself together, reached into the cloisonne cupboard beside the bed that concealed the telephone and addressed the mouthpiece. His agent in New York. Urgent.

I shook him awake and rolled over on my side, cradling my spent body in my arms. His voice buzzed like a hive of distant bees. My husband. My husband, who, with so much love, filled my bedroom with lilies until it looked like an embalming parlour. Those somnolent lilies, that wave their heavy heads, distributing their lush, insolent incense reminiscent of pampered flesh.

When he'd finished with the agent, he turned to me and stroked the ruby necklace that bit into my neck, but with such tenderness now, that I ceased flinching and he caressed my breasts. My dear one, my little love, my child, did it hurt her? He's so sorry for it, such impetuousness, he could not help himself; you see, he loves her so ... and this lover's recitative of his brought my tears in a flood. I clung to him as though only the one who had inflicted the pain could comfort me for suffering it. For a while, he murmured to me in a voice I'd never heard before, a voice like the soft consolations of the sea. But then he unwound the tendrils of my hair from the buttons of his smoking jacket, kissed my cheek briskly and told me the agent from New York had called with such urgent business that he must leave as soon as the tide was low enough. Leave the castle? Leave France! And would be away for at least six weeks.

'But it is our honeymoon!'

A deal, an enterprise of hazard and chance involving several millions, lay in the balance, he said. He drew away from me into that waxworks stillness of his; I was only a little girl, I did not understand. And, he said unspoken to my wounded vanity, I have had too many honeymoons to find them in the least pressing commitments. I know quite well that this child I've bought with a handful of coloured stones and the pelts of dead beasts won't run away. But, after he'd called his Paris agent to book a passage for the States next day--just one tiny call, my little one--we should have time for dinner together.

And I had to be content with that,

A Mexican dish of pheasant with hazelnuts and chocolate; salad; white, voluptuous cheese; a sorbet of muscat grapes and Asti spumante. A celebration of Krug exploded festively. And then acrid black coffee in precious little cups so fine it shadowed the birds with which they were painted. I had Cointreau, he had cognac in the library, with the purple velvet curtains drawn against the night, where he took me to perch on his knee in a leather armchair beside the flickering log fire. He had made me change into that chaste little Poiret shift of white muslin; he seemed especially fond of it, my breasts showed through the flimsy stuff, he said, like little soft white doves that sleep, each one, with a pink eye open. But he would not let me take off my ruby choker, although it was growing very uncomfortable, nor fasten up my descending hair, the sign of a virginity so recently ruptured that still remained a wounded presence between us. He twined his fingers in my hair until I winced; I said, I remember, very little.

'The maid will have changed our sheets already,' he said. 'We do not hang the bloody sheets out of the window to prove to the whole of Brittany you are a virgin, not in these civilized times. But I should tell you it would have been the first time in all my married lives I could have shown my interested tenants such a flag.'

Then I realized, with a shock of surprise, how it must have been my innocence that captivated him--the silent music, he said, of my unknowingness, like La Terrasse des audiences au clair de lune played upon a piano with keys of ether. You must remember how ill at ease I was in that luxurious place, how unease had been my constant companion during the whole length of my courtship by this grave satyr who now gently martyrized my hair. To know that my naivety gave him some pleasure made me take heart. Courage! I shall act the fine lady to the manner born one day, if only by virtue of default.

Then, slowly yet teasingly, as if he were giving a child a great, mysterious treat, he took out a bunch of keys from some interior hidey-hole in his jacket--key after key, a key, he said, for every lock in the house. Keys of all kinds--huge, ancient things of black iron; others slender, delicate, almost baroque; wafer-thin Yale keys for safes and boxes. And, during his absence, it was I who must take care of them all.

I eyed the heavy bunch with circumspection. Until that moment, I had not given a single thought to the practical aspects of marriage with a great house, great wealth, a great man, whose key ring was as crowded as that of a prison warder. Here were the clumsy and archaic keys for the dungeons, for dungeons we had in plenty although they had been converted to cellars for his wines; the dusty bottles inhabited in racks all those deep holes of pain in the rock on which the castle was built. These are the keys to the kitchens, this is the key to the picture gallery, a treasure house filled by five centuries of avid collectors--ah! he foresaw I would spend hours there.

He had amply indulged his taste for the Symbolists, he told me with a glint of greed. There was Moreau's great portrait of his first wife, the famous Sacrificial Victim with the imprint of the lacelike chains on her pellucid skin. Did I know the story of the painting of that picture? How, when she took off her clothes for him for the first time, she fresh from her bar in Montmartre, she had robed herself involuntarily in a blush that reddened her breasts, her shoulders, her arms, her whole body? He had thought of that story, of that dear girl, when first he had undressed me ... Ensor, the great Ensor, his monolithic canvas: The Foolish Virgins. Two or three late Gauguins, his special favourite the one of the tranced brown girl in the deserted house which was called: Out of the Night We Come, Into the Night We Go. And, besides the additions he had made himself, his marvellous inheritance of Watteaus, Poussins and a pair of very special Fragonards, commissioned for a licentious ancestor who, it was said, had posed for the master's brush himself with his own two daughters ... He broke off his catalogue of treasures abruptly.

Your thin white face, chrie; he said, as if he saw it for the first time. Your thin white face, with its promise of debauchery only a connoisseur could detect.

A log fell in the fire, instigating a shower of sparks; the opal on my finger spurted green flame. I felt as giddy as if I were on the edge of a precipice; I was afraid, not so much of him, of his monstrous presence, heavy as if he had been gifted at birth with more specific gravity than the rest of us, the presence that, even when I thought myself most in love with him, always subtly oppressed me ... No. I was not afraid of him; but of myself. I seemed reborn in his unreflective eyes, reborn in unfamiliar shapes. I hardly recognized myself from his descriptions of me and yet, and yet--might there not be a grain of beastly truth hi them? And, in the red firelight, I blushed again, unnoticed, to think he might have chosen me because, in my innocence, he sensed a rare talent for corruption.

Here is the key to the china cabinet--don't laugh, my darling; there's a king's ransom in Svres in that closet, and a queen's ransom in Limoges. And a key to the locked, barred room where five generations of plate were kept.

Keys, keys, keys. He would trust me with the keys to his office, although I was only a baby; and the keys to his safes, where he kept the jewels I should wear, he promised me, when we returned to Paris. Such jewels! Why, I would be able to change my earrings and necklaces three times a day, just as the Empress Josephine used to change her underwear. He doubted, he said, with that hollow, knocking sound that served him for a chuckle, I would be quite so interested in his share certificates although they, of course, were worth infinitely more.

Outside our firelit privacy, I could hear the sound of the tide drawing back from the pebbles of the foreshore; it was nearly time for him to leave me. One single key remained unaccounted for on the ring and he hesitated over it; for a moment, I thought he was going to unfasten it from its brothers, slip it back into his pocket and take it away with him.

'What is that key?' I demanded, for his chaffing had made me bold. 'The key to your heart? Give it me!'

He dangled the key tantalizingly above my head, out of reach of my straining fingers; those bare red lips of his cracked sidelong in a smile.

'Ah, no,' he said. 'Not the key to my heart. Rather, the key to my enfer.'

He left it on the ring, fastened the ring together, shook it musically, like a carillon. Then threw the keys in a jingling heap in my lap. I could feel the cold metal chilling my thighs through my thin muslin frock. He bent over me to drop a beard-masked kiss on my forehead.

'Every man must have one secret, even if only one, from his wife,' he said. 'Promise me this, my whey-faced piano-player; promise me you'll use all the keys on the ring except that last little one I showed you. Play with anything you find, jewels, silver plate; make toy boats of my share certificates, if it pleases you, and send them sailing off to America after me. All is yours, everywhere is open to you--except the lock that this single key fits. Yet all it is is the key to a little room at the foot of the west tower, behind the still-room, at the end of a dark little corridor full of horrid cobwebs that would get into your hair and frighten you if you ventured there. Oh, and you'd find it such a dull little room! But you must promise me, if you love me, to leave it well alone. It is only a private study, a hideaway, a "den", as the English say, where I can go, sometimes, on those infrequent yet inevitable occasions when the yoke of marriage seems to weigh too heavily on my shoulders. There I can go, you understand, to savour the rare pleasure of imagining myself wifeless.'

There was a little thin starlight in the courtyard as, wrapped in my furs, I saw him to his car. His last words were, that he had telephoned the mainland and taken a piano-tuner on to the staff; this man would arrive to take up his duties the next day. He pressed me to his vicua breast, once, and then drove away.

I had drowsed away that afternoon and now I could not sleep. I lay tossing and turning in his ancestral bed until another daybreak discoloured the dozen mirrors that were iridescent with the reflections of the sea. The perfume of the lilies weighed on my senses; when I thought that, henceforth, I would always share these sheets with a man whose skin, as theirs did, contained that toad-like, clammy hint of moisture, I felt a vague desolation that within me, now my female wound had healed, there had awoken a certain queasy craving like the cravings of pregnant women for the taste of coal or chalk or tainted food, for the renewal of his caresses. Had he not hinted to me, in his flesh as in his speech and looks, of the thousand, thousand baroque intersections of flesh upon flesh? I lay in our wide bed accompanied by, a sleepless companion, my dark newborn curiosity.

I lay in bed alone. And I longed for him. And he disgusted me.

Were there jewels enough in all his safes to recompense me for this predicament? Did all that castle hold enough riches to recompense me for the company of the libertine with whom I must share it? And what, precisely, was the nature of my desirous dread for this mysterious being who, to show his mastery over me, had abandoned me on my wedding night?

Then I sat straight up in bed, under the sardonic masks of the gargoyles carved above me, riven by a wild surmise. Might he have left me, not for Wall Street but for an importunate mistress tucked away God knows where who knew how to pleasure him far better than a girl whose fingers had been exercised, hitherto, only by the practice of scales and arpeggios? And, slowly, soothed, I sank back on to the heaping pillows; I acknowledged that the jealous scare I'd just given myself was not unmixed with a little tincture of relief.

At last I drifted into slumber, as daylight filled the room and chased bad dreams away. But the last thing I remembered, before I slept, was the tall jar of lilies beside the bed, how the thick glass distorted their fat stems so they looked like arms, dismembered arms, drifting drowned in greenish water.

Coffee and croissants to console this bridal, solitary waking. Delicious. Honey, too, in a section of comb on a glass saucer. The maid squeezed the aromatic juice from an orange into a chilled goblet while I watched her as I lay in the lazy, midday bed of the rich. Yet nothing, this morning, gave me more than a fleeting pleasure except to hear that the piano-tuner had been at work already. When the maid told me that, I sprang out of bed and pulled on my old serge skirt and flannel blouse, costume of a student, in which I felt far more at ease with myself than in any of my fine new clothes.

After my three hours of practice, I called the piano-tuner in, to thank him. He was blind, of course; but young, with a gentle mouth and grey eyes that fixed upon me although they could not see me. He was a blacksmith's son from the village across the causeway; a chorister in the church whom the good priest had taught a trade so that he could make a living. All most satisfactory. Yes. He thought he would be happy here. And if, he added shyly, he might sometimes be allowed to hear me play ... for, you see, he loved music. Yes. Of course, I said. Certainly. He seemed to know that I had smiled.

After I dismissed him, even though I'd woken so late, it was still barely time for my 'five o'clock'. The housekeeper, who, thoughtfully forewarned by my husband, had restrained herself from interrupting my music, now made me a solemn visitation with a lengthy menu for a late luncheon. When I told her I did not need it, she looked at me obliquely, along her nose. I understood at once that one of my principal functions as chatelaine was to provide work for the staff. But, all the same, I asserted myself and said I would wait until dinner-time, although I looked forward nervously to the solitary meal. Then I found I had to tell her what I would like to have prepared for me; my imagination, still that of a schoolgirl, ran riot. A fowl in cream--or should I anticipate Christmas with a varnished turkey? No; I have decided. Avocado and shrimp, lots of it, followed by no entre at all. But surprise me for dessert with every ice-cream in the ice box. She noted all down but sniffed; I'd shocked her. Such tastes! Child that I was, I giggled when she left me.

But, now ... what shall I do, now?

I could have spent a happy hour unpacking the trunks that contained my trousseau but the maid had done that already, the dresses, the tailor-mades hung in the wardrobe in my dressing room, the hats on wooden heads to keep their shape, the shoes on wooden feet as if all these inanimate objects were imitating the appearance of life, to mock me. I did not like to linger in my overcrowded dressing room, nor in my lugubriously lily-scented bedroom. How shall I pass the time?

I shall take a bath in my own bathroom! And found the taps were little dolphins made of gold, with chips of turquoise for eyes. And there was a tank of goldfish, who swam in and out of moving fronds of weeds, as bored, I thought, as I was. How I wished he had not left me. How I wished it were possible to chat with, say, a maid; or, the piano-tuner ... but I knew already my new rank forbade overtures of friendship to the staff.

I had been hoping to defer the call as long as I could, so that I should have something to look forward to in the dead waste of time I foresaw before me, after my dinner was done with, but, at a quarter before seven, when darkness already surrounded the castle, I could contain myself no longer. I telephoned my mother. And astonished myself by bursting into tears when I heard her voice.

No, nothing was the matter. Mother, I have gold bath taps.

I said, gold bath taps!

No; I suppose that's nothing to cry about, Mother.

The line was bad, I could hardly make out her congratulations, her questions, her concern, but I was a little comforted when I put the receiver down.

Yet there still remained one whole hour to dinner and the whole, unimaginable desert of the rest of the evening.

The bunch of keys lay, where he had left them, on the rug before the library fire which had warmed their metal so that they no longer felt cold to the touch but warm, almost, as my own skin. How careless I was; a maid, tending the logs, eyed me reproachfully as if I'd set a trap for her as I picked up the clinking bundle of keys, the keys to the interior doors of this lovely prison of which I was both the inmate and the mistress and had scarcely seen. When I remembered that, I felt the exhilaration of the explorer.

Lights! More lights!

At the touch of a switch, the dreaming library was brilliantly illuminated. I ran crazily about the castle, switching on every light I could find--I ordered the servants to light up all their quarters, too, so the castle would shine like a seaborne birthday cake lit with a thousand candles, one for every year of its life, and everybody on shore would wonder at it. When everything was lit as brightly as the caf in the Gare du Nord, the significance of the possessions implied by that bunch of keys no longer intimidated me, for I was determined, now, to search through them all for evidence of my husband's true nature. His office first, evidently.

A mahogany desk half a mile wide, with an impeccable blotter and a bank of telephones. I allowed myself the luxury of opening the safe that contained the jewellery and delved sufficiently among the leather boxes to find out how my marriage had given me access to a jinn's treasury--parures, bracelets, rings ... While I was thus surrounded by diamonds, a maid knocked on the door and entered before I spoke; a subtle discourtesy. I would speak to my husband about it. She eyed my serge skirt superciliously; did madame plan to dress for dinner?

She made a moue of disdain when I laughed to hear that, she was far more the lady than I. But, imagine--to dress up in one of my Poiret extravaganzas, with the jewelled turban and aigrette on my head, roped with pearl to the navel, to sit down all alone in the baronial dining hall at the head of that massive board at which King Mark was reputed to have fed his knights ... I grew calmer under the cold eye of her disapproval. I adopted the crisp inflections of an officer's daughter. No, I would not dress for dinner. Furthermore, I was not hungry enough for dinner itself. She must tell the housekeeper to cancel the dormitory feast I'd ordered. Could they leave me sandwiches and a flask of coffee in my music room? And would they all dismiss for the night?

Mais oui, madame.

I knew by her bereft intonation I had let them down again but I did not care; I was armed against them by the brilliance of his hoard. But I would not find his heart amongst the glittering stones; as soon as she had gone, I began a systematic search of the drawers of his desk.

All was in order, so I found nothing. Not a random doodle on an old envelope, nor the faded photograph of a woman. Only the files of business correspondence, the bills from the home farms, the invoices from tailors, the billets-doux from international financiers. Nothing. And this absence of the evidence of his real life began to impress me strangely; there must, I thought, be a great deal to conceal if he takes such pains to hide it.

His office was a singularly impersonal room, facing inwards, on to the courtyard, as though he wanted to turn his back on the siren sea in order to keep a clear head while he bankrupted a small businessman in Amsterdam or--I noticed with a thrill of distaste--engaged in some business in Laos that must, from certain cryptic references to his amateur botanist's enthusiasm for rare poppies, be to do with opium. Was he not rich enough to do without crime? Or was the crime itself his profit? And yet I saw enough to appreciate his zeal for secrecy.

Now I had ransacked his desk, I must spend a cool-headed quarter of an hour putting every last letter back where I had found it, and, as I covered the traces of my visit, by some chance, as I reached inside a little drawer that had stuck fast, I must have touched a hidden spring, for a secret drawer flew open within that drawer itself; and this secret drawer contained--at last!--a file marked: Personal.

I was alone, but for my reflection in the uncurtained window.

I had the brief notion that his heart, pressed flat as a flower, crimson and thin as tissue paper, lay in this file. It was a very thin one.

I could have wished, perhaps, I had not found that touching, ill-spelt note, on a paper napkin marked La Coupole, that began: 'My darling, I cannot wait for the moment when you may make me yours completely.' The diva had sent him a page of the score of Tristan, the Liebestod, with the single, cryptic word: 'Until...' scrawled across it. But the strangest of all these love letters was a postcard with a view of a village graveyard, among mountains, where some black-coated ghoul enthusiastically dug at a grave; this little scene, executed with the lurid exuberance of Grand Guignol, was captioned: 'Typical Transylvanian Scene--Midnight, All Hallows.' And, on the other side, the message: 'On the occasion of this marriage to the descendant of Dracula--always remember, "the supreme and unique pleasure of love is the certainty that one is doing evil". Toutes amitis, C.'

A joke. A joke in the worst possible taste; for had he not been married to a Romanian countess? And then I remembered her pretty, witty face, and her name--Carmilla. My most recent predecessor in this castle had been, it would seem, the most sophisticated.

I put away the file, sobered. Nothing in my life of family love and music had prepared me for these grown-up games and yet these were clues to his self that showed me, at least, how much he had been loved, even if they did not reveal any good reason for it. But I wanted to know still more; and, as I closed the office door and locked it, the means to discover more fell in my way.

Fell, indeed; and with the clatter of a dropped canteen of cutlery, for, as I turned the slick Yale lock, I contrived, somehow, to open up the key ring itself, so that all the keys tumbled loose on the floor. And the very first key I picked out of that pile was, as luck or ill fortune had it, the key to the room he had forbidden me, the room he would keep for his own so that he could go there when he wished to feel himself once more a bachelor.

I made my decision to explore it before I felt a faint resurgence of my ill-defined fear of his waxen stillness. Perhaps I half-imagined, then, that I might find his real self in his den, waiting there to see if indeed I had obeyed him; that he had sent a moving figure of himself to New York, the enigmatic, self-sustaining carapace of his public person, while the real man, whose face I had glimpsed in the storm of orgasm, occupied himself with pressing private business in the study at the foot of the west tower, behind the still-room. Yet, if that were so, it was imperative that I should find him, should know him; and I was too deluded by his apparent taste for me to think my disobedience might truly offend him.

I took the forbidden key from the heap and left the others lying there.

It was now very late and the castle was adrift, as far as it could go from the land, in the middle of the silent ocean where, at my orders, it floated, like a garland of light. And all silent, all still, but for the murmuring of the waves.

I felt no fear, no intimation of dread. Now I walked as firmly as I had done in my mother's house.

Not a narrow, dusty little passage at all; why had he lied to me? But an ill-lit one, certainly; the electricity, for some reason, did not extend here, so I retreated to the still-room and found a bundle of waxed tapers in a cupboard, stored there with matches to light the oak board at grand dinners. I put a match to my little taper and advanced with it in my hand, like a penitent, along the corridor hung with heavy, I think Venetian, tapestries. The flame picked out, here, the head of a man, there, the rich breast of a woman spilling through a rent in her dress--the Rape of the Sabines, perhaps? The naked swords and immolated horses suggested some grisly mythological subject. The corridor wound downwards; there was an almost imperceptible ramp to the thickly carpeted floor. The heavy hangings on the wall muffled my footsteps, even my breathing. For some reason, it grew very warm; the sweat sprang out in beads on my brow. I could no longer hear the sound of the sea.

A long, a winding corridor, as if I were in the viscera of the castle; and this corridor led to a door of worm-eaten oak, low, round-topped, barred with black iron.

And still I felt no fear, no raising of the hairs on the back of the neck, no prickling of the thumbs.

The key slid into the new lock as easily as a hot knife into butter.

No fear; but a hesitation, a holding of the spiritual breath.

If I had found some traces of his heart in a file marked: Personal, perhaps, here, in his subterranean privacy, I might find a little of his soul. It was the consciousness of the possibility of such a discovery, of its possible strangeness, that kept me for a moment motionless, before, in the foolhardiness of my already subtly tainted innocence, I turned the key and the door creaked slowly back.

'There is a striking resemblance between the act of love and the ministrations of a torturer,' opined my husband's favourite poet; I had learned something of the nature of that similarity on my marriage bed. And now my taper showed me the outlines of a rack. There was also a great wheel, like the ones I had seen in woodcuts of the martyrdoms of the saints, in my old nurse's little store of holy books. And--just one glimpse of it before my little flame caved in and I was left in absolute darkness--a metal figure, hinged at the side, which I knew to be spiked on the inside and to have the name: the Iron Maiden.

Absolute darkness. And, about me, the instruments of mutilation.

Until that moment, this spoiled child did not know she had inherited nerves and a will from the mother who had defied the yellow outlaws of Indo-China; My mother's spirit drove me on, into that dreadful place, in a cold ecstasy to know the very worst. I fumbled for the matches in my pocket; what a dim, lugubrious light they gave! And yet, enough, oh, more than enough, to see a room designed for desecration and some dark night of unimaginable lovers whose embraces were annihilation.

The walls of this stark torture chamber were the naked rock; they gleamed as if they were sweating with fright. At the four corners of the room were funerary urns, of great antiquity, Etruscan, perhaps, and, on three-legged ebony stands, the bowls of incense he had left burning which filled the room with a sacerdotal reek. Wheel, rack and Iron Maiden were, I saw, displayed as grandly as if they were items of statuary and I was almost consoled, then, and almost persuaded myself that I might have stumbled only upon a little museum of his perversity, that he had installed these monstrous items here only for contemplation.

Yet at the centre of the room lay a catafalque, a doomed, ominous bier of Renaissance workmanship, surrounded by long white candles and, at its foot, an armful of the same lilies with which he had filled my bedroom, stowed in a four-foot-high jar glazed with a sombre Chinese red. I scarcely dared examine this catafalque and its occupant more closely; yet I knew I must.

Each time I struck a match to light those candles round her bed, it seemed a garment of that innocence of mine for which he had lusted fell away from me.

The opera singer lay, quite naked, under a thin sheet of very rare and precious linen, such as the princes of Italy used to shroud those whom they had poisoned. I touched her, very gently, on the white breast; she was cool, he had embalmed her. On her throat I could see the blue imprint of his strangler's fingers. The cool, sad flame of the candles flickered on her white, closed eyelids. The worst thing was, the dead lips smiled.

Beyond the catafalque, in the middle of the shadows, a white, nacreous glimmer; as my eyes accustomed themselves to the gathering darkness, I at last--oh, horrors!--made out a skull; yes, a skull, so utterly denuded, now, of flesh, that it scarcely seemed possible the stark bone had once been richly upholstered with life. And this skull was strung up by a system of unseen cords, so that it appeared to hang, disembodied, in the still, heavy air, and it had been crowned with a wreath of white roses, and a veil of lace, the final image of his bride.

Yet the skull was still so beautiful, had shaped with its sheer planes so imperiously the face that had once existed above it, that I recognized her the moment I saw her; face of the evening star walking on the rim of night. One false step, oh, my poor, dear girl, next in the fated sisterhood of his wives; one false step and into the abyss of the dark you stumbled.

And where was she, the latest dead, the Romanian countess who might have thought her blood would survive his depredations? I knew she must be here, in the place that had wound me through the castle towards it on a spool of inexorability. But, at first, I could see no sign of her. Then, for some reason--perhaps some change of atmosphere wrought by my presence--the metal shell of the Iron Maiden emitted a ghostly twang; my feverish imagination might have guessed its occupant was trying to clamber out, though, even in the midst of my rising hysteria, I knew she must be dead to find a home there.

With trembling fingers, I prised open the front of the upright coffin, with its sculpted face caught in a rictus of pain. Then, overcome, I dropped the key I still held in my other hand. It dropped into the forming pool of her blood.

She was pierced, not by one but by a hundred spikes, this child of the land of the vampires who seemed so newly dead, so full of blood ... oh God! how recently had he become a widower? How long had he kept her in this obscene cell? Had it been all the time he had courted me, in the clear light of Paris?

I closed the lid of her coffin very gently and burst into a tumult of sobbing that contained both pity for his other victims and also a dreadful anguish to know I, too, was one of them.

The candles flared, as if in a draught from a door to elsewhere. The light caught the fire opal on my hand so that it flashed, once, with a baleful light, as if to tell me the eye of God--his eye--was upon me. My first thought, when I saw the ring for which I had sold myself to this fate, was, how to escape it.

I retained sufficient presence of mind to snuff out the candles round the bier with my fingers, to gather up my taper, to look around, although shuddering, to ensure I had left behind me no traces of my visit.

I retrieved the key from the pool of blood, wrapped it in my handkerchief to keep my hands clean, and fled the room, slamming the door behind me. It crashed to with a juddering reverberation, like the door of hell.

I could not take refuge in my bedroom, for that retained the memory of his presence trapped in the fathomless silvering of his mirrors. My music room seemed the safest place, although I looked at the picture of Saint Cecilia with a faint dread; what had been the nature of her martyrdom? My mind was in a tumult; schemes for flight jostled with one another ... as soon as the tide receded from the causeway, I would make for the mainland--on foot, running, stumbling; I did not trust that leather-clad chauffeur, nor the well-behaved housekeeper, and I dared not take any of the pale, ghostly maids into my confidence, either, since they were his creatures, all. Once at the village, I would fling myself directly on the mercy of the gendarmerie.

But--could I trust them, either? His forefathers had ruled this coast for eight centuries, from this castle whose moat was the Atlantic. Might not the police, the advocates, even the judge, all be in his service, turning a common blind eye to his vices since he was milord whose word must be obeyed? Who, on this distant coast, would believe the white-faced girl from Paris who came running to them with a shuddering tale of blood, of fear, of the ogre murmuring in the shadows? Or, rather, they would immediately know it to be true. But were all honour-bound to let me carry it no further.

Assistance. My mother. I ran to the telephone; and the line, of course, was dead.

Dead as his wives.

A thick darkness, unlit by any star, still glazed the windows. Every lamp in my room burned, to keep the dark outside, yet it seemed still to encroach on me, to be present beside me but as if masked by my lights, the night like a permeable substance that could seep into my skin. I looked at the precious little clock made from hypocritically innocent flowers long ago, in Dresden; the hands had scarcely moved one single hour forward from when I first descended to that private slaughterhouse of his. Time was his servant, too; it would trap me, here, in a night that would last until he came back to me, like a black sun on a hopeless morning.

And yet the time might still be my friend; at that hour, that very hour, he set sail for New York.

To know that, in a few moments, my husband would have left France calmed my agitation a little. My reason told me I had nothing to fear; the tide that would take him away to the New World would let me out of the imprisonment of the castle. Surely I could easily evade the servants. Anybody can buy a ticket at a railway station. Yet I was still rilled with unease. I opened the lid of the piano; perhaps I thought my own particular magic might help me, now, that I could create a pentacle out of music that would keep me from harm for, if my music had first ensnared him, then might it not also give me the power to free myself from him?

Mechanically, I began to play but my fingers were stiff and shaking. At first, I could manage nothing better than the exercises of Czerny but simply the act of playing soothed me and, for solace, for the sake of the harmonious rationality of its sublime mathematics, I searched among his scores until I found The Well-Tempered Clavier. I set myself the therapeutic task of playing all Bach's equations, every one, and, I told myself, if I played them all through without a single mistake--then the morning would find me once more a virgin.

Crash of a dropped stick.

His silver-headed cane! What else? Sly, cunning, he had returned; he was waiting for me outside the door!

I rose to my feet; fear gave me strength. I flung back my head defiantly.

'Come in!' My voice astonished me by its firmness, its clarity.

The door slowly, nervously opened and I saw, not the massive, irredeemable bulk of my husband but the slight, stooping figure of the piano-tuner, and he looked far more terrified of me than my mother's daughter would have been of the Devil himself. In the torture chamber, it seemed to me that I would never laugh again; now, helplessly, laugh I did, with relief, and, after a moment's hesitation, the boy's face softened and he smiled a little, almost in shame. Though they were blind, his eyes were singularly sweet.

'Forgive me,' said Jean-Yves. 'I know I've given you grounds for dismissing me, that I should be crouching outside your door at midnight ... but I heard you walking about, up and down--I sleep in a room at the foot of the west tower--and some intuition told me you could not sleep and might, perhaps, pass the insomniac hours at your piano. And I could not resist that. Besides, I stumbled over these--'

And he displayed the ring of keys I'd dropped outside my husband's office door, the ring from which one key was missing. I took them from him, looked round for a place to stow them, fixed on the piano stool as if to hide them would protect me. Still he stood smiling at me. How hard it was to make everyday conversation.

'It's perfect,' I said. 'The piano. Perfectly in tune.'

But he was full of the loquacity of embarrassment, as though I would only forgive him for his impudence if he explained the cause of it thoroughly.

'When I heard you play this afternoon, I thought I'd never heard such a touch. Such technique. A treat for me, to hear a virtuoso! So I crept up to your door now, humbly as a little dog might, madame, and put my ear to the keyhole and listened, and listened--until my stick fell to the floor through a momentary clumsiness of mine, and I was discovered.'

He had the most touchingly ingenuous smile.

'Perfectly in tune,' I repeated. To my surprise, now I had said it, I found I could not say anything else. I could only repeat: 'In tune ... perfect ... in tune,' over and over again. I saw a dawning surprise in his face. My head throbbed. To see him, in his lovely, blind humanity, seemed to hurt me very piercingly, somewhere inside my breast; his figure blurred, the room swayed about me. After the dreadful revelation of that bloody chamber, it was his tender look that made me faint.

When I recovered consciousness, I found I was lying in the piano-tuner's arms and he was tucking the satin cushion from the piano-stool under my head.

'You are in some great distress,' he said. 'No bride should suffer so much, so early in her marriage.'

His speech had the rhythms of the countryside, the rhythms of the tides.

'Any bride brought to this castle should come ready dressed in mourning, should bring a priest and a coffin with her,' I said.

'What's this?'

It was too late to keep silent; and if he, too, were one of my husband's creatures, then at least he had been kind to me. So I told him everything, the keys, the interdiction, my disobedience, the room, the rack, the skull, the corpses, the blood.

'I can scarcely believe it,' he said, wondering. 'That man ... so rich; so well-born.'

'Here's proof,' I said and tumbled the fatal key out of my handkerchief on to the silken rug.

'Oh God,' he said. 'I can smell the blood.'

He took my hand; he pressed his arms about me. Although he was scarcely more than a boy, I felt a great strength flow into me from his touch.

'We whisper all manner of strange tales up and down the coast,' he said.' There was a Marquis, once, who used to hunt young girls on the mainland; he hunted them with dogs, as though they were foxes. My grandfather had it from his grandfather, how the Marquis pulled a head out of his saddle bag and showed it to the blacksmith while the man was shoeing his horse. "A fine specimen of the genus, brunette, eh, Guillaume?" And it was the head of the blacksmith's wife.'

But, in these more democratic times, my husband must travel as far as Paris to do his hunting in the salons. Jean-Yves knew the moment I shuddered.

'Oh, madame! I thought all these were old wives' tales, chattering of fools, spooks to scare bad children into good behaviour! Yet how could you know, a stranger, that the old name for this place is the Castle of Murder?'

How could I know, indeed? Except that, in my heart, I'd always known its lord would be the death of me.

'Hark!' said my friend suddenly. 'The sea has changed key; it must be near morning, the tide is going down.'

He helped me up. I looked from the window, towards the mainland, along the causeway where the stones gleamed wetly in the thin light of the end of the night and, with an almost unimaginable horror, a horror the intensity of which I cannot transmit to you, I saw, in the distance, still far away yet drawing moment by moment inexorably nearer, the twin headlamps of his great black car, gouging tunnels through the shifting mist.

My husband had indeed returned; this time, it was no fancy.

'The key!' said Jean-Yves. 'It must go back on the ring, with the others. As though nothing had happened.'

But the key was still caked with wet blood and I ran to my bathroom and held it under the hot tap. Crimson water swirled down the basin but, as if the key itself were hurt, the bloody token stuck. The turquoise eyes of the dolphin taps winked at me derisively; they knew my husband had been too clever for me! I scrubbed the stain with my nail brush but still it would not budge. I thought how the car would be rolling silently towards the closed courtyard gate; the more I scrubbed the key, the more vivid grew the stain.

The bell in the gatehouse would jangle. The porter's drowsy son would push back the patchwork quilt, yawning, pull the shirt over his head, thrust his feet into his sabots ... slowly, slowly; open the door for your master as slowly as you can ...

And still the bloodstain mocked the fresh water that spilled from the mouth of the leering dolphin.

'You have no more time,' said Jean-Yves. 'He is here. I know it. I must stay with you.'

'You shall not!' I said. 'Go back to your room, now. Please.'

He hesitated. I put an edge of steel in my voice, for I knew I must meet my lord alone.

'Leave me!'

As soon as he had gone, I dealt with the keys and went to my bedroom. The causeway was empty; Jean-Yves was correct, my husband had already entered the castle. I pulled the curtains close, stripped off my clothes and pulled the bedcurtains round me as a pungent aroma of Russian leather assured me my husband was once again beside me.

'Dearest!'

With the most treacherous, lascivious tenderness, he kissed my eyes, and, mimicking the new bride newly wakened, I flung my arms around him, for on my seeming acquiescence depended my salvation.

'Da Silva of Rio outwitted me,' he said wryly.' My New York agent telegraphed Le Havre and saved me a wasted journey. So we may resume our interrupted pleasures, my love.'

I did not believe one word of it. I knew I had behaved exactly according to his desires; had he not bought me so that I should do so? I had been tricked into my own betrayal to that illimitable darkness whose source I had been compelled to seek in his absence and, now that I had met that shadowed reality of his that came to life only in the presence of its own atrocities, I must pay the price of my new knowledge. The secret of Pandora's box; but he had given me the box, himself, knowing I must learn the secret. I had played a game in which every move was governed by a destiny as oppressive and omnipotent as himself, since that destiny was himself; and I had lost. Lost at that charade of innocence and vice in which he had engaged me. Lost, as the victim loses to the executioner.

His hand brushed my breast, beneath the sheet. I strained my nerves yet could not help but flinch from the intimate touch, for it made me think of the piercing embrace of the Iron Maiden and of his lost lovers in the vault. When he saw my reluctance, his eyes veiled over and yet his appetite did not diminish. His tongue ran over red lips already wet. Silent, mysterious, he moved away from me to draw off his jacket. He took the gold watch from his waistcoat and laid it on the dressing table, like a good bourgeois; scooped out his raiding loose change and now--oh God!--makes a great play of patting his pockets officiously, puzzled lips pursed, searching for something that has been mislaid. Then turns to me with a ghastly, a triumphant smile.

'But of course! I gave the keys to you!'

'Your keys? Why, of course. Here, they're under the pillow; wait a moment--what--Ah! No ... now, where can I have left them? I was whiling away the evening without you at the piano, I remember. Of course! The music room!'

Brusquely he flung my nglig of antique lace on the bed.

'Go and get them.'

'Now? This moment? Can't it wait until morning, my darling?'

I forced myself to be seductive. I saw myself, pale, pliant as a plant that begs to be trampled underfoot, a dozen vulnerable, appealing girls reflected in as many mirrors, and I saw how he almost failed to resist me. If he had come to me in bed, I would have strangled him, then.

But he half-snarled: 'No. It won't wait. Now.'

The unearthly light of dawn filled the room; had only one previous dawn broken upon me in that vile place? And there was nothing for it but to go and fetch the keys from the music stool and pray he would not examine them too closely, pray to God his eyes would fail him, that he might be struck blind.

When I came back into the bedroom carrying the bunch of keys that jangled at every step like a curious musical instrument, he was sitting on the bed in his immaculate shirtsleeves, his head sunk in his hands.

And it seemed to me he was in despair.

Strange. In spite of my fear of him, that made me whiter than my wrap, I felt there emanate from him, at that moment, a stench of absolute despair, rank and ghastly, as if the lilies that surrounded him had all at once begun to fester, or the Russian leather of his scent were reverting to the elements of flayed hide and excrement of which it was composed. The chthonic gravity of his presence exerted a tremendous pressure on the room, so that the blood pounded in my ears as if we had been precipitated to the bottom of the sea, beneath the waves that pounded against the shore.

I held my life in my hands amongst those keys and, in a moment, would place it between his well-manicured fingers. The evidence of that bloody chamber had showed me I could expect no mercy. Yet, when he raised his head and stared at me with his blind, shuttered eyes as though he did not recognize me, I felt a terrified pity for him, for this man who lived in such strange, secret places that, if I loved him enough to follow him, I should have to die.

The atrocious loneliness of that monster!

The monocle had fallen from his face. His curling mane was disordered, as if he had run his hands through it in his distraction. I saw how he had lost his impassivity and was now filled with suppressed excitement. The hand he stretched out for those counters in his game of love and death shook a little; the face that turned towards me contained a sombre delirium that seemed to me compounded of a ghastly, yes, shame but also of a terrible, guilty joy as he slowly ascertained how I had sinned.

That tell-tale stain had resolved itself into a mark the shape and brilliance of the heart on a playing card. He disengaged the key from the ring and looked at it for a while, solitary, brooding.

'It is the key that leads to the kingdom of the unimaginable,' he said. His voice was low and had in it the timbre of certain great cathedral organs that seem, when they are played, to be conversing with God.

I could not restrain a sob.

'Oh, my love, my little love who brought me a white gift of music,' he said, almost as if grieving. 'My little love, you'll never know how much I hate daylight!"

Then he sharply ordered: 'Kneel!'

I knelt before him and he pressed the key lightly to my forehead, held it there for a moment. I felt a faint tingling of the skin and, when I involuntarily glanced at myself in the mirror, I saw the heart-shaped stain had transferred itself to my forehead, to the space between the eyebrows, like the caste mark of a brahmin woman. Or the mark of Cain. And now the key gleamed as freshly as if it had just been cut. He clipped it back on the ring, emitting that same, heavy sigh as he had done when I said that I would marry him.

'My virgin of the arpeggios, prepare yourself for martyrdom.'

'What form shall it take?' I said.

'Decapitation,' he whispered, almost voluptuously. 'Go and bathe yourself; put on that white dress you wore to hear Tristan and the necklace that prefigures your end. And I shall take myself off to the armoury, my dear, to sharpen my great-grandfather's ceremonial sword.'

'The servants?'

'We shall have absolute privacy for our last rites; I have already dismissed them. If you look out of the window you can see them going to the mainland.'

It was now the full, pale light of morning; the weather was grey, indeterminate, the sea had an oily, sinister look, a gloomy day on which to die. Along the causeway I could see trouping every maid and scullion, every pot-boy and pan-scourer, valet, laundress and vassal who worked in that great house, most on foot, a few on bicycles. The faceless housekeeper trudged along with a great basket in which, I guessed, she'd stowed as much as she could ransack from the larder. The Marquis must have given the chauffeur leave to borrow the motor for the day, for it went last of all, at a stately pace, as though the procession were a cortege and the car already bore my coffin to the mainland for. burial.

But I knew no good Breton earth would cover me, like a last, faithful lover; I had another fate.

'I have given them all a day's holiday, to celebrate our wedding,' he said. And smiled.

However hard I stared at the receding company, I could see no sign of Jean-Yves, our latest servant, hired but the preceding morning.

'Go, now. Bathe yourself; dress yourself. The lustratory ritual and the ceremonial robing; after that, the sacrifice. Wait in the music room until I telephone for you. No, my dear!' And he smiled, as I started, recalling the line was dead.' One may call inside the castle just as much as one pleases; but, outside--never.'

I scrubbed my forehead with the nail brush as I had scrubbed the key but this red mark would not go away, either, no matter what I did, and I knew I should wear it until I died, though that would not be long. Then I went to my dressing room and put on that white muslin shift, costume of a victim of an auto-da-f, he had bought me to listen to the Liebestod in. Twelve young women combed out twelve listless sheaves of brown hair in the mirrors; soon, there would be none. The mass of lilies that surrounded me exhaled, now, the odour of their withering. They looked like the trumpets of the angels of death.

On the dressing table, coiled like a snake about to strike, lay the ruby choker.

Already almost lifeless, cold at heart, I descended the spiral staircase to the music room but there I found I had not been abandoned.

'I can be of some comfort to you,' the boy said.' Though not much use.'

We pushed the piano stool in front of the open window so that, for as long as I could, I would be able to smell the ancient, reconciling smell of the sea that, in time, will cleanse everything, scour the old bones white, wash away all the stains. The last little chambermaid had trotted along the causeway long ago and now the tide, fated as I, came tumbling in, the crisp wavelets splashing on the old stones.

'You do not deserve this,' he said.

'Who can say what I deserve or no?' I said. 'I've done nothing; but that may be sufficient reason for condemning me.'

'You disobeyed him,' he said. 'That is sufficient reason for him to punish you.'

'I only did what he knew I would.'

'Like Eve,' he said.

The telephone rang a shrill imperative. Let it ring. But my lover lifted me up and set me on my feet; I knew I must answer it. The receiver felt heavy as earth.

'The courtyard. Immediately.'

My lover kissed me, he took my hand. He would come with me if I would lead him. Courage. When I thought of courage, I thought of my mother. Then I saw a muscle in my lover's face quiver.

'Hoofbeats!' he said.

I cast one last, desperate glance from the window and, like a miracle, I saw a horse and rider galloping at a vertiginous speed along the causeway, though the waves crashed, now, high as the horse's fetlocks. A rider, her black skirts tucked up around her waist so she could ride hard and fast, a crazy, magnificent horsewoman in widow's weeds.

As the telephone rang again.

'Am I to wait all morning?'

Every moment, my mother drew nearer.

'She will be too late,' Jean-Yves said and yet he could not restrain a note of hope that, though it must be so, yet it might not be so.

The third, intransigent call.

'Shall I come up to heaven to fetch you down, Saint Cecilia? You wicked woman, do you wish me to compound my crimes by desecrating the marriage bed?'

So I must go to the courtyard where my husband waited in his London-tailored trousers and the shirt from Turnbull and Asser, beside the mounting block, with, in his hand, the sword which his great-grandfather had presented to the little corporal, in token of surrender to the Republic, before he shot himself. The heavy sword, unsheathed, grey as that November morning, sharp as childbirth, mortal.

When my husband saw my companion, he observed: 'Let the blind lead the blind, eh? But does even a youth as besotted as you are think she was truly blind to her own desires when she took my ring? Give it me back, whore.'

The fires in the opal had all died down. I gladly slipped it from my finger and, even in that dolorous place, my heart was lighter for the lack of it. My husband took it lovingly and lodged it on the tip of his little finger; it would go no further.

'It will serve me for a dozen more fiances,' he said. 'To the block, woman. No--leave the boy; I shall deal with him later, utilizing a less exalted instrument than the one with which I do my wife the honour of her immolation, for do not fear that in death you will be divided.'

Slowly, slowly, one foot before the other, I crossed the cobbles. The longer I dawdled over my execution, the more time it gave the avenging angel to descend ...

'Don't loiter, girl! Do you think I shall lose appetite for the meal if you are so long about serving it? No; I shall grow hungrier, more ravenous with each moment, more cruel ... Run to me, run! I have a place prepared for your exquisite corpse in my display of flesh!'

He raised the sword and cut bright segments from the air with it, but still I lingered although my hopes, so recently raised, now began to flag. If she is not here by now, her horse must have stumbled on the causeway, have plunged into the sea ... One thing only made me glad; that my lover would not see me die.

My husband laid my branded forehead on the stone and, as he had done once before, twisted my hair into a rope and drew it away from my neck.

'Such a pretty neck,' he said with what seemed to be a genuine, retrospective tenderness. 'A neck like the stem of a young plant.'

I felt the silken bristle of his beard and the wet touch of his lips as he kissed my nape. And, once again, of my apparel I must retain only my gems; the sharp blade ripped my dress in two and it fell from me. A little green moss, growing in the crevices of the mounting block, would be the last thing I should see in all the world.

The whizz of that heavy sword.

And--a great battering and pounding at the gate, the jangling of the bell, the frenzied neighing of a horse! The unholy silence of the place shattered in an instant. The blade did not descend, the necklace did not sever, my head did not roll. For, for an instant, the beast wavered in his stroke, a sufficient split second of astonished indecision to let me spring upright and dart to the assistance of my lover as he struggled sightlessly with the great bolts that kept her out.

The Marquis stood transfixed, utterly dazed, at a loss. It must have been as if he had been watching his beloved Tristan for the twelfth, the thirteenth time and Tristan stirred, then leapt from his bier in the last act, announced in a jaunty aria interposed from Verdi that bygones were bygones, crying over spilt milk did nobody any good and, as for himself, he proposed to live happily ever after. The puppet master, open-mouthed, wide-eyed, impotent at the last, saw his dolls break free of their strings, abandon the rituals he had ordained for them since time began and start to live for themselves; the king, aghast, witnesses the revolt of his pawns.

You never saw such a wild thing as my mother, her hat seized by the winds and blown out to sea so that her hair was her white mane, her black lisle legs exposed to the thigh, her skirts tucked round her waist, one hand on the reins of the rearing horse while the other clasped my father's service revolver and, behind her, the breakers of the savage, indifferent sea, like the witnesses of a furious justice. And my husband stood stock-still, as if she had been Medusa, the sword still raised over his head as in those clockwork tableaux of Bluebeard that you see in glass cases at fairs.

And then it was as though a curious child pushed his centime into the slot and set all in motion. The heavy, bearded figure roared out aloud, braying with fury, and, wielding the honourable sword as if it were a matter of death or glory, charged us, all three.

On her eighteenth birthday, my mother had disposed of a man-eating tiger that had ravaged the villages in the hills north of Hanoi. Now, without a moment's hesitation, she raised my father's gun, took aim and put a single, irreproachable bullet through my husband's head.

We lead a quiet life, the three of us. I inherited, of course, enormous wealth but we have given most of it away to various charities. The castle is now a school for the blind, though I pray that the children who live there are not haunted by any sad ghosts looking for, crying for, the husband who will never return to the bloody chamber, the contents of which are buried or burned, the door sealed.

I felt I had a right to retain sufficient funds to start a little music school here, on the outskirts of Paris, and we do well enough. Sometimes we can even afford to go to the Opra, though never to sit in a box, of course. We know we are the source of many whisperings and much gossip but the three of us know the truth of it and mere chatter can never harm us. I can only bless the--what shall I call it?--the maternal telepathy that sent my mother running headlong from the telephone to the station after I had called her, that night. I never heard you cry before, she said, by way of explanation. Not when you were happy. And who ever cried because of gold bath taps?

The night train, the one I had taken; she lay in her berth, sleepless as I had been. When she could not find a taxi at that lonely halt, she borrowed old Dobbin from a bemused farmer, for some internal urgency told her that she must reach me before the incoming tide sealed me away from her for ever. My poor old nurse, left scandalized at home--what? interrupt milord on his honeymoon?--she died soon after. She had taken so much secret pleasure in the fact that her little girl had become a marquise; and now here I was, scarcely a penny the richer, widowed at seventeen in the most dubious circumstances and busily engaged in setting up house with a piano-tuner. Poor thing, she passed away in a sorry state of disillusion! But I do believe my mother loves him as much as I do.

No paint nor powder, no matter how thick or white, can mask that red mark on my forehead; I am glad he cannot see it--not for fear of his revulsion, since I know he sees me clearly with his heart--but, because it spares my shame.

Outside her kitchen window, the hedgerow glistened as if the snow possessed a light of its own; when the sky darkened towards evening, an unearthly, reflected pallor remained behind upon the winter's landscape, while still the soft flakes floated down. This lovely girl, whose skin possesses that same, inner light so you would have thought she, too, was made all of snow, pauses in her chores in the mean kitchen to look out at the country road. Nothing has passed that way all day; the road is white and unmarked as a spilled bolt of bridal satin.

Father said he would be home before nightfall.

The snow brought down all the telephone wires; he couldn't have called, even with the best of news.

The roads are bad. I hope he'll be safe.

But the old car stuck fast in a rut, wouldn't budge an inch; the engine whirred, coughed and died and he was far from home. Ruined, once; then ruined again, as he had learnt from his lawyers that very morning; at the conclusion of the lengthy, slow attempt to restore his fortunes, he had turned out his pockets to find the cash for petrol to take him home. And not even enough money left over to buy his Beauty, his girl-child, his pet, the one white rose she said she wanted; the only gift she wanted, no matter how the case went, how rich he might once again be. She had asked for so little and he had not been able to give it to her. He cursed the useless car, the last straw that broke his spirit; then, nothing for it but to fasten his old sheepskin coat around him, abandon the heap of metal and set off down the snow-filled lane to look for help.

Behind wrought iron gates, a short, snowy drive performed a reticent flourish before a miniature, perfect, Palladian house that seemed to hide itself shyly behind snow-laden skirts of an antique cypress. It was almost night; that house, with its sweet, retiring melancholy grace, would have seemed deserted but for a light that flickered in an upstairs window, so vague it might have been the reflection of a star, if any stars could have penetrated the snow that whirled yet more thickly. Chilled through, he pressed the latch of the gate and saw, with a pang, how, on the withered ghost of a tangle of thorns, there clung, still, the faded rag of a white rose.

The gate clanged loudly shut behind him; too loudly. For an instant, that reverberating clang seemed final, emphatic, ominous as if the gate, now closed, barred all within it from the world outside the walled, wintry garden. And, from a distance, though from what distance he could not tell, he heard the most singular sound in the world: a great roaring, as of a beast of prey.

In too much need to allow himself to be intimidated, he squared up to the mahogany door. This door was equipped with a knocker in the shape of a lion's head, with a ring through the nose; as he raised his hand towards it, it came to him this lion's head was not, as he had thought at first, made of brass, but, instead, of solid gold. Before, however, he could announce his presence, the door swung silently inward on well-oiled hinges and he saw a white hall where the candles of a great chandelier cast their benign light upon so many, many flowers in great, free-standing jars of crystal that it seemed the whole of spring drew him into its warmth with a profound intake of perfumed breath. Yet there was no living person in the hall.

The door behind him closed as silently as it had opened, yet, this time, he felt no fear although he knew by the pervasive atmosphere of a suspension of reality that he had entered a place of privilege where all the laws of the world he knew need not necessarily apply, for the very rich are often very eccentric and the house was plainly that of an exceedingly wealthy man. As it was, when nobody came to help him with his coat, he took it off himself. At that, the crystals of the chandelier tinkled a little, as if emitting a pleased chuckle, and the door of a cloakroom opened of its own accord. There were, however, no clothes at all in this cloakroom, not even the statutory country-house garden mackintosh to greet his own squirearchal sheepskin, but, when he emerged again into the hall, he found a greeting waiting for him at last--there was, of all things, a liver and white King Charles spaniel crouched, with head intelligently cocked, on the Kelim runner. It gave him further, comforting proof of his unseen host's wealth and eccentricity to see the dog wore, in place of a collar, a diamond necklace.

The dog sprang to its feet in welcome and busily shepherded him (how amusing!) to a snug little leather-panelled study on the first floor, where a low table was drawn up to a roaring log fire. On the table, a silver tray; round the neck of the whisky decanter, a silver tag with the legend: Drink me, while the cover of the silver dish was engraved with the exhortation: Eat me, in a flowing hand. This dish contained sandwiches of thick-cut roast beef, still bloody. He drank the one with soda and ate the other with some excellent mustard thoughtfully provided in a stoneware pot, and, when the spaniel saw to it he had served himself, she trotted off about her own business.

All that remained to make Beauty's father entirely comfortable was to find, in a curtained recess, not only a telephone but the card of a garage that advertised a twenty-four-hour rescue service; a couple of calls later and he had confirmed, thank God, there was no serious trouble, only the car's age and the cold weather ... could he pick it up from the village in an hour? And directions to the village, but half a mile away, were supplied, in a new tone of deference, as soon as he described the house from where he was calling.

And he was disconcerted but, in his impecunious circumstances, relieved to hear the bill would go on his hospitable if absent host's account; no question, assured the mechanic. It was the master's custom.

Time for another whisky as he tried, unsuccessfully, to call Beauty and tell her he would be late; but the lines were still down, although, miraculously, the storm had cleared as the moon rose and now a glance between the velvet curtains revealed a landscape as of ivory with an inlay of silver. Then the spaniel appeared again, with his hat in her careful mouth, prettily wagging her tail, as if to tell him it was time to be gone, that this magical hospitality was over.

As the door swung to behind him, he saw the lion's eyes were made of agate.

Great wreaths of snow now precariously curded the rose trees and, when he brushed against a stem on his way to the gate, a chill armful softly thudded to the ground to reveal, as if miraculously preserved beneath it, one last, single, perfect rose that might have been the last rose left living in all the white winter, and of so intense and yet delicate a fragrance it seemed to ring like a dulcimer on the frozen air.

How could his host, so mysterious, so kind, deny Beauty her present?

Not now distant but close at hand, close as that mahogany front door, rose a mighty, furious roaring; the garden seemed to hold its breath in apprehension. But still, because he loved his daughter, Beauty's father stole the rose.

At that, every window of the house blazed with furious light and a fugal baying, as of a pride of lions, introduced his host.

There is always a dignity about great bulk, an assertiveness, a quality of being more there than most of us are. The being who now confronted Beauty's father seemed to him, in his confusion, vaster than the house he owned, ponderous yet swift, and the moonlight glittered on his great, mazy head of hair, on the eyes green as agate, on the golden hairs of the great paws that grasped his shoulders so that their claws pierced the sheepskin as he shook him like an angry child shakes a doll.

This leonine apparition shook Beauty's father until his teeth rattled and then dropped him sprawling on his knees while the spaniel, darting from the open door, danced round them, yapping distractedly, like a lady at whose dinner party blows have been exchanged.

'My good fellow--' stammered Beauty's father; but the only response was a renewed roar.

'Good fellow? I am no good fellow! I am the Beast, and you must call me Beast, while I call you, Thief!'

'Forgive me for robbing your garden, Beast!'

Head of a lion; mane and mighty paws of a lion; he reared on his hind legs like an angry lion yet wore a smoking jacket of dull red brocade and was the owner of that lovely house and the low hills that cupped it.

'It was for my daughter,' said Beauty's father.' All she wanted, in the whole world, was one white, perfect rose.'

The Beast rudely snatched the photograph her father drew from his wallet and inspected it, first brusquely, then with a strange kind of wonder, almost the dawning of surmise. The camera had captured a certain look she had, sometimes, of absolute sweetness and absolute gravity, as if her eyes might pierce appearances and see your soul. When he handed the picture back, the Beast took good care not to scratch the surface with his claws.

'Take her the rose, then, but bring her to dinner,' he growled; and what else was there to be done?

Although her father had told her of the nature of the one who waited for her, she could not control an instinctual shudder of fear when she saw him, for a lion is a lion and a man is a man and, though lions are more beautiful by far than we are, yet they belong to a different order of beauty and, besides, they have no respect for us: why should they? Yet wild things have a far more rational fear of us than is ours of them, and some kind of sadness in his agate eyes, that looked almost blind, as if sick of sight, moved her heart.

He sat, impassive as a figurehead, at the top of the table; the dining room was Queen Anne, tapestried, a gem. Apart from an aromatic soup kept hot over a spirit lamp, the food, though exquisite, was cold--a cold bird, a cold souffl, cheese. He asked her father to serve them from a buffet and, himself, ate nothing. He grudgingly admitted what she had already guessed, that he disliked the presence of servants because, she thought, a constant human presence would remind him too bitterly of his otherness, but the spaniel sat at his feet throughout the meal, jumping up from time to time to see that everything was in order.

How strange he was. She found his bewildering difference from herself almost intolerable; its presence choked her. There seemed a heavy, soundless pressure upon her in his house, as if it lay under water, and when she saw the great paws lying on the arm of his chair, she thought: they are the death of any tender herbivore. And such a one she felt herself to be, Miss Lamb, spotless, sacrificial.

Yet she stayed, and smiled, because her father wanted her to do so; and when the Beast told her how he would aid her father's appeal against the judgement, she smiled with both her mouth and her eyes. But when, as they sipped their brandy, the Beast, in the diffuse, rumbling purr with which he conversed, suggested, with a hint of shyness, of fear of refusal, that she should stay here, with him, in comfort, while her father returned to London to take up the legal cudgels again, she forced a smile. For she knew with a pang of dread, as soon as he spoke, that it would be so and her visit to the Beast must be, on some magically reciprocal scale, the price of her father's good fortune.

Do not think she had no will of her own; only, she was possessed by a sense of obligation to an unusual degree and, besides, she would gladly have gone to the ends of the earth for her father, whom she loved dearly.

Her bedroom contained a marvellous glass bed; she had a bathroom, with towels thick as fleece and vials of suave unguents; and a little parlour of her own, the walls of which were covered with an antique paper of birds of paradise and Chinamen, where there were precious books and pictures and the flowers grown by invisible gardeners in the Beast's hothouses. Next morning, her father kissed her and drove away with a renewed hope about him that made her glad, but, all the same, she longed for the shabby home of their poverty. The unaccustomed luxury about her she found poignant, because it gave no pleasure to its possessor and himself she did not see all day as if, curious reversal, she frightened him, although the spaniel came and sat with her, to keep her company. Today, the spaniel wore a neat choker of turquoises.

Who prepared her meals? Loneliness of the Beast; all the time she stayed there, she saw no evidence of another human presence but the trays of food that arrived on a dumb waiter inside a mahogany cupboard in her parlour. Dinner was eggs Benedict and grilled veal; she ate it as she browsed in a book she had found in the rosewood revolving bookcase, a collection of courtly and elegant French fairy tales about white cats who were transformed princesses and fairies who were birds. Then she pulled a sprig of muscat grapes from a fat bunch for her dessert and found herself yawning; she discovered she was bored. At that, the spaniel took hold of her skirt with its velvet mouth and gave it a firm but gentle tug. She allowed the dog to trot before her to the study in which her father had been entertained and there, to her well-disguised dismay, she found her host, seated beside the fire with a tray of coffee at his elbow from which she must pour.

The voice that seemed to issue from a cave full of echoes, his dark, soft rumbling growl; after her day of pastel-coloured idleness, how could she converse with the possessor of a voice that seemed an instrument created to inspire the terror that the chords of great organs bring? Fascinated, almost awed, she watched the firelight play on the gold fringes of his mane; he was irradiated, as if with a kind of halo, and she thought of the first great beast of the Apocalypse, the winged lion with his paw upon the Gospel, Saint Mark. Small talk turned to dust in her mouth; small talk had never, at the best of times, been Beauty's forte, and she had little practice at it.

But he, hesitantly, as if he himself were in awe of a young girl who looked as if she had been carved out of a single pearl, asked after her father's law case; and her dead mother; and how they, who had been so rich, had come to be so poor. He forced himself to master his shyness, which was that of a wild creature, and so she contrived to master her own--to such effect that soon she was chattering away to him as if she had known him all her life. When the little cupid in the gilt clock on the mantelpiece struck its miniature tambourine, she was astonished to discover it did so twelve times.

'So late! You will want to sleep,' he said.

At that, they both fell silent, as if these strange companions were suddenly overcome with embarrassment to find themselves together, alone, in that room in the depths of the winter's night. As she was about to rise, he flung himself at her feet and buried his head in her lap. She stayed stock-still, transfixed; she felt his hot breath on her fingers, the stiff bristles of his muzzle grazing her skin, the rough lapping of his tongue and then, with a flood of compassion, understood: all he is doing is kissing my hands.

He drew back his head and gazed at her with his green, inscrutable eyes, in which she saw her face repeated twice, as small as if it were in bud. Then, without another word, he sprang from the room and she saw, with an indescribable shock, he went on all fours.

Next day, all day, the hills on which the snow still settled echoed with the Beast's rumbling roar: has master gone a-hunting? Beauty asked the spaniel. But the spaniel growled, almost bad-temperedly, as if to say, that she would not have answered, even if she could have.

Beauty would pass the day in her suite reading or, perhaps, doing a little embroidery; a box of coloured silks and a frame had been provided for her. Or, well wrapped up, she wandered in the walled garden, among the leafless roses, with the spaniel at her heels, and did a little raking and rearranging. An idle, restful time; a holiday. The enchantment of that bright, sad, pretty place enveloped her and she found that, against all her expectations, she was happy there. She no longer felt the slightest apprehension at her nightly interviews with the Beast. All the natural laws of the world were held in suspension, here, where an army of invisibles tenderly waited on her, and she would talk with the lion, under the patient chaperonage of the brown-eyed dog, on the nature of the moon and its borrowed light, about the stars and the substances of which they were made, about the variable transformations of the weather. Yet still his strangeness made her shiver; and when he helplessly fell before her to kiss her hands, as he did every night when they parted, she would retreat nervously into her skin, flinching at his touch.

The telephone shrilled; for her. Her father. Such news!

The Beast sunk his great head on to his paws. You will come back to me? It will be lonely here, without you.

She was moved almost to tears that he should care for her so. It was in her heart to drop a kiss upon his shaggy mane but, though she stretched out her hand towards him, she could not bring herself to touch him of her own free will, he was so different from herself. But, yes, she said; I will come back. Soon, before the winter is over. Then the taxi came and took her away.

You are never at the mercy of the elements in London, where the huddled warmth of humanity melts the snow before it has time to settle; and her father was as good as rich again, since his hirsute friend's lawyers had the business so well in hand that his credit brought them nothing but the best. A resplendent hotel; the opera, theatres; a whole new wardrobe for his darling, so she could step out on his arm to parties, to receptions, to restaurants, and life was as she had never known it, for her father had ruined himself before her birth killed her mother.

Although the Beast was the source of this new-found prosperity and they talked of him often, now that they were so far away from the timeless spell of his house it seemed to possess the radiant and finite quality of dream and the Beast himself, so monstrous, so benign, some kind of spirit of good fortune who had smiled on them and let them go. She sent him flowers, white roses in return for the ones he had given her; and when she left the florist, she experienced a sudden sense of perfect freedom, as if she had just escaped from an unknown danger, had been grazed by the possibility of some change but, finally, left intact. Yet, with this exhilaration, a desolating emptiness. But her father was waiting for her at the hotel; they had planned a delicious expedition to buy her furs and she was as eager for the treat as any girl might be.

Since the flowers in the shop were the same all the year round, nothing in the window could tell her that winter had almost gone.

Returning late from supper after the theatre, she took off her earrings in front of the mirror; Beauty. She smiled at herself with satisfaction. She was learning, at the end of her adolescence, how to be a spoiled child and that pearly skin of hers was plumping out, a little, with high living and compliments. A certain inwardness was beginning to transform the lines around her mouth, those signatures of the personality, and her sweetness and her gravity could sometimes turn a mite petulant when things went not quite as she wanted them to go. You could not have said that her freshness was fading but she smiled at herself in mirrors a little too often, these days, and the face that smiled back was not quite the one she had seen contained in the Beast's agate eyes. Her face was acquiring, instead of beauty, a lacquer of the invincible prettiness that characterizes certain pampered, exquisite, expensive cats.

The soft wind of spring breathed in from the nearby park through the open windows; she did not know why it made her want to cry.

There was a sudden, urgent, scrabbling sound, as of claws, at her door.

Her trance before the mirror broke; all at once, she remembered everything perfectly. Spring was here and she had broken her promise. Now the Beast himself had come in pursuit of her! First, she was frightened of his anger; then, mysteriously joyful, she ran to open the door. But it was his liver and white spotted spaniel who hurled herself into the girl's arms in a flurry of little barks and gruff murmurings, of whimpering and relief.

Yet where was the well-brushed, jewelled dog who had sat beside her embroidery frame in the parlour with birds of paradise nodding on the walls? This one's fringed ears were matted with mud, her coat was dusty and snarled, she was thin as a dog that has walked a long way and, if she had not been a dog, she would have been in tears.

After that first, rapturous greeting, she did not wait for Beauty to order her food and water; she seized the chiffon hem of her evening dress, whimpered and tugged. Threw back her head, howled, then tugged and whimpered again.

There was a slow, late train that would take her to the station where she had left for London three months ago. Beauty scribbled a note for her father, threw a coat round her shoulders. Quickly, quickly, urged the spaniel soundlessly; and Beauty knew the Beast was dying.

In the thick dark before dawn, the station master roused a sleepy driver for her. Fast as you can.

It seemed December still possessed his garden. The ground was hard as iron, the skirts of the dark cypress moved on the chill wind with a mournful rustle and there were no green shoots on the roses as if, this year, they would not bloom. And not one light in any of the windows, only, in the topmost attic, the faintest smear of radiance on a pane, the thin ghost of a light on the verge of extinction.

The spaniel had slept a little, in her arms, for the poor thing was exhausted. But now her grieving agitation fed Beauty's urgency and, as the girl pushed open the front door, she saw, with a thrust of conscience, how the golden door knocker was thickly muffled in black crpe.

The door did not open silently, as before, but with a doleful groaning of the hinges and, this time, on to perfect darkness. Beauty clicked her gold cigarette lighter; the tapers in the chandelier had drowned in their own wax and the prisms were wreathed with drifting arabesques of cobwebs. The flowers in the glass jars were dead, as if nobody had had the heart to replace them after she was gone. Dust, everywhere; and it was cold. There was an air of exhaustion, of despair in the house and, worse, a kind of physical disillusion, as if its glamour had been sustained by a cheap conjuring trick and now the conjurer, having failed to pull the crowds, had departed to try his luck elsewhere.

Beauty found a candle to light her way and followed the faithful spaniel up the staircase, past the study, past her suite, through a house echoing with desertion up a little back staircase dedicated to mice and spiders, stumbling, ripping the hem of her dress in her haste.

What a modest bedroom! An attic, with a sloping roof, they might have given the chambermaid if the Beast had employed staff. A night light on the mantelpiece, no curtains at the windows, no carpet on the floor and a narrow, iron bedstead on which he lay, sadly diminished, his bulk scarcely disturbing the faded patchwork quilt, his mane a greyish rat's nest and his eyes closed. On the stick-backed chair where his clothes had been thrown, the roses she had sent him were thrust into the jug from the washstand but they were all dead.

The spaniel jumped up on the bed and burrowed her way under the scanty covers, softly keening.

'Oh, Beast,' said Beauty. 'I have come home.'

His eyelids flickered. How was it she had never noticed before that his agate eyes were equipped with lids, like those of a man? Was it because she had only looked at her own face, reflected there?

'I'm dying, Beauty,' he said in a cracked whisper of his former purr. 'Since you left me, I have been sick. I could not go hunting, I found I had not the stomach to kill the gentle beasts, I could not eat. I am sick and I must die; but I shall die happy because you have come to say good-bye to me.'

She flung herself upon him, so that the iron bedstead groaned, and covered his poor paws with her kisses.

'Don't die, Beast! If you'll have me, I'll never leave you.' When her lips touched the meat-hook claws, they drew back into their pads and she saw how he had always kept his fists clenched but now, painfully, tentatively, at last began to stretch his fingers. Her tears fell on his face like snow and, under their soft transformation, the bones showed through the pelt, the flesh through the wide, tawny brow. And then it was no longer a lion in her arms but a man, a man with an unkempt mane of hair and, how strange, a broken nose, such as the noses of retired boxers, that gave him a distant, heroic resemblance to the handsomest of all the beasts.

'Do you know,' said Mr Lyon, 'I think I might be able to manage a little breakfast today, Beauty, if you would eat something with me.'

Mr and Mrs Lyon walk in the garden; the old spaniel drowses on the grass, in a drift of fallen petals.

My father lost me to The Beast at cards.

There's a special madness strikes travellers from the North when they reach the lovely land where the lemon trees grow. We come from countries of cold weather; at home, we are at war with nature but here, ah! you think you've come to the blessed plot where the lion lies down with the lamb. Everything flowers; no harsh wind stirs the voluptuous air. The sun spills fruit for you. And the deathly, sensual lethargy of the sweet South infects the starved brain; it gasps: 'Luxury! more luxury!' But then the snow comes, you cannot escape it, it followed us from Russia as if it ran behind our carriage, and in this dark, bitter city has caught up with us at last, flocking against the windowpanes to mock my father's expectations of perpetual pleasure as the veins in his forehead stand out and throb, his hands shake as he deals the Devil's picture books.

The candles dropped hot, acrid gouts of wax on my bare shoulders. I watched with the furious cynicism peculiar to women whom circumstances force mutely to witness folly, while my father, fired in his desperation by more and yet more draughts of the firewater they call 'grappa', rids himself of the last scraps of my inheritance. When we left Russia, we owned black earth, blue forest with bear and wild boar, serfs, cornfields, farmyards, my beloved horses, white nights of cool summer, the fireworks of the northern lights. What a burden all those possessions must have been to him, because he laughs as if with glee as he beggars himself; he is in such a passion to donate all to The Beast.

Everyone who comes to this city must play a hand with the grand seigneur; few come. They did not warn us at Milan, or, if they did, we did not understand them--my limping Italian, the bewildering dialect of the region. Indeed, I myself spoke up in favour of this remote, provincial place, out of fashion two hundred years, because, oh irony, it boasted no casino. I did not know that the price of a stay in its Decembral solitude was a game with Milord.

The hour was late. The chill damp of this place creeps into the stones, into your bones, into the spongy pith of the lungs; it insinuated itself with a shiver into our parlour, where Milord came to play in the privacy essential to him. Who could refuse the invitation his valet brought to our lodging? Not my profligate father, certainly; the mirror above the table gave me back his frenzy, my impassivity, the withering candles, the emptying bottles, the coloured tide of the cards as they rose and fell, the still mask that concealed all the features of The Beast but for the yellow eyes that strayed, now and then, from his unfurled hand towards myself.

'La Bestia!' said our landlady, gingerly fingering an envelope with his huge crest of a tiger rampant on it, something of fear, something of wonder in her face. And I could not ask her why they called the master of the place, 'La Bestia'--was it to do with that heraldic signature?--because her tongue was so thickened by the phlegmy, bronchitic speech of the region I scarcely managed to make out a thing she said except, when she saw me: 'Che bella!'

Since I could toddle, always the pretty one, with my glossy, nut-brown curls, my rosy cheeks. And born on Christmas Day--her 'Christmas rose', my English nurse called me. The peasants said: 'The living image of her mother,' crossing themselves out of respect for the dead. My mother did not blossom long; bartered for her dowry to such a feckless sprig of the Russian nobility that she soon died of his gaming, his whoring, his agonizing repentances. And The Beast gave me the rose from his own impeccable if outmoded buttonhole when he arrived, the valet brushing the snow off his black cloak. This white rose, unnatural, out of season, that now my nervous fingers ripped, petal by petal, apart as my father magnificently concluded the career he had made of catastrophe.

This is a melancholy, introspective region; a sunless, featureless landscape, the sullen river sweating fog, the shorn, hunkering willows. And a cruel city; the sombre piazza, a place uniquely suited to public executions, under the heeding shadow of that malign barn of a church. They used to hang condemned men in cages from the city walls; unkindness comes naturally to them, their eyes are set too close together, they have thin lips. Poor food, pasta soaked in oil, boiled beef with sauce of bitter herbs. A funereal hush about the place, the inhabitants huddled up against the cold so you can hardly see their faces. And they lie to you and cheat you, innkeepers, coachmen, everybody. God, how they fleeced us!

The treacherous South, where you think there is no winter but forget you take it with you.

My senses were increasingly troubled by the fuddling perfume of Milord, far too potent a reek of purplish civet at such close quarters in so small a room. He must bathe himself in scent, soak his shirts and underlinen in it; what can he smell of, that needs so much camouflage?

I never saw a man so big look so two-dimensional, in spite of the quaint elegance of The Beast, in the old-fashioned tailcoat that might, from its looks, have been bought in those distant years before he imposed seclusion on himself; he does not feel he need keep up with the times. There is a crude clumsiness about his outlines, that are on the ungainly, giant side; and he has an odd air of self-imposed restraint, as if fighting a battle with himself to remain upright when he would far rather drop down on all fours. He throws .our human aspirations to the godlike sadly awry, poor fellow; only from a distance would you think The Beast not much different from any other man, although he wears a mask with a man's face painted most beautifully on it. Oh, yes, a beautiful face; but one with too much formal symmetry of feature to be entirely human: one profile of his mask is the mirror image of the other, too perfect, uncanny. He wears a wig, too, false hair tied at the nape with a bow, a wig of the kind you see in old-fashioned portraits. A chaste silk stock stuck with a pearl hides his throat. And gloves of blond kid that are yet so huge and clumsy they do not seem to cover hands.

He is a carnival figure made of papier mch and crpe hair; and yet he has the Devil's knack at cards.

His masked voice echoes as from a great distance as he stoops over his hand and he has such a growling impediment in his speech that only his valet, who understands him, can interpret for him, as if his master were the clumsy doll and he the ventriloquist.

The wick slumped in the eroded wax, the candles guttered. By the time my rose had lost all its petals, my father, too, was left with nothing.

'Except the girl.'

Gambling is a sickness. My father said he loved me yet he staked his daughter on a hand of cards. He fanned them out; in the mirror, I saw wild hope light up his eyes. His collar was unfastened, his rumpled hair stood up on end, he had the anguish of a man in the last stages of debauchery. The draughts came out of the old walls and bit me, I was colder than I'd ever been in Russia, when nights are coldest there.

A queen, a king, an ace. I saw them in the mirror. Oh, I know he thought he could not lose me; besides, back with me would come all he had lost, the unravelled fortunes of our family at one blow restored. And would he not win, as well, The Beast's hereditary palazzo outside the city; his immense revenues; his lands around the river; his rents, his treasure chest, his Mantegnas, his Giulio Romanos, his Cellini saltcellars, his tides ... the very city itself.

You must not think my father valued me at less than a king's ransom; but, at no more than a king's ransom.

It was cold as hell in the parlour. And it seemed to me, child of the severe North, that it was not my flesh but, truly, my father's soul that was in peril.

My father, of course, believed in miracles; what gambler does not? In pursuit of just such a miracle as this, had we not travelled from the land of bears and shooting stars?

So we teetered on the brink.

The Beast bayed; laid down all three remaining aces.

The indifferent servants now glided smoothly forward as on wheels to douse the candles one by one. To look at them you would think that nothing of any moment had occurred. They yawned a little resentfully; it was almost morning, we had kept them out of bed. The Beast's man brought his cloak. My father sat amongst these preparations for departure, staring on at the betrayal of his cards upon the table.

The Beast's man informed me crisply that he, the valet, would call for me and my bags tomorrow, at ten, and conduct me forthwith to The Beast's palazzo. Capisco? So shocked was I that I scarcely did 'capisco'; he repeated my orders patiently, he was a strange, thin, quick little man who walked with an irregular, jolting rhythm upon splayed feet in curious, wedge-shaped shoes.

Where my father had been red as fire, now he was white as the snow that caked the window-pane. His eyes swam; soon he would cry.

'"Like the base Indian,"' he said; he loved rhetoric. '"One whose hand,/Like the base Indian, threw a pearl away/Richer than all his tribe ..." I have lost my pearl, my pearl beyond price.'

At that, The Beast made a sudden, dreadful noise, halfway between a growl and a roar; the candles flared. The quick valet, the prim hypocrite, interpreted unblinking: 'My master says: If you are so careless of your treasures, you should expect them to be taken from you.'

He gave us the bow and smile his master could not offer us and they departed.

I watched the snow until, just before dawn, it stopped falling; a hard frost settled, next morning there was a light like iron.

The Beast's carriage, of an elegant if antique design, was black as a hearse and it was drawn by a dashing black gelding who blew smoke from his nostrils and stamped upon the packed snow with enough sprightly appearance of life to give me some hope that not all the world was locked in ice, as I was. I had always held a little towards Gulliver's opinion, that horses are better than we are, and, that day, I would have been glad to depart with him to the kingdom of horses, if I'd been given the chance.

The valet sat up on the box in a natty black and gold livery, clasping, of all things, a bunch of his master's damned white roses as if a gift of flowers would reconcile a woman to any humiliation. He sprang down with preternatural agility to place them ceremoniously in my reluctant hand. My tear-beslobbered father wants a rose to show that I forgive him. When I break off a stem, I prick my finger and so he gets his rose all smeared with blood.

The valet crouched at my feet to tuck the rugs about.me with a strange kind of unflattering obsequiousness yet he forgot his station sufficiently to scratch busily beneath his white periwig with an over-supple index finger as he offered me what my old nurse would have called an 'old-fashioned look', ironic, sly, a smidgen of disdain in it. And pity? No pity. His eyes were moist and brown, his face seamed with the innocent cunning of an ancient baby. He had an irritating habit of chattering to himself under his breath all the time as he packed up his master's winnings. I drew the curtains to conceal the sight of my father's farewell; my spite was sharp as broken glass.

Lost to The Beast! And what, I wondered, might be the exact nature of his 'beastliness'? My English nurse once told me about a tiger-man she saw in London, when she was a little girl, to scare me into good behaviour, for I was a wild wee thing and she could not tame me into submission with a frown or the bribe of a spoonful of jam. If you don't stop plaguing the nursemaids, my beauty, the tiger-man will come and take you away. They'd brought him from Sumatra, in the Indies, she said; his hinder parts were all hairy and only from the head downwards did he resemble a man.

And yet The Beast goes always masked; it cannot be his face that looks like mine.

But the tiger-man, in spite of his hairiness, could take a glass of ale in his hand like a good Christian and drink it down. Had she not seen him do so, at the sign of The George, by the steps of Upper Moor Fields when she, was just as high as me and lisped and toddled, too. Then she would sigh for London, across the North Sea of the lapse of years. But, if this young lady was not a good little girl and did not eat her boiled beetroot, then the tiger-man would put on his big black travelling cloak lined with fur, just like your daddy's, and hire the Erl-King's galloper of wind and ride through the night straight to the nursery and--

Yes, my beauty! GOBBLE YOU UP!

How I'd squeal in delighted terror, half believing her, half knowing that she teased me. And there were things I knew that I must not tell her. In our lost farmyard, where the giggling nursemaids initiated me into the mysteries of what the bull did to the cows, I heard about the waggoner's daughter. Hush, hush, don't let on to your nursie we said so; the waggoner's lass, hare-lipped, squint-eyed, ugly as sin, who would have taken her? Yet, to her shame, her belly swelled amid the cruel mockery of the ostlers and her son was born of a bear, they whispered. Born with a full pelt and teeth; that proved it. But, when he grew up, he was a good shepherd, although he never married, lived in a hut outside the village and could make the wind blow any way he wanted to besides being able to tell which eggs would become cocks, which hens.

The wondering peasants once brought my father a skull with horns four inches long on either side of it and would not go back to the field where their poor plough disturbed it until the priest went with them; for this skull had the jaw-bone of a man, had it not?

Old wives' tales, nursery fears! I knew well enough the reason for the trepidation I cosily titillated with superstitious marvels of my childhood on the day my childhood ended. For now my own skin was my sole capital in the world and today I'd make my first investment

We had left the city far behind us and were now traversing a wide, flat dish of snow where the mutilated stumps of the willows flourished their ciliate heads athwart frozen ditches; mist diminished the horizon, brought down the sky until it seemed no more than a few inches above us. As far as eye could see, not one thing living. How starveling, how bereft the dead season of this spurious Eden in which all the fruit was blighted by cold! And my frail roses, already faded. I opened the carriage door and tossed the defunct bouquet into the rucked, frost-stiff mud of the road. Suddenly a sharp, freezing wind arose and pelted my face with a dry rice of powdered snow. The mist lifted sufficiently to reveal before me an acreage of half-derelict faades of sheer red brick, the vast man-trap, the megalomaniac citadel of his palazzo.

It was a world in itself but a dead one, a burned-out planet. I saw The Beast bought solitude, not luxury, with his money.

The little black horse trotted smartly through the figured bronze doors that stood open to the weather like those of a barn and the valet handed me out of the carriage on to the scarred tiles of the great hall itself, into the odorous warmth of a stable, sweet with hay, acrid with horse dung. An equine chorus of neighings and soft drummings of hooves broke out beneath the tall roof, where the beams were scabbed with last summer's swallows' nests; a dozen gracile muzzles lifted from their mangers and turned towards us, ears erect. The Beast had given his horses the use of the dining room. The walls were painted, aptly enough, with a fresco of horses, dogs and men in a wood where fruit and blossom grew on the bough together.

The valet tweaked politely at my sleeve. Milord is waiting.

Gaping doors and broken windows let the wind in everywhere. We mounted one staircase after another, our feet clopping on the marble. Through archways and open doors, I glimpsed suites of vaulted chambers opening one out of another like systems of Chinese boxes into the infinite complexity of the innards of the place. He and I and the wind were the only things stirring; and all the furniture was under dust sheets, the chandeliers bundled up in cloth, pictures taken from their hooks and propped with their faces to the walls as if their master could not bear to look at them. The palace was dismantled, as if its owner were about to move house or had never properly moved in; The Beast had chosen to live in an uninhabited place.

The valet darted me a reassuring glance from his brown, eloquent eyes, yet a glance with so much queer superciliousness in it that it did not comfort me, and went bounding ahead of me on his bandy legs, softly chattering to himself. I held my head high and followed him; but, for all my pride, my heart was heavy.

Milord has his eyrie high above the house, a small, stifling, darkened room; he keeps his shutters locked at noon. I was out of breath by the time we reached it and returned to him the silence with which he greeted me. I will not smile. He cannot smile.

In his rarely disturbed privacy, The Beast wears a garment of Ottoman design, a loose, dull purple gown with gold embroidery round the neck that falls from his shoulders to conceal his feet. The feet of the chair he sits in are handsomely clawed. He hides his hands in his ample sleeves. The artificial masterpiece of his face appals me. A small fire in a small grate. A rushing wind rattles the shutters.

The valet coughed. To him fell the delicate task of transmitting to me his master's wishes.

'My master--'

A stick fell in the grate. It made a mighty clatter in that dreadful silence; the valet started; lost his place in his speech, began again.

'My master has but one desire.'

The thick, rich, wild scent with which Milord had soaked himself the previous evening hangs all about us, ascends in cursive blue from the smoke of a precious Chinese pot.

'He wishes only--'

Now, in the face of my impassivity, the valet twittered, his ironic composure gone, for the desire of a master, however trivial, may yet sound unbearably insolent in the mouth of a servant and his role of go-between clearly caused him a good deal of embarrassment. He gulped; he swallowed, at last contrived to unleash an unpunctuated flood.

'My master's sole desire is to see the pretty young lady unclothed nude without her dress and that only for the one time after which she will be returned to her father undamaged with bankers' orders for the sum which he lost to my master at cards and also a number of fine presents such as furs, jewels and horses--'

I remained standing. During this interview, my eyes were level with those inside the mask that now evaded mine as if, to his credit, he was ashamed of his own request even as his mouthpiece made it for him. Agitato, molto agitato, the valet wrung his white-gloved hands.

'Desnuda--'

I could scarcely believe my ears. I let out a raucous guffaw; no young lady laughs like that! my old nurse used to remonstrate. But I did. And do. At the clamour of my heartless mirth, the valet danced backwards with perturbation, palpitating his fingers as if attempting to wrench them off, expostulating, wordlessly pleading. I felt that I owed it to him to make my reply in as exquisite a Tuscan as I could master.

'You may put me in a windowless room, sir, and I promise you I will pull my skirt up to my waist, ready for you. But there must be a sheet over my face, to hide it; though the sheet must be laid over me so lightly that it will not choke me. So I shall be covered completely from the waist upwards, and no lights. There you can visit me once, sir, and only the once. After that I must be driven directly to the city and deposited in the public square, in front of the church. If you wish to give me money, then I should be pleased to receive it. But I must stress that you should give me only the same amount of money that you would give to any other woman in such circumstances. However, if you choose not to give me a present, then that is your right.'

How pleased I was to see I struck The Beast to the heart! For, after a baker's dozen heartbeats, one single tear swelled, glittering, at the corner of the masked eye. A tear! A tear, I hoped, of shame. The tear trembled for a moment on an edge of painted bone, then tumbled down the painted cheek to fall, with an abrupt tinkle, on the tiled floor.

The valet, ticking and clucking to himself, hastily ushered me out of the room. A mauve cloud of his master's perfume billowed out into the chill corridor with us and dissipated itself on the spinning winds.

A cell had been prepared for me, a veritable cell, windowless, airless, lighdess, in the viscera of the palace. The valet lit a lamp for me; a narrow bed, a dark cupboard with fruit and flowers carved on it bulked out of the gloom.

'I shall twist a noose out of my bed linen and hang myself with it,' I said.

'Oh, no,' said the valet, fixing upon me wide and suddenly melancholy eyes. 'Oh, no, you will not. You are a woman of honour.'

And what was he doing in my bedroom, this jigging caricature of a man? Was he to be my warder until I submitted to The Beast's whim or he to mine? Am I in such reduced circumstances that I may not have a lady's maid? As if in reply to my unspoken demand, the valet clapped his hands.

"To assuage your loneliness, madame ...'

A knocking and clattering behind the door of the cupboard; the door swings open and out glides a soubrette from an operetta, with glossy, nut-brown curls, rosy cheeks, blue, rolling eyes; it takes me a moment to recognize her, in her little cap, her white stockings, her frilled petticoats. She carries a looking glass in one hand and a powder puff in the other and there is a musical box where her heart should be; she tinkles as she rolls towards me on her tiny wheels.

'Nothing human lives here,' said the valet.

My maid halted, bowed; from a split seam at the side of her bodice protrudes the handle of a key. She is a marvellous machine, the most delicately balanced system of cords and pulleys in the world.

'We have dispensed with servants,' the valet said. 'We surround ourselves, instead, for utility and pleasure, with simulacra and find it no less convenient than do most gentlemen.

This clockwork twin of mine halted before me, her bowels churning out a settecento minuet, and offered me the bold carnation of her smile. Click, click--she raises her arm and busily dusts my cheeks with pink, powdered chalk that makes me cough; then thrusts towards me her little mirror.

I saw within it not my own face but that of my father, as if I had put on his face when I arrived at The Beast's palace as the discharge of his debt. What, you self-deluding fool, are you crying still? And drunk, too. He tossed back his grappa and hurled the tumbler away.

Seeing my astonished fright, the valet took the mirror away from me, breathed on it, polished it with the ham of his gloved fist, handed it back to me. Now all I saw was myself, haggard from a sleepless night, pale enough to need my maid's supply of rouge.

I heard the key turn in the heavy door and the valet's footsteps patter down the stone passage. Meanwhile, my double continued to powder the air, emitting her jangling tune but, as it turned out, she was not inexhaustible; soon she was powdering more and yet more languorously, her metal heart slowed in imitation of fatigue, her musical box ran down until the notes separated themselves out of the tune and plopped like single raindrops and, as if sleep had overtaken her, at last she moved no longer. As she succumbed to sleep, I had no option but to do so, too. I dropped on that narrow bed as if felled.

Time passed but I do not know how much; then the valet woke me with rolls and honey. I gestured the tray away but he set it down firmly beside the lamp and took from it a little shagreen box, which he offered to me.

I turned away my head.

'Oh, my lady!' Such hurt cracked his high-pitched voice! He dextrously unfastened the gold clasp; on a bed of crimson velvet lay a single diamond earring, perfect as a tear.

I snapped the box shut and tossed it into a corner. This sudden, sharp movement must have disturbed the mechanism of the doll; she jerked her arm almost as if to reprimand me, letting out a rippling fart of gavotte. Then was still again.

'Very well,' said the valet, put out. And indicated it was time for me to visit my host again. He did not let me wash or comb my hair. There was so little natural light in the interior of the palace that I could not tell whether it was day or night.

You would not think The Beast had budged an inch, since I last saw him; he sat in his huge chair, with his hands in his sleeves, and the heavy air never moved. I might have slept an hour, a night, or a month, but his sculptured calm, the stifling air remained just as it had been. The incense rose from the pot, still traced the same signature on the air. The same fire burned.

Take off my clothes for you, like a ballet girl? Is that all you want of me?

'The sight of a young lady's skin that no man has seen before--' stammered the valet.

I wished I'd rolled in the hay with every lad on my father's farm, to disqualify myself from this humiliating bargain. That he should want so little was the reason why I could not give it; I did not need to speak for The Beast to understand me.

A tear came from his other eye. And then he moved; he buried his cardboard carnival head with its ribboned weight of false hair in, I would say, his arms; he withdrew his, I might say, hands from his sleeves and I saw his furred pads, his excoriating claws.

The dropped tear caught upon his fur and shone. And in my room for hours I hear those paws pad back and forth outside my door.

When the valet arrived again with his silver salver, I had a pair of diamond earrings of the finest water in the world; I threw the other into the corner where the first one lay. The valet twittered with aggrieved regret but did not offer to lead me to The Beast again. Instead, he smiled ingratiatingly and confided: 'My master, he say: invite the young lady to go riding.'

'What's this?'

He briskly mimicked the action of a gallop and, to my amazement, tunelessly croaked: 'Tantivy! tantivy! a-hunting we will go!'

'I'll run away, I'll ride to the city.'

'Oh, no,' he said. 'Are you not a woman of honour?'

He clapped his hands and my maidservant clicked and jangled into the imitation of life. She rolled towards the cupboard where she had come from and reached inside it to fetch out over her synthetic arm my riding habit. Of all things. My very own riding habit, that I'd left behind me in a trunk in a loft in that country house outside Petersburg that we'd lost long ago, before, even, we set out on this wild pilgrimage to the cruel South. Either the very riding habit my old nurse had sewn for me or else a copy of it perfect to the lost button on the right sleeve, the ripped hem held up with a pin. I turned the worn cloth about in my hands, looking for a clue. The wind that sprinted through the palace made the door tremble in its frame; had the north wind blown my garments across Europe to me? At home, the bear's son directed the winds at his pleasure; what democracy of magic held this palace and the fir forest in common? Or, should I be prepared to accept it as proof of the axiom my father had drummed into me: that, if you have enough money, anything is possible?

'Tantivy,' suggested the now twinkling valet, evidently charmed at the pleasure mixed with my bewilderment. The clockwork maid held my jacket out to me and I allowed myself to shrug into it as if reluctantly, although I was half mad to get out into the open air, away from this deathly palace, even in such company.

The doors of the hall let the bright day in; I saw that it was morning. Our horses, saddled and bridled, beasts in bondage, were waiting for us, striking sparks from the tiles with their impatient hooves while their stablemates lolled at ease among the straw, conversing with one another in the mute speech of horses. A pigeon or two, feathers puffed to keep out the cold, strutted about, pecking at ears of corn. The little black gelding who had brought me here greeted me with a ringing neigh that resonated inside the misty roof as in a sounding box and I knew he was meant for me to ride.

I always adored horses, noblest of creatures, such wounded sensitivity in their wise eyes, such rational restraint of energy at their high-strung hindquarters. I lirruped and hurrumphed to my shining black companion and he acknowledged my greeting with a kiss on the forehead from his soft lips. There was a little shaggy pony nuzzling away at the trompe l'oeil foliage beneath the hooves of the painted horses on the wall, into whose saddle the valet sprang with a flourish as of the circus. Then The Beast, wrapped in a black fur-lined cloak, came to heave himself aloft a grave grey mare. No natural horseman he; he clung to her mane like a shipwrecked sailor to a spar.

Cold, that morning, yet dazzling with the sharp winter sunlight that wounds the retina. There was a scurrying wind about that seemed to go with us, as if the masked, immense one who did not speak carried it inside his cloak and let it out at his pleasure, for it stirred the horses' manes but did not lift the lowland mists.

A bereft landscape in the sad browns and sepias of winter lay all about us, the marshland drearily protracting itself towards the wide river. Those decapitated willows. Now and then, the swoop of a bird, its irreconcilable cry.

A profound sense of strangeness slowly began to possess me. I knew my two companions were not, in any way, as other men, the simian retainer and the master for whom he spoke, the one with clawed fore-paws who was in a plot with the witches who let the winds out of their knotted handkerchiefs up towards the Finnish border. I knew they lived according to a different logic than I had done until my father abandoned me to the wild beasts by his human carelessness. This knowledge gave me a certain fearfulness still; but, I would say, not much ... I was a young girl, a virgin, and therefore men denied me rationality just as they denied it to all those who were not exactly like themselves, in all their unreason. If I could see not one single soul in that wilderness of desolation all around me, then the six of us--mounts and riders, both--could boast amongst us not one soul, either, since all the best religions in the world state categorically that not beasts nor women were equipped with the flimsy, insubstantial things when the good Lord opened the gates of Eden and let Eve and her familiars tumble out. Understand, then, that though I would not say I privately engaged in metaphysical speculation as we rode through the reedy approaches to the river, I certainly meditated on the nature of my own state, how I had been bought and sold, passed from hand to hand. That clockwork girl who powdered my cheeks for me; had I not been allotted only the same kind of imitative life amongst men that the doll-maker had given her?

Yet, as to the true nature of the being of this clawed magus who rode his pale horse in a style that made me recall how Kublai Khan's leopards went out hunting on horseback, of that I had no notion.

We came to the bank of the river that was so wide we could not see across it, so still with winter that it scarcely seemed to flow. The horses lowered their heads to drink. The valet cleared his throat, about to speak; we were in a place of perfect privacy, beyond a brake of winter-bare rushes, a hedge of reeds.

'If you will not let him see you without your clothes--'

I involuntarily shook my head--

'--you must, then, prepare yourself for the sight of my master, naked.'

The river broke on the pebbles with a diminishing sigh. My composure deserted me; all at once I was on the brink of panic. I did not think that I could bear the sight of him, whatever he was. The mare raised her dripping muzzle and looked at me keenly, as if urging me. This river broke again at my feet. I was far from home.

'You,' said the valet, 'must.'

When I saw how scared he was I might refuse, I nodded.

The reed bowed down in a sudden snarl of wind that brought with it a gust of the heavy odour of his disguise. The valet held out his master's cloak to screen him from me as he removed the mask. The horses stirred.

The tiger will never lie down with the lamb; he acknowledges no pact that is not reciprocal. The lamb must learn to run with the tigers.

A great, feline, tawny shape whose pelt was barred with a savage geometry of bars the colour of burned wood. His domed, heavy head, so terrible he must hide it. How subtle the muscles, how profound the tread. The annihilating vehemence of his eyes, like twin suns.

I felt my breast ripped apart as if I suffered a marvellous wound.

The valet moved forward as if to cover up his master now the girl had acknowledged him, but I said: 'No.' The tiger sat still as a heraldic beast, in the pact he had made with his own ferocity to do me no harm. He was far larger than I could have imagined, from the poor, shabby things I'd seen once, in the Czar's menagerie at Petersburg, the golden fruit of their eyes dimming, withering in the far North of captivity. Nothing about him reminded me of humanity.

I therefore, shivering, now unfastened my jacket, to show him I would do him no harm. Yet I was clumsy and blushed a little, for no man had seen me naked and I was a proud girl. Pride it was, not shame, that thwarted my fingers so; and a certain trepidation lest this frail little article of human upholstery before him might not be, in itself, grand enough to satisfy his expectations of us, since those, for all I knew, might have grown infinite during the endless time he had been waiting. The wind clattered in the rushes, purled and eddied in the river.

I showed his grave silence my white skin, my red nipples, and the horses turned their heads to watch me, also, as if they, too, were courteously curious as to the fleshly nature of women. Then The Beast lowered his massive head; Enough! said the valet with a gesture. The wind died down, all was still again.

Then they went off together, the valet on his pony, the tiger running before him like a hound, and I walked along the river bank for a while. I felt I was at liberty for the first time in my life. Then the winter sun began to tarnish, a few flakes of snow drifted from the darkening sky and, when I returned to the horses, I found The Beast mounted again on his grey mare, cloaked and masked and once more, to all appearances, a man, while the valet had a fine catch of waterfowl dangling from his hand and the corpse of a young roebuck slung behind his saddle. I climbed up on the black gelding in silence and so we returned to the palace as the snow fell more and more heavily, obscuring the tracks that we had left behind us.

The valet did not return me to my cell but, instead, to an elegant, if old-fashioned boudoir with sofas of faded pink brocade, a jinn's treasury of Oriental carpets, tintinnabulation of cut-glass chandeliers. Candles in antlered holders struck rainbows from the prismatic hearts of my diamond earrings, that lay on my new dressing table at which my attentive maid stood ready with her powder puff and mirror. Intending to fix the ornaments in my ears, I took the looking glass from her hand, but it was in the midst of one of its magic fits again and I did not see my own face in it but that of my father; at first I thought he smiled at me. Then I saw he was smiling with pure gratification.

He sat, I saw, in the parlour of our lodgings, at the very table where he had lost me, but now he was busily engaged in counting out a tremendous pile of banknotes. My father's circumstances had changed already; well-shaven, neatly barbered, smart new clothes. A frosted glass of sparkling wine sat convenient to his hand beside an ice bucket. The Beast had clearly paid cash on the nail for his glimpse of my bosom, and paid up promptly, as if it had not been a sight I might have died of showing. Then I saw my father's trunks were packed, ready for departure. Could he so easily leave me here?

There was a note on the table with the money, in a fine hand. I could read it quite clearly. 'The young lady will arrive immediately.' Some harlot with whom he'd briskly negotiated a liaison on the strength of his spoils? Not at all. For, at that moment, the valet knocked at my door to announce that I might leave the palace at any time hereafter, and he bore over his arm a handsome sable cloak, my very own little gratuity, The Beast's morning gift, in which he proposed to pack me up and send me off.

When I looked at the mirror again, my father had disappeared and all I saw was a pale, hollow-eyed girl whom I scarcely recognized. The valet asked politely when he should prepare the carriage, as if he did not doubt that I would leave with my booty at the first opportunity while my maid, whose face was no longer the spit of my own, continued bonnily to beam. I will dress her in my own clothes, wind her up, send her back to perform the part of my father's daughter.

'Leave me alone,' I said to the valet.

He did not need to lock the door, now. I fixed the earrings in my ears. They were very heavy. Then I took off my riding habit, left it where it lay on the floor. But, when I got down to my shift, my arms dropped to my sides. I was unaccustomed to nakedness. I was so unused to my own skin that to take off all my clothes involved a kind of flaying. I thought The Beast had wanted a little thing compared with what I was prepared to give him; but it is not natural for humankind to go naked, not since first we hid our loins with fig leaves. He had demanded the abominable. I felt as much atrocious pain as if I was stripping off my own underpelt and the smiling girl stood poised in the oblivion of her balked simulation of life, watching me peel down to the cold, white meat of contract and, if she did not see me, then so much more like the market place, where the eyes that watch you take no account of your existence.

And it seemed my entire life, since I had left the North, had passed under the indifferent gaze of eyes like hers.

Then I was flinching stark, except for his irreproachable tears.

I huddled in the furs I must return to him, to keep me from the lacerating winds that raced along the corridors. I knew the way to his den without the valet to guide me.

No response to my tentative rap on his door.

Then the wind blew the valet whirling along the passage. He must have decided that, if one should go naked, then all should go naked; without his livery, he revealed himself, as I had suspected, a delicate creature, covered with silken moth-grey fur, brown fingers supple as leather, chocolate muzzle, the gentlest creature in the world. He gibbered a little to see my fine furs and jewels as if I were dressed up for the opera and, with a great deal of tender ceremony, removed the sables from my shoulders. The sables thereupon resolved themselves into a pack of black, squeaking rats that rattled immediately down the stairs on their hard little feet and were lost to sight.

The valet bowed me inside The Beast's room.

The purple dressing gown, the mask, the wig, were laid out on his chair; a glove was planted on each arm. The empty house of his appearance was ready for him but he had abandoned it. There was a reek of fur and piss; the incense pot lay broken in pieces on the floor. Half-burned sticks were scattered from the extinguished fire. A candle stuck by its own grease to the mantelpiece lit two narrow flames in the pupils of the tiger's eyes.

He was pacing backwards and forwards, backwards and forwards, the tip of his heavy tail twitching as he paced out the length and breadth of his imprisonment between the gnawed and bloody bones.

He will gobble you up.

Nursery fears made flesh and sinew; earliest and most archaic of fears, fear of devourment. The beast and his carnivorous bed of bone and I, white, shaking, raw, approaching him as if offering, in myself, the key to a peaceable kingdom in which his appetite need not be my extinction.

He went still as stone. He was far more frightened of me than I was of him.

I squatted on the wet straw and stretched out my hand. I was now within the field of force of his golden eyes. He growled at the back of his throat, lowered his head, sank on to his forepaws, snarled, showed me his red gullet, his yellow teeth. I never moved. He snuffed the air, as if to smell my fear; he could not.

Slowly, slowly he began to drag his heavy, gleaming weight across the floor towards me.

A tremendous throbbing, as of the engine that makes the earth turn, filled the little room; he had begun to purr.

The sweet thunder of this purr shook the old walls, made the shutters batter the windows until they burst apart and let in the white light of the snowy moon. Tiles came crashing down from the roof; I heard them fall into the courtyard far below. The reverberations of his purring rocked the foundations of the house, the walls began to dance. I thought: 'It will all fall, everything will disintegrate.'

He dragged himself closer and closer to me, until I felt the harsh velvet of his head against my hand, then a tongue, abrasive as sandpaper. 'He will lick the skin off me!'

And each stroke of his tongue ripped off skin after successive skin, all the skins of a life in the world, and left behind a nascent patina of shining hairs. My earrings turned back to water and trickled down my shoulders; I shrugged the drops off my beautiful fur.

Figaro here; Figaro, there, I tell you! Figaro upstairs, Figaro downstairs and--oh, my goodness me, this little Figaro can slip into my lady's chamber smart as you like at any time whatsoever that he takes the fancy for, don't you know, he's a cat of the world, cosmopolitan, sophisticated; he can tell when a furry friend is the Missus' best company. For what lady in all the world could say 'no' to the passionate yet toujours discret advances of a fine marmalade cat? (Unless it be her eyes incontinently overflow at the slightest whiff of fur, which happened once, as you shall hear.)

A tom, sirs, a ginger tom and proud of it. Proud of his fine, white shirtfront that dazzles harmoniously against his orange and tangerine tessellations (oh! what a fiery suit of lights have I); proud of his bird-entrancing eye and more than military whiskers; proud, to a fault, some say, of his fine, musical voice. All the windows in the square fly open when I break into impromptu song at the spectacle of the moon above Bergamo. If the poor players in the square, the sullen rout of ragged trash that haunts the provinces, are rewarded with a hail of pennies when they set up their makeshift stage and start their raucous choruses, then how much more liberally do the citizens deluge me with pails of the freshest water, vegetables hardly spoiled and, occasionally, slippers, shoes and boots.

Do you see these fine, high, shining leather boots of mine? A young cavalry officer made me the tribute of, first, one; then, after I celebrate his generosity with a fresh obbligato, the moon no fuller than my heart--whoops! I nimbly spring aside--down comes the other. Their high heels will click like castanets when Puss takes his promenade upon the tiles, for my song recalls flamenco, all cats have a Spanish tinge although Puss himself elegantly lubricates his virile, muscular, native Bergamasque with French, since that is the only language in which you can purr.

'Merrrrrrrrrrrci!'

Instanter I draw my new boots on over the natty white stockings that terminate my hinder legs. That young man, observing with curiosity by moonlight the use to which I put his footwear, calls out: 'Hey, Puss! Puss, there!'

'At your service, sir!'

'Up to my balcony, young Puss!'

He leans out, in his nightshirt, offering encouragement as I swing succinctly up the faade, forepaws on a curly cherub's pate, hindpaws on a stucco wreath, bring them up to meet your forepaws while, first paw forward, hup! on to the stone nymph's tit; left paw down a bit, the satyr's bum should do the trick. Nothing to it, once you know how, rococo's no problem. Acrobatics? Born to them; Puss can perform a back somersault whilst holding aloft a glass of vino in his right paw and never spill a drop.

But, to my shame, the famous death-defying triple somersault en plein air, that is, in middle air, that is, unsupported and without a safety net, I, Puss, have never yet attempted though often I have dashingly brought off the double tour, to the applause of all.

'You strike me as a cat of parts,' says this young man when I'm arrived at his window-sill. I made him a handsome genuflection, rump out, tail up, head down, to facilitate his friendly chuck under my chin; and, as involuntary free gift, my natural, my habitual smile.

For all cats have this particularity, each and every one, from the meanest alley sneaker to the proudest, whitest she that ever graced a pontiff's pillow--we have our smiles, as it were, painted on. Those small, cool, quiet Mona Lisa smiles that smile we must, no matter whether it's been fun or it's been not. So all cats have a politician's air; we smile and smile and so they think we're villains. But, I note, this young man is something of a smiler hisself.

'A sandwich,' he offers. 'And, perhaps, a snifter of brandy.'

His lodgings are poor, though he's handsome enough and even en dshabill, nightcap and all, there's a neat, smart, dandified air about him. Here is one who knows what's what, thinks I; a man who keeps up appearances in the bedchamber can never embarrass you out of it. And excellent beef sandwiches; I relish a lean slice of roast beef and early learned a taste for spirits, since I started life as a wine-shop cat, hunting cellar rats for my keep, before the world sharpened my wits enough to let me live by them.

And the upshot of this midnight interview? I'm engaged, on the spot, as Sir's valet: valet de chambre and, from time to time, his body servant, for, when funds are running low, as they must do for every gallant officer when the pickings fall off, he pawns the quilt, doesn't he. Then faithful Puss curls up on his chest to keep him warm at nights.

And if he don't like me to knead his nipples, which, out of the purest affection and the desire--ouch! he says--to test the retractability of my claws, I do in moments of absence of mind, then what other valet could slip into a young girl's sacred privacy and deliver her a billet-doux at the very moment when she's reading her prayerbook with her sainted mother? A task I once or twice perform for him, to his infinite gratitude.

And, as you will hear, brought him at last to the best of fortunes for us all.

So Puss got his post at the same time as his boots and I dare say the Master and I have much in common for he's proud as the devil, touchy as tin-tacks, lecherous as liquorice and, though I say it as loves him, as quick-witted a rascal as ever put on clean linen.

When times were hard, I'd pilfer the market for breakfast--a herring, an orange, a loaf; we never went hungry. Puss served him well in the gaming salons, too, for a cat may move from lap to lap with impunity and cast his eye over any hand of cards. A cat can jump on the dice--he can't resist to see it roll! poor thing, mistook it for a bird; and, after I've been, limp-spined, stiff-legged, playing the silly buggers, scooped up to be chastised, who can remember how the dice fell in the first place?

And we had, besides, less ... gentlemanly means of maintenance when they closed the tables to us, as, churlishly, they sometimes did. I'd perform my little Spanish dance while he went round with his hat: ol! But he only put my loyalty and affection to the test of this humiliation when the cupboard was as bare as his backside; after, in fact, he'd sunk so low as to pawn his drawers.

So all went right as ninepence and you never saw such boon companions as Puss and his master; until the man must needs go fall in love.

'Head over heels, Puss.'

I went about my ablutions, tonguing my arsehole with the impeccable hygienic integrity of cats, one leg stuck in the air like a ham bone; I choose to remain silent. Love? What has my rakish master, for whom I've jumped through the window of every brothel in the city, besides haunting the virginal back garden of the convent and god knows what other goatish errands, to do with the tender passion?

'And she. A princess in a tower. Remote and shining as Aldebaran. Chained to a dolt and dragon-guarded.'

I withdrew my head from my privates and fixed him with my most satiric smile; I dare him warble on in that strain.

'All cats are cynics,' he opines, quailing beneath my yellow glare.

It is the hazard of it draws him, see.

There is a lady sits in a window for one hour and one hour only, at the tenderest time of dusk. You can scarcely see her features, the curtains almost hide her; shrouded like a holy image, she looks out at the piazza as the shops shut up, the stalls go down, the night comes on. And that is all the world she ever sees. Never a girl in all Bergamo so secluded except, on Sundays, they let her go to Mass, bundled up in black, with a veil on. And then she is in the company of an aged hag, her keeper, who grumps along grim as a prison dinner.

How did he see that secret face? Who else but Puss revealed it?

Back we come from the tables so late, so very late at night we found, to our emergent surprise, that all at once it was early in the morning. His pockets were heavy with silver and both our guts sweetly a-gurgle with champagne; Lady Luck had sat with us, what fine spirits were we in! Winter and cold weather. The pious trot to church already with little lanterns through the chill fog as we go ungodly rolling home.

See, a black barque, like a state funeral; and Puss takes it into his bubbly-addled brain to board her. Tacking obliquely to her side, I rub my marmalade pate against her shin; how could any duenna, be she never so stern, take offence at such attentions to her chargeling from a little cat? (As it turns out, this one: attishooo! does.) A white hand fragrant as Arabia descends from the black cloak and reciprocally rubs behind his ears at just the ecstatic spot. Puss lets rip a roaring purr, rears briefly on his high-heeled boots; jig with joy and pirouette with glee--she laughs to see and draws her veil aside. Puss glimpses high above, as it were, an alabaster lamp lit behind by dawn's first flush: her face.

And she smiling.

For a moment, just that moment, you would have thought it was May morning.

'Come along! Come! Don't dawdle over the nasty beast!' snaps the old hag, with the one tooth in her mouth, and warts; she sneezes.

The veil comes down; so cold it is, and dark, again.

It was not I alone who saw her; with that smile he swears she stole his heart.

Love.

I've sat inscrutably by and washed my face and sparkling dicky with my clever paw while he made the beast with two backs with every harlot in the city, besides a number of good wives, dutiful daughters, rosy country girls come to sell celery and endive on the corner, and the chambermaid who strips the bed, what's more. The Mayor's wife, even, shed her diamond earrings for him and the wife of the notary un-shufiled her petticoats and, if I could, I would blush to remember how her daughter shook out her flaxen plaits and jumped in bed between them and she not sixteen years old. But never the word, 'love', has fallen from his lips, nor in nor out of any of these transports, until my master saw the wife of Signor Panteleone as she went walking out to Mass, and she lifted up her veil though not for him.

And now he is half sick with it and will go to the tables no more for lack of heart and never even pats the bustling rump of the chambermaid in his new-found, maudlin celibacy, so we get our slops left festering for days and the sheets filthy and the wench goes banging about bad-temperedly with her broom enough to fetch the plaster off the walls.

I'll swear he lives for Sunday morning, though never before was he a religious man. Saturday nights, he bathes himself punctiliously, even, I'm glad to see, washes behind his ears, perfumes himself, presses his uniform so you'd think he had a right to wear it. So much in love he very rarely panders to the pleasures, even of Onan, as he lies tossing on his couch, for he cannot sleep for fear he miss the summoning bell. Then out into the cold morning, harking after that black, vague shape, hapless fisherman for this sealed oyster with such a pearl in it. He creeps behind her across the square; how can so amorous bear to be so inconspicuous? And yet, he must; though, sometimes, the old hag sneezes and says she swears there is a cat about.

He will insinuate himself into the pew behind milady and sometimes contrive to touch the hem of her garment, when they all kneel, and never a thought to his orisons; she is the divinity he's come to worship. Then sits silent, in a dream, till bed-time; what pleasure is his company for me?

He won't eat, either. I brought him a fine pigeon from the inn kitchen, fresh off the spit, parfum avec tarragon, but he wouldn't touch it so I crunched it up, bones and all. Performing, as ever after meals, my meditative toilette, I pondered, thus: one, he is in a fair way to ruining us both by neglecting his business; two, love is desire sustained by unfulfilment. If I lead him to her bedchamber and there he takes his fill of her lily-white, he'll be right as rain in two shakes and next day tricks as usual.

Then Master and his Puss will soon be solvent once again.

Which, at the moment, very much not, sir.

This Signor Panteleone employs, his only servant but the hag, a kitchen cat, a sleek, spry tabby whom I accost. Grasping the slack of her neck firmly between my teeth, I gave her the customary tribute of a few firm thrusts of my striped loins and, when she got her breath back, she assured me in the friendliest fashion the old man was a fool and a miser who kept herself on short commons for the sake of the mousing and the young lady a soft-hearted creature who smuggled breast of chicken and sometimes, when the hag-dragon-governess napped at midday, snatched this pretty kitty out of the hearth and into her bedroom to play with reels of silk and run after trailed handkerchiefs, when she and she had as much fun together as two Cinderellas at an all-girls' ball.

Poor, lonely lady, married so young to an old dodderer with his bald pate and his goggle eyes and his limp, his avarice, his gore belly, his rheumaticks, and his flag hangs all the time at half-mast indeed; and jealous as he is impotent, tabby declares--he'd put a stop to all the rutting in the world, if he had his way, just to certify his young wife don't get from another what she can't get from him.

'Then shall we hatch a plot to antler him, my precious?'

Nothing loath, she tells me the best time for this accomplishment should be the one day in all the week he forsakes his wife and his counting-house to ride off into the country to extort most grasping rents from starveling tenant farmers. And she's left all alone, then, behind so many bolts and bars you wouldn't believe; all alone--but for the hag!

Aha! This hag turns out to be the biggest snag; an iron-plated, copper-bottomed, sworn man-hater of some sixty bitter winters who--as ill luck would have it--shatters, clatters, erupts into paroxysms of the sneeze at the very glimpse of a cat's whisker. No chance of Puss worming his winsome way into that one's affections, nor for my tabby, neither! But, oh my dear, I say; see how my ingenuity rises to this challenge ... So we resume the sweetest part of our conversation in the dusty convenience of the coalhole and she promises me, least she can do, to see the fair, hitherto-inaccessible one gets a letter safe if I slip it to her and slip it to her forthwith I do, though somewhat discommoded by my boots.

He spent three hours over his letter, did my master, as long as it takes me to lick the coaldust off my dicky. He tears up half a quire of paper, splays five pen-nibs with the force of his adoration: 'Look not for any peace, my heart; having become a slave to this beauty's tyranny, dazzled am I by this sun's rays and my torments cannot be assuaged.' That's not the high road to the rumpling of the bedcovers; she's got one ninny between them already!

'Speak from the heart,' I finally exhort. 'And all good women have a missionary streak, sir; convince her her orifice will be your salvation and she's yours.'

'When I want your advice, Puss, I'll ask for it,' he says, all at once hoity-toity. But at last he manages to pen ten pages; a rake, a profligate, a card-sharper, a cashiered officer well on the way to rack and ruin when first he saw, as if it were a glimpse of grace, her face ... his angel, his good angel, who will lead him from perdition.

Oh, what a masterpiece he penned!

'Such tears she wept at his addresses!' says my tabby friend. 'Oh, Tabs, she sobs--for she calls me "Tabs"--I never meant to wreak such havoc with a pure heart when I smiled to see a booted cat! And put his paper next to her heart and swore, it was a good soul that sent her his vows and she was too much in love with virtue to withstand him. If, she adds, for she's a sensible girl, he's neither old as the hills nor ugly as sin, that is.'

An admirable little note the lady's sent him in return, per Figaro here and there; she adopts a responsive yet uncompromising tone. For, says she, how can she usefully discuss his passion further without a glimpse of his person?

He kisses her letter once, twice, a thousand times; she must and will see me! I shall serenade her this very evening!

So, when dusk falls, off we trot to the piazza, he with an old guitar he pawned his sword to buy and most, if I may say so, outlandishly rigged out in some kind of vagabond mountebank's outfit he bartered his gold-braided waistcoat with poor Pierrot braying in the square for, moonstruck zany, lovelorn loon he was himself and even plastered his face with flour to make it white, poor fool, and so ram home his heartsick state.

There she is, the evening star with the clouds around her; but such a creaking of carts in the square, such a clatter and crash as they dismantle the stalls, such an ululation of ballad-singers and oration of nostrum-peddlers and perturbation of errand boys that though he wails out his heart to her: 'Oh, my beloved!', why she, all in a dream, sits with her gaze in the middle distance, where there's a crescent moon stuck on the sky behind the cathedral pretty as a painted stage, and so is she.

Does she hear him?

Not a grace-note.

Does she see him?

Never a glance.

'Up you go, Puss; tell her to look my way!'

If rococo's a piece of cake, that chaste, tasteful, early Palladian stumped many a better cat than I in its time. Agility's not in it, when it comes to Palladian; daring alone will carry the day and, though the first storey's graced with a hefty caryatid whose bulbous loincloth and tremendous pects facilitate the first ascent, the Doric column on her head proves a horse of a different colour, I can tell you. Had I not seen my precious Tabby crouched in the gutter above me keening encouragement, I, even I, might never have braved that flying, upward leap that brought me, as if Harlequin himself on wires, in one bound to her window-sill.

'Dear god!' the lady says, and jumps. I see she, too, ah, sentimental thing! clutches a well-thumbed letter. 'Puss in boots!'

I bow her with a courtly flourish. What luck to hear no sniff or sneeze; where's hag? A sudden flux sped her to the privy--not a moment to lose.

'Cast your eye below,' I hiss. 'Him you know of lurks below, in white with the big hat, ready to sing you an evening ditty.'

The bedroom door creaks open, then, and: wheel through the air Puss goes, discretion is the better part. And, for both their sweet sakes I did it, the sight of both their bright eyes inspired me to the never-before-attempted, by me or any other cat, in boots or out of them--the death-defying triple somersault!

And a three-storey drop to ground, what's more; a grand descent.

Only the merest trifle winded, I'm proud to say, I neatly land on all my fours and Tabs goes wild, huzzah! But has my master witnessed my triumph? Has he, my arse. He's tuning up that old mandolin and breaks, as down I come, again into his song.

I would never have said, in the normal course of things, his voice would charm the birds out of the trees, like mine; and yet the bustle died for him, the homeward-turning costers paused in their tracks to hearken, the preening street girls forgot their hard-edged smiles as they turned to him and some of the old ones wept, they did.

Tabs, up on the roof there, prick up your ears! For by its power I know my heart is in his voice.

And now the lady lowers her eyes to him and smiles, as once she smiled at me.

Then, bang! a stern hand pulls the shutters to. And it was as if all the violets in all the baskets of all the flower-sellers drooped and faded at once; and spring stopped dead in its tracks and might, this time, not come at all; and the bustle and the business of the square, that had so magically quieted for his song, now rose up again with the harsh clamour of the loss of love.

And we trudge drearily off to dirty sheets and a mean supper of bread and cheese, all I can steal him, but at least the poor soul manifests a hearty appetite now she knows he's in the world and not the ugliest of mortals; for the first time since that fateful morning, sleeps sound. But sleep conies hard to Puss tonight. He takes a midnight stroll across the square, soon comfortably discusses a choice morsel of salt cod his tabby friend found among the ashes on the hearth before our converse turns to other matters.

'Rats!' she says. 'And take your boots off, you uncouth bugger; those three-inch heels wreak havoc with the soft flesh of my underbelly!'

When we'd recovered ourselves a little, I ask her what she means by those 'rats' of hers and she proposes her scheme to me. How my master must pose as a rat-catcher and I, his ambulant marmalade rat-trap. How we will then go kill the rats that ravage milady's bedchamber, the day the old fool goes to fetch his rents, and she can have her will of the lad at leisure for, if there is one thing the hag fears more than a cat, it is a rat and she'll cower in a cupboard till the last rat is off the premises before she comes out. Oh, this tabby one, sharp as a tack is she! I congratulate her ingenuity with a few affectionate cuffs round the head and home again, for breakfast, ubiquitous Puss, here, there and everywhere, who's your Figaro?

Master applauds the rat ploy; but, as to the rats themselves, how are they to arrive in the house in the first place? he queries.

'Nothing easier, sir; my accomplice, a witty soubrette who lives among the cinders, dedicated as she is to the young lady's happiness, will personally strew a large number of dead and dying rats she has herself collected about the bedroom of the said ingenue's duenna, and, most particularly, that of the said ingnue herself. This to be done tomorrow morning, as soon as Sir Pantaloon rides out to fetch his rents. By good fortune, down in the square, plying for hire, a ratcatcher ! Since our hag cannot abide either a rat or a cat, it falls to milady to escort the rat-catcher, none other than yourself, sir, and his intrepid hunter, myself, to the site of the infestation.

'Once you're in her bedroom, sir, if you don't know what to do, then I can't help you.'

'Keep your foul thoughts to yourself, Puss.'

Some things, I see, are sacrosanct from humour.

Sure enough, prompt at five in the bleak next morning, I observe with my own eyes the lovely lady's lubbery husband hump off on his horse like a sack of potatoes to rake in his dues. We're ready with our sign: SIGNOR FURIOSO, THE LIVING DEATH OF RATS; and in the leathers he's borrowed from the porter, I hardly recognize him myself, not with the false moustache. He coaxes the chambermaid with a few kisses--poor, deceived girl! love knows no shame--and so we install ourselves under a certain shuttered window with the great pile of traps she's lent us, the sign of our profession, Puss perched atop them bearing the humble yet determined look of a sworn enemy of vermin.

We've not waited more than fifteen minutes--and just as well, so many rat-plagued Bergamots approach us already and are not easily dissuaded from employing us--when the front door flies open on a lusty scream. The hag, aghast, flings her arms round flinching Furioso, how fortuitous to find him! But, at the whiff of me, she's sneezing so valiantly, her eyes awash, the vertical gutters of her nostrils aswill with snot, she barely can depict the scenes inside, rattus domesticus dead in her bed and all; and worse! in the Missus' room.

So Signer Furioso and his questing Puss are ushered into the very sanctuary of the goddess, our presence announced by a fanfare from her keeper on the noseharp. Attishhoooo ! ! !

Sweet and pleasant in a morning gown of loose linen, our ingenue jumps at the tattoo of my boot heels but recovers instantly and the wheezing, hawking hag is in no state to sniffle more than: 'Ain't I seen that cat before?'

'Not a chance,' says my master. 'Why, he's come but yesterday with me from Milano.'

So she has to make do with that.

My Tabs has lined the very stairs with rats; she's made a morgue of the hag's room but something more lively of the lady's. For some of her prey she's very cleverly not killed but crippled; a big black beastie weaves its way towards us over the turkey carpet, Puss, pounce! Between screaming and sneezing, the hag's in a fine state, I can tell you, though milady exhibits a most praiseworthy and collected presence of mind, being, I guess, a young woman of no small grasp so, perhaps, she has a sniff of the plot, already.

My master goes down hands and knees under the bed.

'My god!' he cries. 'There's the biggest hole, here in the wainscoting, I ever saw in all my professional career! And there's an army of black rats gathering behind it, ready to storm through! To arms!'

But, for all her terror, the hag's loath to leave the Master and me alone to deal with the rats; she casts her eye on a silver-backed hairbrush, a coral rosary, twitters, hovers, screeches, mutters until milady assures her, amidst scenes of rising pandemonium:

'I shall stay here myself and see that Signor Furioso doesn't make off with my trinkets. You go and recover yourself with an infusion of friar's balsam and don't come back until I call.'

The hag departs; quick as a flash, la belle turns the key in the door on her and softly laughs, the naughty one.

Dusting the slut-fluff from his knees, Signer Furioso now stands slowly upright; swiftly, he removes his false moustache, for no element of the farcical must mar this first, delirious encounter of these lovers, must it. (Poor soul, how his hands tremble!)

Accustomed as I am to the splendid, feline nakedness of my kind, that offers no concealment of that soul made manifest in the flesh of lovers, I am always a little moved by the poignant reticence with which humanity shyly hesitates to divest itself of its clutter of concealing rags in the presence of desire. So, first, these two smile, a little, as if to say: 'How strange to meet you here!', uncertain of a loving welcome, still. And do I deceive myself, or do I see a tear a-twinkle in the corner of his eye? But who is it steps towards the other first? Why, she; women, I think, are, of the two sexes, the more keenly tuned to the sweet music of their bodies. (A penny for my foul thoughts, indeed! Does she, that wise, grave personage in the nglig, think you've staged this grand charade merely in order to kiss her hand?) But, then--oh, what a pretty blush! steps back; now it's his turn to take two steps forward in the saraband of Eros.

I could wish, though, they'd dance a little faster; the hag will soon recover from her spasms and shall she find them in flagrante?

His hand, then, trembling, upon her bosom; hers, initially more hesitant, sequentially more purposeful, upon his breeches. Then their strange trance breaks; that sentimental havering done, I never saw two fall to it with such appetite. As if the whirlwind got into their fingers, they strip each other bare in a twinkling and she falls back on the bed, shows him the target, he displays the dart, scores an instant bullseye. Bravo! Never can that old bed have shook with such a storm before. And their sweet, choked mutterings, poor things: 'I never ...' 'My darling ...' 'More ...' And etc. etc. Enough to melt the thorniest heart.

He rises up on his elbows once and gasps at me: 'Mimic the murder of the rats, Puss! Mask the music of Venus with the clamour of Diana!'

A-hunting we shall go! Loyal to the last, I play catch as catch can with Tab's dead rats, giving the dying the coup de grace and baying with resonant vigour to drown the extravagant screeches that break forth from that (who would have suspected?) more passionate young woman as she comes off in fine style. (Full marks, Master.)

At that, the old hag comes battering at the door. What's going on? Whyfor the racket? And the door rattles on its hinges.

'Peace!' cries Signor Furioso. 'Haven't I just now blocked the great hole?'

But milady's in no hurry to don her smock again, she takes her lovely time about it; so full of pleasure gratified her languorous limbs you'd think her very navel smiled. She pecks my master prettily thank-you on the cheek, wets the gum on his false moustache with the tip of her strawberry tongue and sticks it back on his upper lip for him, then lets her wardress into the scene of the faux carnage with the most modest and irreproachable air in the world.

'See! Puss has slaughtered all the rats.'

I rush, purring proud, to greet the hag; instantly, her eyes o'erflow.

'Why the bedclothes so disordered?' she squeaks, not quite blinded, yet, by phlegm and chosen for her post from all the other applicants on account of her suspicious mind, even (oh, dutiful) when in grande peur des rats.

'Puss had a mighty battle with the biggest beast you ever saw upon this very bed; can't you see the bloodstains on the sheets? And now, what do we owe you, Signor Furioso, for this singular service?'

'A hundred ducats,' says I, quick as a flash, for I know my master, left to himself, would, like an honourable fool, take nothing.

'That's the entire household expenses for a month!' wails avarice's well-chosen accomplice.

'And worth every penny! For those rats would have eaten us out of house and home.' I see the glimmerings of sturdy backbone in this little lady. 'Go, pay them from your private savings that I know of, that you've skimmed off the housekeeping.'

Muttering and moaning but nothing for it except do as she is bid; and the furious Sir and I take off a laundry basket full of dead rats as souvenir--we drop it, plop! in the nearest sewer. And sit down to one dinner honestly paid for, for a wonder.

But the young fool is offhis feed, again. Pushes his plate aside, laughs, weeps, buries his head in his hands and, time and time again, goes to the window to stare at the shutters behind which his sweetheart scrubs the blood away and my dear Tabs rests from her supreme exertions. He sits, for a while, and scribbles; rips the page in four, hurls it aside. I spear a falling fragment with a claw. Dear God, he's took to writing poetry.

'I must and will have her for ever,' he exclaims.

I see my plan has come to nothing. Satisfaction has not satisfied him; that soul they both saw in one another's bodies has such insatiable hunger no single meal could ever appease it. I fall to the toilette of my hinder parts, my favourite stance when contemplating the ways of the world.

'How can I live without her?'

You did so for twenty-seven years, sir, and never missed her for a moment.

'I'm burning with the fever of love!'

Then we're spared the expense of fires.

'I shall steal her away from her husband to live with me.'

'What do you propose to live on, sir?'

'Kisses,' he said distractedly. 'Embraces.'

'Well, you won't grow fat on that, sir; though she will. And then, more mouths to feed.'

'I'm sick and tired of your foul-mouthed barbs, Puss,' he snaps. And yet my heart is moved, for now he speaks the plain, clear, foolish rhetoric of love and who is there cunning enough to help him to happiness but I? Scheme, loyal Puss, scheme!

My wash completed, I step out across the square to visit that charming she who's wormed her way directly into my own hitherto-untrammelled heart with her sharp wits and her pretty ways. She exhibits warm emotion to see me; and, oh! what news she has to tell me! News of a rapt and personal nature, that turns my mind to thoughts of the future, and, yes, domestic plans of most familial nature. She's saved me a pig's trotter, a whole, entire pig's trotter the Missus smuggled to her with a wink. A feast! Masticating, I muse.

'Recapitulate,' I suggest, 'the daily motions of Sir Pantaloon when he's at home.'

They set the cathedral clock by him, so rigid and so regular his habits. Up at the crack, he meagrely breakfasts off yesterday's crusts and a cup of cold water, to spare the expense of heating it up. Down to his counting-house, counting out his money, until a bowl of well-watered gruel at midday. The afternoon he devotes to usury, bankrupting, here, a small tradesman, there, a weeping widow, for fun and profit. Dinner's luxurious, at four; soup, with a bit of rancid beef or a tough bird in it--he's an arrangement with the butcher, takes unsold stock off his hands in return for a shut mouth about a pie that had a finger in it. From four-thirty until five-thirty, he unlocks the shutters and lets his wife look out, oh, don't I know! while hag sits beside her to make sure she doesn't smile. (Oh, that blessed flux, those precious loose minutes that set the game in motion!)

And while she breathes the air of evening, why, he checks up on his chest of gems, his bales of silk, all those treasures he loves too much to share with daylight and if he wastes a candle when he so indulges himself, why, any man is entitled to one little extravagance. Another draught of Adam's ale healthfully concludes the day; up he tucks besides Missus and, since she is his prize possession, consents to finger her a little. He palpitates her hide and slaps her flanks: 'What a good bargain!' Alack, can do no more, not wishing to profligate his natural essence. And so drifts off to sinless slumber amid the prospects of tomorrow's gold.

'How rich is he?'

'Croesus.'

'Enough to keep two loving couples?"

'Sumptuous.'

Early in the uncandled morning, groping to the privy bleared with sleep, were the old man to place his foot upon the subfusc yet volatile fur of a shadow-camouflaged young tabby cat--

'You read my thoughts, my love."

I say to my master: 'Now, you get yourself a doctor's gown, impedimenta all complete or I'm done with you.'

'What's this, Puss?'

'Do as I say and never mind the reason! The less you know of why, the better.'

So he expends a few of the hag's ducats on a black gown with a white collar and his skull cap and his black bag and, under my direction, makes himself another sign that announces, with all due pomposity, how he is Il Famed Dottore: Aches cured, pains prevented, bones set, graduate of Bologna, physician extraordinary. He demands to know, is she to play the invalid to give him further access to her bedroom?

'I'll clasp her in my arms and jump out of the window; we too shall both perform the triple somersault of love.'

'You just mind your own business, sir, and let me mind it for you after my own fashion.'

Another raw and misty morning! Here in the hills, will the weather ever change? So bleak it is, and dreary; but there he stands, grave as a sermon in his black gown and half the market people come with coughs and boils and broken heads and I dispense the plasters and the vials of coloured water I'd forethoughtfully stowed in his bag, he too agitato to sell for himself. (And, who knows, might we not have stumbled on a profitable profession for future pursuit, if my present plans miscarry?)

Until dawn shoots his little yet how flaming arrow past the cathedral on which the clock strikes six. At the last stroke, that famous door flies open once again and-- eeeeeeeeeeeeech ! the hag lets rip.

'Oh, Doctor, oh, Doctor, come quick as you can; our good man's taken a sorry tumble!'

And weeping fit to float a smack, she is, so doesn't see the doctor's apprentice is most colourfully and completely furred and whiskered.

The old booby's flat out at the foot of the stair, his head at an acute angle that might turn chronic and a big bunch of keys, still, gripped in his right hand as if they were the keys to heaven marked: Wanted on voyage. And Missus, in her wrap, bends over him with a pretty air of concern.

'A fall--' she begins when she sees the doctor but stops short when she sees your servant, Puss, looking as suitably down-in-the-mouth as his chronic smile will let him, humping his master's stock-in-trade and hawing like a sawbones. 'You, again,' she says, and can't forbear to giggle. But the dragon's too blubbered to hear.

My master puts his ear to the old man's chest and shakes his head dolefully; then takes the mirror from his pocket and puts it to the old man's mouth. Not a breath clouds it. Oh, sad! Oh, sorrowful!

'Dead, is he?' sobs the hag. 'Broke his neck, has he?'

And she slyly makes a little grab for the keys, in spite of her well-orchestrated distress; but Missus slaps her hand and she gives over.

'Let's get him to a softer bed,' says Master.

He ups the corpse, carries it aloft to the room we know full well, bumps Pantaloon down, twitches an eyelid, taps a kneecap, feels a pulse.

'Dead as a doornail,' he pronounces. 'It's not a doctor you want, it's an undertaker.'

Missus has a handkerchief very dutifully and correctly to her eyes.

'You just run along and get one,' she says to hag. 'And then I'll read the will. Because don't think he's forgotten you, thou faithful servant. Oh, my goodness, no.'

So off goes hag; you never saw a woman of her accumulated Christmases sprint so fast. As soon as they are left alone, no trifling, this time; they're at it, hammer and tongs, down on the carpet since the bed is occup. Up and down, up and down his arse; in and out, in and out her legs. Then she heaves him up and throws him on his back, her turn at the grind, now, and you'd think she'll never stop.

Toujours discret, Puss occupies himself in unfastening the shutters and throwing the windows open to the beautiful beginnings of morning in whose lively yet fragrant air his sensitive nostrils catch the first and vernal hint of spring. In a few moments, my dear friend joins me. I notice already--or is it only my fond imagination?--a charming new portliness in her gait, hitherto so elastic, so spring-heeled. And there we sit upon the window-sill, like the two genii and protectors of the house; ah, Puss, your rambling days are over. I shall become a hearthrug cat, a fat and cosy cushion cat, sing to the moon no more, settle at last amid the sedentary joys of a domesticity we two, she and I, have so richly earned;

Their cries of rapture rouse me from this pleasant revery.

The hag chooses, naturellement, this tender if outrageous moment to return with the undertaker in his chiffoned topper, plus a brace of mutes black as beetles, glum as bailiffs, bearing the elm box between them to take the corpse away in. But they cheer up something wonderful at the unexpected spectacle before them and he and she conclude their amorous interlude amidst roars of approbation and torrents of applause.

But what a racket the hag makes! Police, murder, thieves! Until the Master chucks her purseful of gold back again, for a gratuity. (Meanwhile, I note that sensible young woman, mother-naked as she is, has yet the presence of mind to catch hold of her husband's keyring and sharply tug it from his sere, cold grip. Once she's got the keys secure, she's in charge of all.)

'Now, no more of your nonsense!' she snaps to hag. 'If I hereby give you the sack, you'll get a handsome gift to go along with you for now'--flourishing the keys--'I am a rich widow and here'--indicating to all my bare yet blissful master--'is the young man who'll be my second husband.'

When the governess found Signor Panteleone had indeed remembered her in his will, left her a keepsake of the cup he drank his morning water from, she made not a squeak more, pocketed a fat sum with thanks and, sneezing, took herself off with no more cries of 'murder', neither. The old buffoon briskly bundled in his coffin and buried; Master comes into a great fortune and Missus rounding out already and they as happy as pigs in plunk.

But my Tabs beat her to it, since cats don't take much time about engendering; three fine, new-minted ginger kittens, all complete with snowy socks and shirtfronts, tumble in the cream and tangle Missus's knitting and put a smile on every face, not just their mother's and proud father's for Tabs and I smile all day long and, these days, we put our hearts in it.

So may all your wives, if you need them, be rich and pretty; and all your husbands, if you want them, be young and virile; and all your cats as wily, perspicacious and resourceful as:

PUSS-IN-BOOTS.

The lucidity, the clarity of the light that afternoon was sufficient to itself; perfect transparency must be impenetrable, these vertical bars of a brass-coloured distillation of light coming down from sulphur-yellow interstices in a sky hunkered with grey clouds that bulge with more rain. It struck the wood with nicotine-stained fingers, the leaves glittered. A cold day of late October, when the withered blackberries dangled like their own dour spooks on the discoloured brambles. There were crisp husks of beechmast and cast acorn cups underfoot in the russet slime of dead bracken where the rains of the equinox had so soaked the earth that the cold oozed up through the soles of the shoes, lancinating cold of the approach of winter that grips hold of your belly and squeezes it tight. Now the stark elders have an anorexic look; there is not much in the autumn wood to make you smile but it is not yet, not quite yet, the saddest time of the year. Only, there is a haunting sense of the imminent cessation of being; the year, in turning, turns in on itself. Introspective weather, a sickroom hush.

The woods enclose. You step between the first trees and then you are no longer in the open air; the wood swallows you up. There is no way through the wood any more, this wood has reverted to its original privacy. Once you are inside it, you must stay there until it lets you out again for there is no clue to guide you through in perfect safety; grass grew over the track years ago and now the rabbits and the foxes make their own runs in the subtle labyrinth and nobody comes. The trees stir with a noise like taffeta skirts of women who have lost themselves in the woods and hunt round hopelessly for the way out. Tumbling crows play tig in the branches of the elms they clotted with their nests, now and then raucously cawing. A little stream with soft margins of marsh runs through the wood but it has grown sullen with the time of the year; the silent, blackish water thickens, now, to ice. All will fall still, all lapse.

A young girl would go into the wood as trustingly as Red Riding Hood to her granny's house but this light admits of no ambiguities and, here, she will be trapped in her own illusion because everything in the wood is exactly as it seems.

The woods enclose and then enclose again, like a system of Chinese boxes opening one into another; the intimate perspectives of the wood changed endlessly around the interloper, the imaginary traveller walking towards an invented distance that perpetually receded before me. It is easy to lose yourself in these woods.

The two notes of the song of a bird rose on the still air, as if my girlish and delicious loneliness had been made into a sound. There was a little tangled mist in the thickets, mimicking the tufts of old man's beard that flossed the lower branches of the trees and bushes; heavy bunches of red berries as ripe and delicious as goblin or enchanted fruit hung on the hawthorns but the old grass withers, retreats. One by one, the ferns have curled up their hundred eyes and curled back into the earth. The trees threaded a cat's cradle of half-stripped branches over me so that I felt I was in a house of nets and though the cold wind that always heralds your presence, had I but known it then, blew gentle around me, I thought that nobody was in the wood but me.

Erl-King will do you grievous harm.

Piercingly, now, there came again the call of the bird, as desolate as if it came from the throat of the last bird left alive. That call, with all the melancholy of the failing year in it, went directly to my heart.

I walked through the wood until all its perspectives converged upon a darkening clearing; as soon as I saw them, I knew at once that all its occupants had been waiting for me from the moment I first stepped into the wood, with the endless patience of wild things, who have all the time in the world.

It was a garden where all the flowers were birds and beasts; ash-soft doves, diminutive wrens, freckled thrushes, robins in their tawny bibs, huge, helmeted crows that shone like patent leather, a blackbird with a yellow bill, voles, shrews, fieldfares, little brown bunnies with their ears laid together along their backs like spoons, crouching at his feet. A lean, tall, reddish hare, up on its great hind legs, nose a-twitch. The rusty fox, its muzzle sharpened to a point, laid its head upon his knee. On the trunk of a scarlet rowan a squirrel clung, to watch him; a cock pheasant delicately stretched his shimmering neck from a brake of thorn to peer at him. There was a goat of uncanny whiteness, gleaming like a goat of snow, who turned her mild eyes towards me and bleated softly, so that he knew I had arrived.

He smiles. He lays down his pipe, his elder bird-call. He lays upon me his irrevocable hand.

His eyes are quite green, as if from too much looking at the wood.

There are some eyes can eat you.

The Erl-King lives by himself all alone in the heart of the wood in a house which has only the one room. His house is made of sticks and stones and has grown a pelt of yellow lichen. Grass and weeds grow in the mossy roof. He chops fallen branches for his fire and draws his water from the stream in a tin pail.

What does he eat? Why, the bounty of the woodland! Stewed nettles; savoury messes of chickweed sprinkled with nutmeg; he cooks the foliage of shepherd's purse as if it were cabbage. He knows which of the frilled, blotched, rotted fungi are fit to eat; he understands their eldritch ways, how they spring up overnight in lightless places and thrive on dead things. Even the homely wood blewits, that you cook like tripe, with milk and onions, and the egg-yolk yellow chanterelle with its fan-vaulting and faint scent of apricots, all spring up overnight like bubbles of earth, unsustained by nature, existing in a void. And I could believe that it has been the same with him; he came alive from the desire of the woods.

He goes out in the morning to gather his unnatural treasures, he handles them as delicately as he does pigeons' eggs, he lays them in one of the baskets he weaves from osiers. He makes salads of the dandelion that he calls rude names, 'bum-pipes' or 'piss-the-beds', and flavours them with a few leaves of wild strawberry but he will not touch the brambles, he says the Devil spits on them at Michaelmas.

His nanny goat, the colour of whey, gives him her abundant milk and he can make soft cheese that has a unique, rank, amniotic taste. Sometimes he traps a rabbit in a snare of string and makes a soup or stew, seasoned with wild garlic. He knows all about the wood and the creatures in it. He told me about the grass snakes, how the old ones open their mouths wide when they smell danger and the thin little ones disappear down the old ones' throats until the fright is over and out they come again, to run around as usual. He told me how the wise toad who squats among the kingcups by the stream in summer has a very precious jewel in his head. He said the owl was a baker's daughter; then he smiled at me. He showed me how to thread mats from reeds and weave osier twigs into baskets and into the little cages in which he keeps his singing birds.

His kitchen shakes and shivers with birdsong from cage upon cage of singing birds, larks and linnets, which he piles up one on another against the wall, a wall of trapped birds. How cruel it is, to keep wild birds in cages! But he laughs at me when I say that; laughs, and shows his white, pointed teeth with the spittle gleaming on them.

He is an excellent housewife. His rustic home is spick and span. He puts his well-scoured saucepan and skillet neatly on the hearth side by side, like a pair of polished shoes. Over the hearth hang bunches of drying mushrooms, the thin, curling kind they call jew's-ears, which have grown on the elder trees since Judas hanged himself on one; this is the kind of lore he tells me, tempting my half-belief. He hangs up herbs in bunches to dry, too--thyme, marjoram, sage, vervain, southernwood, yarrow. The room is musical and aromatic and there is always a wood fire crackling in the grate, a sweet, acrid smoke, a bright, glancing flame. But you cannot get a tune out of the old fiddle hanging on the wall beside the birds because all its strings are broken.

Now, when I go for walks, sometimes in the mornings when the frost has put its shiny thumbprint on the undergrowth or sometimes, though less frequently, yet more enticingly, in the evenings when the cold darkness settles down, I always go to the Erl-King and he lays me down on his bed of rustling straw where I lie at the mercy of his huge hands.

He is the tender butcher who showed me how the price of flesh is love; skin the rabbit, he says! Off come all my clothes.

When he combs his hair that is the colour of dead leaves, dead leaves fall out of it; they rustle and drift to the ground as though he were a tree and he can stand as still as a tree, when he wants the doves to flutter softly, crooning as they come, down upon his shoulders, those silly, fat, trusting woodies with the pretty wedding rings round their necks. He makes his whistles out of an elder twig and that is what he uses to call the birds out of the air--all the birds come; and the sweetest singers he will keep in cages.

The wind stirs the dark wood; it blows through the bushes. A little of the cold air that blows over graveyards always goes with him, it crisps the hairs on the back of my neck but I am not afraid of him; only, afraid of vertigo, of the vertigo with which he seizes me. Afraid of falling down.

Falling as a bird would fall through the air if the Erl-King tied up the winds in his handkerchief and knotted the ends together so they could not get out. Then the moving currents of the air would no longer sustain them and all the birds would fall at the imperative of gravity, as I fall down for him, and I know it is only because he is kind to me that I do not fall still further. The earth with its fragile fleece of last summer's dying leaves and grasses supports me only out of complicity with him, because his flesh is of the same substance as those leaves that are slowly turning into earth.

He could thrust me into the seed-bed of next year's generation and I would have to wait until he whistled me up from my darkness before I could come back again.

Yet, when he shakes out those two clear notes from his bird call, I come, like any other trusting thing that perches on the crook of his wrist.

I found the Erl-King sitting on an ivy-covered stump winding all the birds in the wood to him on a diatonic spool of sound, one rising note, one falling note; such a sweet piercing call that down there came a soft, chirruping jostle of birds. The clearing was cluttered with dead leaves, some the colour of honey, some the colour of cinders, some the colour of earth. He seemed so much the spirit of the place I saw without surprise how the fox laid its muzzle fearlessly upon his knee. The brown light of the end of the day drained into the moist, heavy earth; all silent, all still and the cool smell of night coming. The first drops of rain fell. In the wood, no shelter but his cottage.

That was the way I walked into the bird-haunted solitude of the Erl-King, who keeps his feathered things in little cages he has woven out of osier twigs and there they sit and sing for him.

Goat's milk to drink, from a chipped tin mug; we shall eat the oatcakes he has baked on the hearthstone. Rattle of the rain on the roof. The latch clanks on the door; we are shut up inside with one another, in the brown room crisp with the scent of burning logs that shiver with tiny flame, and I lie down on the Erl-King's creaking palliasse of straw. His skin is the tint and texture of sour cream, he has stiff, russet nipples ripe as berries. Like a tree that bears bloom and fruit on the same bough together, how pleasing, how lovely.

And now--ach! I feel your sharp teeth in the subaqueous depths of your kisses. The equinoctial gales seize the bare elms and make them whizz and whirl like dervishes; you sink your teeth into my throat and make me scream.

The white moon above the clearing coldly illuminates the still tableaux of our embracements. How sweet I roamed, or, rather, used to roam; once I was the perfect child of the meadows of summer, but then the year turned, the light clarified and I saw the gaunt Erl-King, tall as a tree with birds in its branches, and he drew me towards him on his magic lasso of inhuman music.

If I strung that old fiddle with your hair, we could waltz together to the music as the exhausted daylight founders among the trees; we should have better music than the shrill prothalamions of the larks stacked in their pretty cages as the roof creaks with the freight of birds you've lured to it while we engage in your profane mysteries under the leaves.

He strips me to my last nakedness, that underskin of mauve, pearlized satin, like a skinned rabbit; then dresses me again in an embrace so lucid and encompassing it might be made of water. And shakes over me dead leaves as if into the stream I have become.

Sometimes the birds, at random, all singing, strike a chord.

His skin covers me entirely; we are like two halves of a seed, enclosed in the same integument. I should like to grow enormously small, so that you could swallow me, like those queens in fairy tales who conceive when they swallow a grain of corn or a sesame seed. Then I could lodge inside your body and you would bear me.

The candle flutters and goes out. His touch both consoles and devastates me; I feel my heart pulse, then wither, naked as a stone on the roaring mattress while the lovely, moony night slides through the window to dapple the flanks of this innocent who makes cages to keep the sweet birds in. Eat me, drink me; thirsty, cankered, goblin-ridden, I go back and back to him to have his fingers strip the tattered skin away and clothe me in his dress of water, this garment that drenches me, its slithering odour, its capacity for drowning.

Now the crows drop winter from their wings, invoke the harshest season with their cry.

It is growing colder. Scarcely a leaf left on the trees and the birds come to him in even greater numbers because, in this hard weather, it is lean pickings. The blackbirds and thrushes must hunt the snails from hedge bottoms and crack the shells on stones. But the Erl-King gives them corn and when he whistles to them, a moment later you cannot see him for the birds that have covered him like a soft fall of feathered snow. He spreads out a goblin feast of fruit for me, such appalling succulence; I lie above him and see the light from the fire sucked into the black vortex of his eye, the omission of light at the centre, there, that exerts on me such a tremendous pressure, it draws me inwards.

Eyes green as apples. Green as dead sea fruit.

A wind rises; it makes a singular, wild, low, rushing sound.

What big eyes you have. Eyes of an incomparable luminosity, the numinous phosphorescence of the eyes of lycanthropes. The gelid green of your eyes fixes my reflective face; It is a preservative, like a green liquid amber; it catches me. I am afraid I will be trapped in it for ever like the poor little ants and flies that stuck their feet in resin before the sea covered the Baltic. He winds me into the circle of his eye on a reel of birdsong. There is a black hole in the middle of both your eyes; it is their still centre, looking there makes me giddy, as if I might fall into it.

Your green eye is a reducing chamber. If I look into it long enough, I will become as small as my own reflection, I will diminish to a point and vanish. I will be drawn down into that black whirlpool and be consumed by you. I shall become so small you can keep me in one of your osier cages and mock my loss of liberty. I have seen the cage you are weaving for me; it is a very pretty one and I shall sit, hereafter, in my cage among the other singing birds but I--I shall be dumb, from spite.

When I realized what the Erl-King meant to do to me, I was shaken with a terrible fear and I did not know what to do for I loved him with all my heart and yet I had no wish to join the whistling congregation he kept in his cages although he looked after them very affectionately, gave them fresh water every day and fed them well. His embraces were his enticements and yet, oh yet! they were the branches of which the trap itself was woven. But in his innocence he never knew he might be the death of me, although I knew from the first moment I saw him how Erl-King would do me grievous harm.

Although the bow hangs beside the old fiddle on the wall, all the strings are broken so you cannot play it. I don't know what kind of tunes you might play on it, if it were strung again; lullabies for foolish virgins, perhaps, and now I know the birds don't sing, they only cry because they can't find their way out of the wood, have lost their flesh when they were dipped in the corrosive pools of his regard and now must live in cages.

Sometimes he lays his head on my lap and lets me comb his lovely hair for him; his combings are leaves of every tree in the wood and dryly susurrate around my feet. His hair falls down over my knees. Silence like a dream in front of the spitting fire while he lies at my feet and I comb the dead leaves out of his languorous hair. The robin has built his nest in the thatch again, this year; he perches on an unburnt log, cleans his beak, ruffles his plumage. There is a plaintive sweetness in his song and a certain melancholy, because the year is over--the robin, the friend of man, in spite of the wound in his breast from which Erl-King tore out his heart.

Lay your head on my knee so that I can't see the greenish inward-turning suns of your eyes any more.

My hands shake.

I shall take two huge handfuls of his rustling hair as he lies half dreaming, half waking, and wind them into ropes, very softly, so he will not wake up, and, softly, with hands as gentle as rain, I shall strangle him with them.

Then she will open all the cages and let the birds free; they will change back into young girls, every one, each with the crimson imprint of his love-bite on their throats.

She will carve off his great mane with the knife he uses to skin the rabbits; she will string the old fiddle with five single strings of ash-brown hair.

Then it will play discordant music without a hand touching it. The bow will dance over the new strings of its own accord and they will cry out: 'Mother, mother, you have murdered me!'

Midwinter--invincible, immaculate. The Count and his wife go riding, he on a grey mare and she on a black one, she wrapped in the glittering pelts of black foxes; and she wore high, black, shining boots with scarlet heels, and spurs. Fresh snow fell on snow already fallen; when it ceased, the whole world was white. 'I wish I had a girl as white as snow,' says the Count. They ride on. They come to a hole in the snow; this hole is filled with blood. He says: 'I wish I had a girl as red as blood.' So they ride on again; here is a raven, perched on a bare bough. 'I wish I had a girl as black as that bird's feather.' As soon as he completed her description, there she stood, beside the road, white skin, red mouth, black hair and stark naked; she was the child of his desire and the Countess hated her. The Count lifted her up and sat her in front of him on his saddle but the Countess had only one thought: how shall I be rid of her?

The Countess dropped her glove in the snow and told the girl to get down to look for it; she meant to gallop off and leave her there but the Count said: 'I'll buy you new gloves.' At that, the furs sprang off the Countess's shoulders and twined round the naked girl. Then the Countess threw her diamond brooch through the ice of a frozen pond: 'Dive in and fetch it for me,' she said; she thought the girl would drown. But the Count said: 'Is she a fish, to swim in such cold weather?' Then her boots leapt off the Countess's feet and on to the girl's legs. Now the Countess was bare as a bone and the girl furred and booted; the Count felt sorry for his wife. They came to a bush of roses, all in flower. 'Pick me one,' said the Countess to the girl. 'I can't deny you that,' said the Count.

So the girl picks a rose; pricks her finger on the thorn; bleeds; screams; falls.

Weeping, the Count got off his horse, unfastened his breeches and thrust his virile member into the dead girl. The Countess reined in her stamping mare and watched him narrowly; he was soon finished.

Then the girl began to melt. Soon there was nothing left of her but a feather a bird might have dropped; a bloodstain, like the trace of a fox's kill on the snow; and the rose she had pulled off the bush. Now the Countess had all her clothes on again. With her long hand, she stroked her furs. The Count picked up the rose, bowed and handed it to his wife; when she touched it, she dropped it.

'It bites!' she said.

At last the revenants became so troublesome the peasants abandoned the village and it fell solely into the possession of subtle and vindictive inhabitants who manifest their presences by shadows that fall almost imperceptibly awry, too many shadows, even at midday, shadows that have no source in anything visible; by the sound, sometimes, of sobbing in a derelict bedroom where a cracked mirror suspended from a wall does not reflect a presence; by a sense of unease that will afflict the traveller unwise enough to pause to drink from the fountain in the square that still gushes spring water from a faucet stuck in a stone lion's mouth. A cat prowls in a weedy garden; he grins and spits, arches his back, bounces away from an intangible on four fear-stiffened legs. Now all shun the village below the chateau in which the beautiful somnambulist helplessly perpetuates her ancestral crimes.

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, each one of whom, through her, projects a baleful posthumous existence; she counts out the Tarot cards, ceaselessly construing a constellation of possibilities as if the random fall of the cards on the red plush tablecloth before her could precipitate her from her chill, shuttered room into a country of perpetual summer and obliterate the perennial sadness of a girl who is both death and the maiden.

Her voice is filled with distant sonorities, like reverberations in a cave: now you are at the place of annihilation, now you are at the place of annihilation. And she is herself a cave full of echoes, she is a system of repetitions, she is a closed circuit.' Can a bird sing only the song it knows or can it learn a new song?' She draws her long, sharp fingernail across the bars of the cage in which her pet lark sings, striking a plangent twang like that of the plucked heartstrings of a woman of metal. Her hair falls down like tears.

The castle is mostly given over to ghostly occupants but she herself has her own suite of drawing room and bedroom. Closely barred shutters and heavy velvet curtains keep out every leak of natural light. There is a round table on a single leg covered with a red plush cloth on which she lays out her inevitable Tarot; this room is never more than faintly illuminated by a heavily shaded lamp on the mantelpiece and the dark red figured wallpaper is obscurely, distressingly patterned by the rain that drives in through the neglected roof and leaves behind it random areas of staining, ominous marks like those left on the sheets by dead lovers. Depredations of rot and fungus everywhere. The unlit chandelier is so heavy with dust the individual prisms no longer show any shapes; industrious spiders have woven canopies in the corners of this ornate and rotting place, have trapped the porcelain vases on the mantelpiece in soft grey nets. But the mistress of all this disintegration notices nothing.

She sits in a chair covered in moth-ravaged burgundy velvet at the low, round table and distributes the cards; sometimes the lark sings, but more often remains a sullen mound of drab feathers. Sometimes the Countess will wake it for a brief cadenza by strumming the bars of its cage; she likes to hear it announce how it cannot escape.

She rises when the sun sets and goes immediately to her table where she plays her game of patience until she grows hungry, until she becomes ravenous. She is so beautiful she is unnatural; her beauty is an abnormality, a deformity, for none of her features exhibit any of those touching imperfections that reconcile us to the imperfection of the human condition. Her beauty is a symptom of her disorder, of her soullessness.

The white hands of the tenebrous belle deal the hand of destiny. Her fingernails are longer than those of the mandarins of ancient China and each is pared to a fine point. These and teeth as fine and white as spikes of spun sugar are the visible signs of the destiny she wistfully attempts to evade via the arcana; her claws and teeth have been sharpened on centuries of corpses, she is the last bud of the poison tree that sprang from the loins of Vlad the Impaler who picnicked on corpses in the forests of Transylvania.

The walls of her bedroom are hung with black satin, embroidered with tears of pearl. At the room's four corners are funerary urns and bowls which emit slumbrous, pungent fumes of incense. In the centre is an elaborate catafalque, in ebony, surrounded by long candles in enormous silver candlesticks. In a white lace nglig stained a little with blood, the Countess climbs up on her catafalque at dawn each morning and lies down in an open coffin.

A chignoned priest of the Orthodox faith staked out her wicked father at a Carpathian crossroad before her milk teeth grew. Just as they staked him out, the fatal Count cried: 'Nosferatu is dead; long live Nosferatu!' Now she possesses all the haunted forests and mysterious habitations of his vast domain; she is the hereditary commandant of the army of shadows who camp in the village below her chateau, who penetrate the woods in the form of owls, bats and foxes, who make the milk curdle and the butter refuse to come, who ride the horses all night on a wild hunt so they are sacks of skin and bone in the morning, who milk the cows dry and, especially, torment pubescent girls with fainting fits, disorders of the blood, diseases of the imagination.

But the Countess herself is indifferent to her own weird authority, as if she were dreaming it. In her dream, she would like to be human; but she does not know if that is possible. The Tarot always shows the same configuration: always she turns up La Papesse, La Mort, La Tour Abolie, wisdom, death, dissolution.

On moonless nights, her keeper lets her out into the garden. This garden, an exceedingly sombre place, bears a strong resemblance to a burial ground and all the roses her dead mother planted have grown up into a huge, spiked wall that incarcerates her in the castle of her inheritance. When the back door opens, the Countess will sniff the air and howl. She drops, now, on all fours. Crouching, quivering, she catches the scent of her prey. Delicious crunch of the fragile bones of rabbits and small, furry things she pursues with fleet, four-footed speed; she will creep home, whimpering, with blood smeared on her cheeks. She pours water from the ewer in her bedroom into the bowl, she washes her face with the wincing, fastidious gestures of a cat.

The voracious margin of huntress's nights in the gloomy garden, crouch and pounce, surrounds her habitual tormented somnambulism, her life or imitation of life. The eyes of this nocturnal creature enlarge and glow. All claws and teeth, she strikes, she gorges; but nothing can console her for the ghastliness of her condition, nothing. She resorts to the magic comfort of the Tarot pack and shuffles the cards, lays them out, reads them, gathers them up with a sigh, shuffles them again, constantly constructing hypotheses about a future which is irreversible.

An old mute looks after her, to make sure she never sees the sun, that all day she stays in her coffin, to keep mirrors and all reflective surfaces away from her--in short, to perform all the functions of the servants of vampires. Everything about this beautiful and ghastly lady is as it should be, queen of night, queen of terror--except her horrible reluctance for the role.

Nevertheless, if an unwise adventurer pauses in the square of the deserted village to refresh himself at the fountain, a crone in a black dress and white apron presently emerges from a house. She will invite you with smiles and gestures; you will follow her. The Countess wants fresh meat. When she was a little girl, she was like a fox and contented herself entirely with baby rabbits that squeaked piteously as she bit into their necks with a nauseated voluptuousness, with voles and field-mice that palpitated for a bare moment between her embroidress's fingers. But now she is a woman, she must have men. If you stop too long beside the giggling fountain, you will be led by the hand to the Countess's larder.

All day, she lies in her coffin in her nglig of blood-stained lace. When the sun drops behind the mountain, she yawns and stirs and puts on the only dress she has, her mother's wedding dress, to sit and read her cards until she grows hungry. She loathes the food she eats; she would have liked to take the rabbits home with her, feed them on lettuce, pet them and make them a nest in her red-and-black chinoiserie escritoire, but hunger always overcomes her. She sinks her teeth into the neck where an artery throbs with fear; she will drop the deflated skin from which she has extracted all the nourishment with a small cry of both pain and disgust. And it is the same with the shepherd boys and gipsy lads who, ignorant or foolhardy, come to wash the dust from their feet in the water of the fountain; the Countess's governess brings them into the drawing room where the cards on the table always show the Grim Reaper. The Countess herself will serve them coffee in tiny cracked, precious cups, and little sugar cakes. The hobbledehoys sit with a spilling cup in one hand and a biscuit in the other, gaping at the Countess in her satin finery as she pours from a silver pot and chatters distractedly to put them at their fatal ease. A certain desolate stillness of her eyes indicates she is inconsolable. She would like to caress their lean brown cheeks and stroke their ragged hair. When she takes them by the hand and leads them to her bedroom, they can scarcely believe their luck.

Afterwards, her governess will tidy the remains into a neat pile and wrap it in its own discarded clothes. This mortal parcel she then discreetly buries in the garden. The blood on the Countess's cheeks will be mixed with tears; her keeper probes her fingernails for her with a little silver toothpick, to get rid of the fragments of skin and bone that have lodged there

Fee fie fo film
I smell the blood of an Englishman.

One hot, ripe summer in the pubescent years of the present century, a young officer in the British army, blond, blue-eyed, heavy-muscled, visiting friends in Vienna, decided to spend the remainder of his furlough exploring the little-known uplands of Romania. When he quixotically decided to travel the rutted cart-tracks by bicycle, he saw all the humour of it: 'on two wheels in the land of the vampires'. So, laughing, he sets out on his adventure.

He has the special quality of virginity, most and least ambiguous of states: ignorance, yet at the same time, power in potentia, and, furthermore, unknowingness, which is not the same as ignorance. He is more than he knows--and has about him, besides, the special glamour of that generation for whom history has already prepared a special, exemplary fate in the trenches of France. This being, rooted in change and time, is about to collide with the timeless Gothic eternity of the vampires, for whom all is as it has always been and will be, whose cards always fall in the same pattern.

Although so young, he is also rational. He has chosen the most rational mode of transport in the world for his trip round the Carpathians. To ride a bicycle is in itself some protection against superstitious fears, since the bicycle is the product of pure reason applied to motion. Geometry at the service of man! Give me two spheres and a straight line and I will show you how far I can take them. Voltaire himself might have invented the bicycle, since it contributes so much to man's welfare and nothing at all to his bane. Beneficial to the health, it emits no harmful fumes and permits only the most decorous speeds. How can a bicycle ever be an implement of harm?

A single kiss woke up the Sleeping Beauty in the Wood.

The waxen fingers of the Countess, fingers of a holy image, turn up the card called Les Amoureux. Never, never before ... never before has the Countess cast herself a fate involving love. She shakes, she trembles, her great eyes close beneath her finely veined, nervously fluttering eyelids; the lovely cartomancer has, this time, the first time, dealt herself a hand of love and death.

Be he alive or be he dead
I'll grind his bones to make my bread.

At the mauvish beginnings of evening, the English m'sieu toils up the hill to the village he glimpsed from a great way off; he must dismount and push his bicycle before him, the path too steep to ride. He hopes to find a friendly inn to rest the night; he's hot, hungry, thirsty, weary, dusty ... At first, such disappointment, to discover the roofs of all the cottages caved in and tall weeds thrusting through the piles of fallen tiles, shutters hanging disconsolately from their hinges, an entirely uninhabited place. And the rank vegetation whispers, as if foul secrets, here, where, if one were sufficiently imaginative, one could almost imagine twisted faces appearing momentarily beneath the crumbling eaves ... but the adventure of it all, and the consolation of the poignant brightness of the hollyhocks still bravely blooming in the shaggy gardens, and the beauty of the flaming sunset, all these considerations soon overcame his disappointment, even assuaged the faint unease he'd felt. And the fountain where the village women used to wash their clothes still gushed out bright, clear water; he gratefully washed his feet and hands, applied his mouth to the faucet, then let the icy stream run over his face.

When he raised his dripping, gratified head from the lion's mouth, he saw, silently arrived beside him in the square, an old woman who smiled eagerly, almost conciliatorily at him. She wore a black dress and a white apron, with a housekeeper's key ring at the waist; her grey hair was neatly coiled in a chignon beneath the white linen headdress worn by elderly women of that region. She bobbed a curtsy at the young man and beckoned him to follow her. When he hesitated, she pointed towards the great bulk of the mansion above them, whose faade loured over the village, rubbed her stomach, pointed to her mouth, rubbed her stomach again, clearly miming an invitation to supper. Then she beckoned him again, this time turning determinedly upon her heel as though she would brook no opposition.

A great, intoxicated surge of the heavy scent of red roses blew into his face as soon as they left the village, inducing a sensuous vertigo; a blast of rich, faintly corrupt sweetness strong enough almost, to fell him. Too many roses. Too many roses bloomed on enormous thickets that lined the path, thickets bristling with thorns, and the flowers themselves were almost too luxuriant, their huge congregations of plush petals somehow obscene in their excess, their whorled, tightly budded cores outrageous in their implications. The mansion emerged grudgingly out of this jungle.

In the subtle and haunting light of the setting sun, that golden light rich with nostalgia for the day that is just past, the sombre visage of the place, part manor house, part fortified farmhouse, immense, rambling, a dilapidated eagle's nest atop the crag down which its attendant village meandered, reminded him of childhood tales on winter evenings, when he and his brothers and sisters scared themselves half out of their wits with ghost stories set in just such places and then had to have candles to light them up newly terrifying stairs to bed. He could almost have regretted accepting the crone's unspoken invitation; but now, standing before the door of time-eroded oak while she selected a huge iron key from the clanking ringful at her waist, he knew it was too late to turn back and brusquely reminded himself he was no child, now, to be frightened of his own fancies.

The old lady unlocked the door, which swung back on melodramatically creaking hinges, and fussily took charge of his bicycle, in spite of his protests. He felt a certain involuntary sinking of the heart to see his beautiful two-wheeled symbol of rationality vanish into the dark entrails of the mansion, to, no doubt, some damp outhouse where they would not oil it or check its tyres. But, in for a penny, in for a pound--in his youth and strength and blond beauty, in the invisible, even unacknowledged pentacle of his virginity, the young man stepped over the threshold of Nosferatu's castle and did not shiver in the blast of cold air, as from the mouth of a grave, that emanated from the lightless, cavernous interior.

The crone took him to a little chamber where there was a black oak table spread with a clean white cloth and this cloth was carefully laid with heavy silverware, a little tarnished, as if someone with foul breath had breathed on it, but laid with one place only. Curiouser and curiouser; invited to the castle for dinner, now he must dine alone. All the same, he sat down as she had bid him. Although it was not yet dark outside, the curtains were closely drawn and only the sparing light trickling from a single oil lamp showed him how dismal his surroundings were. The crone bustled about to get him a bottle of wine and a glass from an ancient cabinet of wormy oak; while he bemusedly drank his wine, she disappeared but soon returned bearing a steaming platter of the local spiced meat stew with dumplings, and a shank of black bread. He was hungry after his long day's ride, he ate heartily and polished his plate with the crust, but this coarse food was hardly the entertainment he'd expected from the gentry and he was puzzled by the assessing glint in the dumb woman's eyes as she watched him eating.

But she darted off to get him a second helping as soon as he'd finished the first one and she seemed so friendly and helpful, besides, that he knew he could count on a bed for the night in the castle, as well as his supper, so he sharply reprimanded himself for his own childish lack of enthusiasm for the eerie silence, the clammy chill of the place.

When he'd put away the second plateful, the old woman came and gestured he should leave the table and follow her once again. She made a pantomime of drinking; he deduced he was now invited to take after-dinner coffee in another room with some more elevated member of the household who had not wished to dine with him but, all the same, wanted to make his acquaintance. An honour, no doubt; in deference to his host's opinion of himself, he straightened his tie, brushed the crumbs from his tweed jacket.

He was surprised to find how ruinous the interior of the house was--cobwebs, worm-eaten beams, crumbling plaster; but the mute crone resolutely wound him on the reel of her lantern down endless corridors, up winding staircases, through the galleries where the painted eyes of family portraits briefly flickered as they passed, eyes that belonged, he noticed, to faces, one and all, of a quite memorable beastliness. At last she paused and, behind the door where they'd halted, he heard a faint, metallic twang as of, perhaps, a chord struck on a harpsichord. And then, wonderfully, the liquid cascade of the song of a lark, bringing to him, in the heart--had he but known it--of Juliet's tomb, all the freshness of morning.

The crone rapped with her knuckles on the panels; the most seductively caressing voice he had ever heard in his life softly called out, in heavily accented French, the adopted language of the Romanian aristocracy: 'Entrez.'

First of all, he saw only a shape, a shape imbued with a faint luminosity since it caught and reflected in its yellowed surfaces what little light there was in the ill-lit room; this shape resolved itself into that of, of all things, a hoop-skirted dress of white satin draped here and there with lace, a dress fifty or sixty years out of fashion but once, obviously, intended for a wedding. And then he saw the girl who wore the dress, a girl with the fragility of the skeleton of a moth, so thin, so frail that her dress seemed to him to hang suspended, as if untenanted in the dank air, a fabulous lending, a self-articulated garment in which she lived like a ghost in a machine. All the light in the room came from a low-burning lamp with a thick greenish shade on a distant mantelpiece; the crone who accompanied him shielded her lantern with her hand, as if to protect her mistress from too suddenly seeing, or their guest from too suddenly seeing her.

So that it was little by little, as his eyes grew accustomed to the half-dark, that he saw how beautiful and how very young the bedizened scarecrow was, and he thought of a child dressing up in her mother's clothes, perhaps a child putting on the clothes of a dead mother in order to bring her, however briefly, to life again.

The Countess stood behind a low table, beside a pretty, silly, gilt-and-wire birdcage, hands outstretched in a distracted attitude that was almost one of flight; she looked as startled by their entry as if she had not requested it. With her stark white face, her lovely death's head surrounded by long dark hair that fell down as straight as if it were soaking wet, she looked like a shipwrecked bride. Her huge dark eyes almost broke his heart with their waiflike, lost look; yet he was disturbed, almost repelled, by her extraordinarily fleshy mouth, a mouth with wide, full, prominent lips of a vibrant purplish-crimson, a morbid mouth. Even--but he put the thought away from him immediately--a whore's mouth. She shivered all the time, a starveling chill, a malarial agitation of the bones. He thought she must be only sixteen or seventeen years old, no more, with the hectic, unhealthy beauty of a consumptive. She was the chatelaine of all this decay.

With many tender precautions, the crone now raised the light she held to show his hostess her guest's face. At that, the Countess let out a faint, mewing cry and made a blind, appalled gesture with her hands, as if pushing him away, so that she knocked against the table and a butterfly dazzle of painted cards fell to the floor. Her mouth formed a round' o' of woe, she swayed a little and then sank into her chair, where she lay as if now scarcely capable of moving. A bewildering reception. Tsk'ing under her breath, the crone busily poked about on the table until she found an enormous pair of dark green glasses, such as blind beggars wear, and perched them on the Countess's nose.

He went forward to pick up her cards for her from a carpet that, he saw to his surprise, was part rotted away, partly encroached upon by all kinds of virulent-looking fungi. He retrieved the cards and shuffled them carelessly together, for they meant nothing to him, though they seemed strange playthings for a young girl. What a grisly picture of a capering skeleton! He covered it up with a happier one--of two young lovers, smiling at one another, and put her toys back into a hand so slender you could almost see the frail net of bone beneath the translucent skin, a hand with fingernails as long, as finely pointed, as banjo picks.

At his touch, she seemed to revive a little and almost smiled, raising herself upright.

'Coffee,' she said. 'You must have coffee.' And scooped up her cards into a pile so that the crone could set before her a silver spirit kettle, a silver coffee pot, cream jug, sugar basin, cups ready on a silver tray, a strange touch of elegance, even if discoloured, in this devastated interior whose mistress ethereally shone as if with her own blighted, submarine radiance.

The crone found him a chair and, tittering noiselessly, departed, leaving the room a little darker.

While the young lady attended to the coffee-making, he had time to contemplate with some distaste a further series of family portraits which decorated the stained and peeling walls of the room; these livid faces all seemed contorted with a febrile madness and the blubber lips, the huge, demented eyes that all had in common bore a disquieting resemblance to those of the hapless victim of inbreeding now patiently filtering her fragrant brew, even if some rare grace has so finely transformed those features when it came to her case. The lark, its chorus done, had long ago fallen silent; no sound but the chink of silver on china. Soon, she held out to him a tiny cup of rose-painted china.

'Welcome,' she said in her voice with the rushing sonorities of the ocean in it, a voice that seemed to come elsewhere than from her white, still throat. 'Welcome to my chateau. I rarely receive visitors and that's a misfortune since nothing animates me half as much as the presence of a stranger ... This place is so lonely, now the village is deserted, and my one companion, alas, she cannot speak. Often I am so silent that I think I, too, will soon forget how to do so and nobody here will ever talk any more.'

She offered him a sugar biscuit from a Limoges plate; her fingernails struck carillons from the antique china. Her voice, issuing from those red lips like the obese roses in her garden, lips that do not move--her voice is curiously disembodied; she is like a doll, he thought, a ventriloquist's doll, or, more, like a great, ingenious piece of clockwork. For she seemed inadequately powered by some slow energy of which she was not in control; as if she had been wound up years ago, when she was born, and now the mechanism was inexorably running down and would leave her lifeless. This idea that she might be an automaton, made of white velvet and black fur, that could not move of its own accord, never quite deserted him; indeed, it deeply moved his heart. The carnival air of her white dress emphasized her unreality, like a sad Columbine who lost her way in the wood a long time ago and never reached the fair.

'And the light. I must apologize for the lack of light ... a hereditary affliction of the eyes ...'

Her blind spectacles gave him his handsome face back to himself twice over; if he presented himself to her naked face, he would dazzle her like the sun she is forbidden to look at because it would shrivel her up at once, poor night bird, poor butcher bird.

Vous serez ma proie.

You have such a fine throat, m'sieu, like a column of marble. When you came through the door retaining about you all the golden light of the summer's day of which I know nothing, nothing, the card called 'Les Amoureux' had just emerged from the tumbling chaos of imagery before me; it seemed to me you had stepped off the card into my darkness and, for a moment, I thought, perhaps, you might irradiate it.

I do not mean to hurt you. I shall wait for you in my bride's dress in the dark.

The bridegroom is come, he will go into the chamber which has been prepared for him.

I am condemned to solitude and dark; I do not mean to hurt you.

I will be very gentle.

(And could love free me from the shadows? Can a bird sing only the song it knows, or can it learn a new song?)

See, how I'm ready for you. I've always been ready for you; I've been waiting for you in my wedding dress, why have you delayed for so long ... it will all be over very quickly.

You will feel no pain, my darling.

She herself is a haunted house. She does not possess herself; her ancestors sometimes come and peer out of the windows of her eyes and that is very frightening. She has the mysterious solitude of ambiguous states; she hovers in a no-man's land between life and death, sleeping and waking, behind the hedge of spiked flowers, Nosferatu's sanguinary rosebud. The beastly forebears on the walls condemn her to a perpetual repetition of their passions.

(One kiss, however, and only one, woke up the Sleeping Beauty in the Wood.)

Nervously, to conceal her inner voices, she keeps up a front of inconsequential chatter in French while her ancestors leer and grimace on the walls; however hard she tries to think of any other, she only knows of one kind of consummation.

He was struck, once again, by the birdlike, predatory claws which tipped her marvellous hands; the sense of strangeness that had been growing on him since he buried his head under the streaming water in the village, since he entered the dark portals of the fatal castle, now fully overcame him. Had he been a cat, he would have bounced backwards from her hands on four fear-stiffened legs, but he is not a cat: he is a hero.

A fundamental disbelief in what he sees before him sustains him, even in the boudoir of Countess Nosferatu herself; he would have said, perhaps, that there are some things which, even if they are true, we should not believe possible. He might have said: it is folly to believe one's eyes. Not so much that he does not believe in her; he can see her, she is real. If she takes off her dark glasses, from her eyes will stream all the images that populate this vampire-haunted land, but, since he himself is immune to shadow, due to his virginity--he does not yet know what there is to be afraid of--and due to his heroism, which makes him like the sun, he sees before him, first and foremost, an inbred, highly strung girl child, fatherless, motherless, kept in the dark too long and pale as a plant that never sees the light, half-blinded by some hereditary condition of the eyes. And though he feels unease, he cannot feel terror; so he is like the boy in the fairy tale, who does not know how to shudder, and not spooks, ghouls, beasties, the Devil himself and all his retinue could do the trick.

This lack of imagination gives his heroism to the hero.

He will learn to shudder in the trenches. But this girl cannot make him shudder.

Now it is dark. Bats swoop and squeak outside the tightly shuttered windows. The coffee is all drunk, the sugar biscuits eaten. Her chatter comes trickling and diminishing to a stop; she twists her fingers together, picks at the lace of her dress, shifts nervously in her chair. Owls shriek; the impedimenta of her condition squeak and gibber all around us. Now you are at the place of annihilation, now you are at the place of annihilation. She turns her head away from the blue beams of his eyes; she knows no other consummation than the only one she can offer him. She has not eaten for three days. It is dinner-time. It is bedtime.

Suivez-moi.
Je vous attendais.
Vous serez ma proie.

The raven caws on the accursed roof. 'Dinnertime, dinnertime,' clang the portraits on the walls. A ghastly hunger gnaws her entrails; she has waited for him all her life without knowing it.

The handsome bicyclist, scarcely believing his luck, will follow her into her bedroom; the candles around her sacrificial altar burn with a low, clear flame, light catches on the silver tears stitched to the wall. She will assure him, in the very voice of temptation: 'My clothes have but to fall and you will see before you a succession of mysteries.'

She has no mouth with which to kiss, no hands with which to caress, only the fangs and talons of a beast of prey. To touch the mineral sheen of the flesh revealed in the cool candle gleam is to invite her fatal embrace; in her low, sweet voice, she will croon the lullaby of the House of Nosferatu.

Embraces, kisses; your golden head, of a lion, although I have never seen a lion, only imagined one, of the sun, even if I've only seen the picture of the sun on the Tarot card, your golden head of the lover whom I dreamed would one day free me, this head will fall back, its eyes roll upwards in a spasm you will mistake for that of love and not of death. The bridegroom bleeds on my inverted marriage bed. Stark and dead, poor bicyclist; he has paid the price of a night with the Countess and some think it too high a fee while some do not.

Tomorrow, her keeper will bury his bones under her roses. The food her roses feed on gives them their rich colour, their swooning odour, that breathes lasciviously of forbidden pleasures.

Suivez-moi.

'Suivez-moi!'

The handsome bicyclist, fearful for his hostess's health, her sanity, gingerly follows her hysterical imperiousness into the other room; he would like to take her into his arms and protect her from the ancestors who leer down from the walls.

What a macabre bedroom!

His colonel, an old goat with jaded appetites, had given him the visiting card of a brothel in Paris where, the satyr assured him, ten louis would buy just such a lugubrious bedroom, with a naked girl upon a coffin; offstage, the brothel pianist played the Dies Irae on a harmonium and, amidst all the perfumes of the embalming parlour, the customer took his necrophiliac pleasure of a pretended corpse. He had good-naturedly refused the old man's offer of such an initiation; how can he now take criminal advantage of the disordered girl with fever-hot, bone-dry, taloned hands and eyes that deny all the erotic promises of her body with their terror, their sadness, their dreadful, balked tenderness?

So delicate and damned, poor thing. Quite damned.

Yet I do believe she scarcely knows what she is doing.

She is shaking as if her limbs were not efficiently joined together, as if she might shake into pieces. She raises her hands to unfasten the neck of her dress and her eyes well with tears, they trickle down beneath the rim of her dark glasses. She can't take off her mother's wedding dress unless she takes off her dark glasses; she has fumbled the ritual, it is no longer inexorable. The mechanism within her fails her, now, when she needs it most. When she takes off the dark glasses, they slip from her fingers and smash to pieces on the tiled floor. There is no room in her drama for improvisation; and this unexpected, mundane noise of breaking glass breaks the wicked spell in the room, entirely. She gapes blindly down at the splinters and ineffectively smears the tears across her face with her fist. What is she to do now?

When she kneels to try to gather the fragments of glass together, a sharp sliver pierces deeply into the pad of her thumb; she cries out, sharp, real. She kneels among the broken glass and watches the bright bead of blood form a drop. She has never seen her own blood before, not her own blood. It exercises upon her an awed fascination.

Into this vile and murderous room, the handsome bicyclist brings the innocent remedies of the nursery; in himself, by his presence, he is an exorcism. He gently takes her hand away from her and dabs the blood with his own handkerchief, but still it spurts out. And so he puts his mouth to the wound. He will kiss it better for her, as her mother, had she lived, would have done.

All the silver tears fall from the wall with a flimsy tinkle. Her painted ancestors turn away their eyes and grind their fangs.

How can she bear the pain of becoming human?

The end of exile is the end of being.

He was awakened by larksong. The shutters, the curtains, even the long-sealed windows of the horrid bedroom were all opened up and light and air streamed in; now you could see how tawdry it all was, how thin and cheap the satin, the catafalque not ebony at all but black-painted paper stretched on struts of wood, as in the theatre. The wind had blown droves of petals from the roses outside into the room and this crimson residue swirled fragrantly about the floor. The candles had burnt out and she must have set her pet lark free because it perched on the edge of the silly coffin to sing him its ecstatic morning song. His bones were stiff and aching, he'd slept on the floor with his bundled-up jacket for a pillow, after he'd put her to bed.

But now there was no trace of her to be seen, except, lightly tossed across the crumpled black satin bedcover, a lace nglig lightly soiled with blood, as it might be from a woman's menses, and a rose that must have come from the fierce bushes nodding through the window. The air was heavy with incense and roses and made him cough. The Countess must have got up early to enjoy the sunshine, slipped outside to gather him a rose. He got to his feet, coaxed the lark on to his wrist and took it to the window. At first, it exhibited the reluctance for the sky of a long-caged thing, but, when he tossed it up on to the currents of the air, it spread its wings and was up and away into the clear blue bowl of the heavens; he watched its trajectory with a lift of joy in his heart.

Then he padded into the boudoir, his mind busy with plans. We shall take her to Zurich, to a clinic; she will be treated for nervous hysteria. Then to an eye specialist, for her photophobia, and to a dentist to put her teeth into better shape. Any competent manicurist will deal with her claws. We shall turn her into the lovely girl she is; I shall cure her of all these nightmares.

The heavy curtains are pulled back, to let in brilliant fusillades of early morning light; in the desolation of the boudoir, she sits at her round table in her white dress, with the cards laid out before her. She has dropped off to sleep over the cards of destiny that are so fingered, so soiled, so worn by constant shuffling that you can no longer make the image out on any single one of them.

She is not sleeping.

In death, she looked far older, less beautiful and so, for the first time, fully human.

I will vanish in the morning light; I was only an invention of darkness.

And I leave you as a souvenir the dark, fanged rose I plucked from between my thighs, like a flower laid on a grave. On a grave.

My keeper will attend to everything.

Nosferatu always attends his own obsequies; she will not go to the graveyard unattended. And now the crone materialized, weeping, and roughly gestured him to begone. After a search in some foul-smelling outhouses, he discovered his bicycle and, abandoning his holiday, rode directly to Bucharest where, at the poste restante, he found a telegram summoning him to rejoin his regiment at once. Much later, when he changed back into uniform in his quarters, he discovered he still had the Countess's rose, he must have tucked it into the breast pocket of his cycling jacket after he had found her body. Curiously enough, although he had brought it so far away from Romania, the flower did not seem to be quite dead and, on impulse, because the girl had been so lovely and her death so unexpected and pathetic, he decided to try and resurrect her rose. He filled his tooth glass with water from the carafe on his locker and popped the rose into it, so that its withered head floated on the surface.

When he returned from the mess that evening, the heavy fragrance of Count Nosferatu's roses drifted down the stone corridor of the barracks to greet him, and his spartan quarters brimmed with the reeling odour of a glowing, velvet, monstrous flower whose petals had regained all their former bloom and elasticity, their corrupt, brilliant, baleful splendour. Next day, his regiment embarked for France.

It is a northern country; they have cold weather, they have cold hearts.

Cold; tempest; wild beasts in the forest. It is a hard life. Their houses are built of logs, dark and smoky within. There will be a crude icon of the virgin behind a guttering candle, the leg of a pig hung up to cure, a string of drying mushrooms. A bed, a stool, a table. Harsh, brief, poor lives.

To these upland woodsmen, the Devil is as real as you or I. More so; they have not seen us nor even know that we exist, but the Devil they glimpse often in the graveyards, those bleak and touching townships of the dead where the graves are marked with portraits of the deceased in the naif style and there are no flowers to put in front of them, no flowers grow there, so they put out small, votive offerings, little loaves, sometimes a cake that the bears come lumbering from the margins of the forest to snatch away. At midnight, especially on Walpurgisnacht, the Devil holds picnics in the graveyards and invites the witches; then they dig up fresh corpses, and eat them. Anyone will tell you that.

Wreaths of garlic on the doors keep out the vampires. A blue-eyed child born feet first on the night of St John's Eve will have second sight. When they discover a witch--some old woman whose cheeses ripen when her neighbours' do not, another old woman whose black cat, oh, sinister! follows her about all the time, they strip the crone, search for her marks, for the supernumerary nipple her familiar sucks. They soon find it. Then they stone her to death.

Winter and cold weather.

Go and visit grandmother, who has been sick. Take her the oatcakes I've baked for her on the hearthstone and a little pot of butter.

The good child does as her mother bids--five miles' trudge through the forest; do not leave the path because of the bears, the wild boar, the starving wolves. Here, take your father's hunting knife; you know how to use it.

The child had a scabby coat of sheepskin to keep out the cold, she knew the forest too well to fear it but she must always be on her guard. When she heard that freezing howl of a wolf, she dropped her gifts, seized her knife and turned on the beast.

It was a huge one, with red eyes and running, grizzled chops; any but a mountaineer's child would have died of fright at the sight of it. It went for her throat, as wolves do, but she made a great swipe at it with her father's knife and slashed off its right forepaw.

The wolf let out a gulp, almost a sob, when it saw what had happened to it; wolves are less brave than they seem. It went lolloping off disconsolately between the trees as well as it could on three legs, leaving a trail of blood behind it. The child wiped the blade of her knife clean on her apron, wrapped up the wolf's paw in the cloth in which her mother had packed the oatcakes and went on towards her grandmother's house. Soon it came on to snow so thickly that the path and any footsteps, track or spoor that might have been upon it were obscured.

She found her grandmother was so sick she had taken to her bed and fallen into a fretful sleep, moaning and shaking so that the child guessed she had a fever. She felt the forehead, it burned. She shook out the cloth from her basket, to use it to make the old woman a cold compress, and the wolf's paw fell to the floor.

But it was no longer a wolf's paw. It was a hand, chopped off at the wrist, a hand toughened with work and freckled with old age. There was a wedding ring on the third finger and a wart on the index finger. By the wart, she knew it for her grandmother's hand.

She pulled back the sheet but the old woman woke up, at that, and began to struggle, squawking and shrieking like a thing possessed. But the child was strong, and armed with her father's hunting knife; she managed to hold her grandmother down long enough to see the cause of her fever. There was a bloody stump where her right hand should have been, festering already.

The child crossed herself and cried out so loud the neighbours heard her and come rushing in. They knew the wart on the hand at once for a witch's nipple; they drove the old woman, in her shift as she was, out into the snow with sticks, beating her old carcass as far as the edge of the forest, and pelted her with stones until she fell down dead. Now the child lived in her grandmother's house; she prospered.

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.

Could this ragged girl with brindled lugs have spoken like we do she would have called herself a wolf, but she cannot speak, although she howls because she is lonely--yet' howl' is not the right word for it, since she is young enough to make the noise that pups do, bubbling, delicious, like that of a panful of fat on the fire. Sometimes the sharp ears of her foster kindred hear her across the irreparable gulf of absence; they answer her from faraway pine forest and the bald mountain rim. Their counterpoint crosses and criss-crosses the night sky; they are trying to talk to her but they cannot do so because she does not understand their language even if she knows how to use it for she is not a wolf herself, although suckled by wolves.

Her panting tongue hangs out; her red lips are thick and fresh. Her legs are long, lean and muscular. Her elbows, hands and knees are thickly callused because she always runs on all fours. She never walks; she trots or gallops. Her pace is not our pace.

Two-legs looks, four-legs sniffs. Her long nose is always a-quiver, sifting every scent it meets. With this useful tool, she lengthily investigates everything she glimpses. She can net so much more of the world than we can through the fine, hairy, sensitive filters of her nostrils that her poor eyesight does not trouble her. Her nose is sharper by night than' our eyes are by day so it is the night she prefers, when the cool reflected light of the moon does not make her eyes smart and draws out the various fragrances from the woodland where she wanders when she can. But the wolves keep well away from the peasants' shotguns, now, and she will no longer find them there.

Wide shoulders, long arms and she sleeps succinctly curled into a ball as if she were cradling her spine in her tail. Nothing about her is human except that she is not a wolf; it is as if the fur she thought she wore had melted into her skin and become part of it, although it does not exist. Like the wild beasts, she lives without a future. She inhabits only the present tense, a fugue of the continuous, a world of sensual immediacy as without hope as it is without despair.

When they found her in the wolf's den beside the bullet-riddled corpse of her foster mother, she was no more than a little brown scrap so snarled in her own brown hair they did not, at first, think she was a child but a cub; she snapped at her would-be saviours with her spiky canines until they tied her up by force. She spent her first days amongst us crouched stockstill, staring at the whitewashed wall of her cell in the convent to which they took her. The nuns poured water over her, poked her with sticks to rouse her. Then she might snatch bread from their hands and race with it into a corner to mumble it with her back towards them; it was a great day among the novices when she learned to sit up on her hind legs and beg for a crust.

They found that, if she were treated with a little kindness, she was not intractable. She learned to recognize her own dish; then, to drink from a cup. They found that she could quite easily be taught a few, simple tricks but she did not feel the cold and it took a long time to wheedle a shift over her head to cover up her bold nakedness. Yet she always seemed wild, impatient of restraint, capricious in temper; when the Mother Superior tried to teach her to give thanks for her recovery from the wolves, she arched her back, pawed the floor, retreated to a far corner of the chapel, crouched, trembled, urinated, defecated--reverted entirely, it would seem, to her natural state. Therefore, without a qualm, this nine days' wonder and continuing embarrassment of a child was delivered over to the bereft and unsanctified household of the Duke.

Deposited at the castle, she huffed and snuffed and smelled only a reek of meat, not the least whiff of sulphur, nor of familiarity. She settled down on her hunkers with that dog's sigh that is only the expulsion of breath and does not mean either relief or resignation.

The Duke is sere as old paper; his dry skin rustics against the bed-sheets as he throws them back to thrust out his thin legs scabbed with old scars where thorns scored his pelt. He lives in a gloomy mansion, all alone but for this child who has as little in common with the rest of us as he does. His bedroom is painted terracotta, rusted with a wash of pain, like the interior of an Iberian butcher's shop, but for himself, nothing can hurt him since he ceased to cast an image in the mirror.

He sleeps in an antlered bed of dull black wrought iron until the moon, the governess of transformations and overseer of somnambulists, pokes an imperative finger through the narrow window and strikes his face: then his eyes start open.

At night, those huge, inconsolable, rapacious eyes of his are eaten up by swollen, gleaming pupil. His eyes see only appetite. These eyes open to devour the world in which he sees, nowhere, a reflection of himself; he passed through the mirror and now, henceforward, lives as if upon the other side of things.

Spilt, glistering milk of moonlight on the frost-crisped grass; on such a night, in moony, metamorphic weather, they say you might easily find him, if you had been foolish enough to venture out late, scuttling along by the churchyard wall with half a juicy torso slung across his back. The white light scours the fields and scours them again until everything gleams and he will leave paw-prints in the hoar-frost when he runs howling round the graves at night in his lupine fiestas.

By the red early hour of midwinter sunset, all the doors are barred for miles. The cows low fretfully in the byre when he goes by, the whimpering dogs sink their noses in their paws. He carries on his frail shoulders a weird burden of fear; he is cast in the role of the corpse-eater, the body-snatcher who invades the last privacies of the dead. He is white as leprosy, with scrabbling fingernails, and nothing deters him. If you stuff a corpse with garlic, why, he only slavers at the treat: cadavre provenale. He will use the holy cross as a scratching post and crouch above the font to thirstily lap up holy water.

She sleeps in the soft, warm ashes of the hearth; beds are traps, she will not stay in one. She can perform the few, small tasks to which the nuns trained her, she sweeps up the hairs, vertebrae and phalanges that litter his room into a dustpan, she makes up his bed at sunset, when he leaves it and the grey beasts outside howl, as if they know his transformation is their parody. Unkind to their prey, to their own they are tender; had the Duke been a wolf, they would have angrily expelled him from the pack, he would have had to lollop along miles behind them, creeping in submission on his belly up to the kill only after they had eaten and were sleeping, to gnaw the well-chewed bones and chew the hide. Yet, suckled as she was by wolves on the high uplands where her mother bore and left her, only his kitchen maid, who is not wolf or woman, knows no better than to do his chores for him.

She grew up with wild beasts. If you could transport her, in her filth, rags and feral disorder, to the Eden of our first beginnings where Eve and grunting Adam squat on a daisy bank, picking the lice from one another's pelts, then she might prove to be the wise child who leads them all and her silence and her howling a language as authentic as any language of nature. In a world of talking beasts and flowers, she would be the bud of flesh in the kind lion's mouth: but how can the bitten apple flesh out its scar again?

Mutilation is her lot; though, now and then, she will emit an involuntary rustle of sound, as if the unused chords in her throat were a wind-harp that moved with the random impulses of the air, her whisper, more obscure than the voices of the dumb.

Familiar desecrations in the village graveyard. The coffin had been ripped open with the abandon with which a child unwraps a gift on Christmas morning and, of its contents, not a trace could be found but for a rag of the bridal veil in which the corpse had been wrapped that was caught, fluttering, in the brambles at the churchyard gate so they knew which way he had taken it, towards his gloomy castle.

In the lapse of time, the trance of being of that exiled place, this girl grew amongst things she could neither name nor perceive. How did she think, how did she feel, this perennial stranger with her furred thoughts and her primal sentience that existed in a flux of shifting impressions; there are no words to describe the way she negotiated the abyss between her dreams, those wakings strange as her sleepings. The wolves had tended her because they knew she was an imperfect wolf; we secluded her in animal privacy out of fear of her imperfection because it showed us what we might have been, and so time passed, although she scarcely knew it. Then she began to bleed.

Her first blood bewildered her. She did not know what it meant and the first stirrings of surmise that ever she felt were directed towards its possible cause. The moon had been shining into the kitchen when she woke to feel the trickle between her thighs and it seemed to her that a wolf who, perhaps, was fond of her, as wolves were, and who lived, perhaps, in the moon? must have nibbled her cunt while she was sleeping, had subjected her to a series of affectionate nips too gentle to wake her yet sharp enough to break the skin. The shape of this theory was blurred yet, out of it, there took root a kind of wild reasoning, as it might have from a seed dropped in her brain off the foot of a flying bird.

The flow continued for a few days, which seemed to her an endless time. She had, as yet, no direct notion of past, or of future, or of duration, only of a dimensionless, immediate moment. At night, she prowled the empty house looking for rags to sop the blood up; she had learned a little elementary hygiene in the convent, enough to know how to bury her excrement and cleanse herself of her natural juices, although the nuns had not the means to inform her how it should be, it was not fastidiousness but shame that made her do so.

She found towels, sheets and pillowcases in closets that had not been opened since the Duke came shrieking into the world with all his teeth, to bite his mother's nipple off and weep. She found once-worn ball dresses in cobwebbed wardrobes, and, heaped in the corners of his bloody chamber, shrouds, nightdresses and burial clothes that had wrapped items on the Duke's menus. She tore strips of the most absorbent fabrics to clumsily diaper herself. In the course of these prowlings, she bumped against that mirror over whose surface the Duke passed like a wind on ice.

First, she tried to nuzzle her reflection; then, nosing it industriously, she soon realized it gave out no smell. She bruised her muzzle on the cold glass and broke her claws trying to tussle with this stranger. She saw, with irritation, then amusement, how it mimicked every gesture of hers when she raised her forepaw to scratch herself or dragged her bum along the dusty carpet to rid herself of a slight discomfort in her hindquarters. She rubbed her head against her reflected face, to show that she felt friendly towards it, and felt a cool, solid, immovable surface between herself and she--some kind, possibly, of invisible cage? In spite of this barrier, she was lonely enough to ask this creature to try to play with her, baring her teeth and grinning; at once she received a reciprocal invitation. She rejoiced; she began to whirl round on herself, yapping exultantly, but, when she retreated from the mirror, she halted in the midst of her ecstasy, puzzled, to see how her new friend grew less in size.

The moonlight spilled into the Duke's motionless bedroom from behind a cloud and she saw how pale this wolf, not-wolf who played with her was. The moon and mirrors have this much in common: you cannot see behind them. Moonlit and white, Wolf-Alice looked at herself in the mirror and wondered whether there she saw the beast who came to bite her in the night. Then her sensitive ears pricked at the sound of a step in the hall; trotting at once back to her kitchen, she encountered the Duke with the leg of a man over his shoulder. Her toenails clicked against the stairs as she padded incuriously past, she, the serene, inviolable one in her absolute and verminous innocence.

Soon the flow ceased. She forgot it. The moon vanished; but, little by little, reappeared. When it again visited her kitchen at full strength, Wolf-Alice was surprised into bleeding again and so it went on, with a punctuality that transformed her vague grip on time. She learned to expect these bleedings, to prepare her rags against them, and afterwards, neatly to bury the dirtied things. Sequence asserted itself with custom and then she understood the circumambulatory principle of the clock perfectly, even if all clocks were banished from the den where she and the Duke inhabited their separate solitudes, so that you might say she discovered the very action of time by means of this returning cycle.

When she curled up among the cinders, the colour, texture and warmth of them brought her foster mother's belly out of the past and printed it on her flesh; her first conscious memory, painful as the first time the nuns combed her hair. She howled a little, in a firmer, deepening trajectory, to obtain the inscrutable consolation of the wolves' response, for now the world around her was assuming form. She perceived an essential difference between herself and her surroundings that you might say she could not put her finger on--only, the trees and grass of the meadows outside no longer seemed the emanation of her questing nose and erect ears, and yet sufficient to itself, but a kind of backdrop for her, that waited for her arrivals to give it meaning. She saw herself upon it and her eyes, with their sombre clarity, took on a veiled, introspective look.

She would spend hours examining the new skin that had been born, it seemed to her, of her bleeding. She would lick her soft upholstery with her long tongue and groom her hair with her fingernails. She examined her new breasts with curiosity; the white growths reminded her of nothing so much as the night-sprung puffballs she had found, sometimes, on evening rambles in the woods, a natural if disconcerting apparition, but then, to her astonishment, she found a little diadem of fresh hairs tufting between her thighs. She showed it to her mirror littermate, who reassured her by showing her she shared it.

The damned Duke haunts the graveyard; he believes himself to be both less and more than a man, as if his obscene difference were a sign of grace. During the day, he sleeps. His mirror faithfully reflects his bed but never the meagre shape within the disordered covers.

Sometimes, on those white nights when she was left alone in the house, she dragged out his grandmother's ball dresses and rolled on suave velvet and abrasive lace because to do so delighted her adolescent skin. Her intimate in the mirror wound the old clothes round herself, wrinkling its nose in delight at the ancient yet still potent scents of musk and civet that woke up in the sleeves and bodices. This habitual, at last boring, fidelity to her every movement finally woke her up to the regretful possibility that her companion was, in fact, no more than a particularly ingenious variety of the shadow she cast on sunlit grass. Had not she and the rest of the litter tussled and romped with their shadows long ago? She poked her agile nose around the back of the mirror; she found only dust, a spider stuck in his web, a heap of rags. A little moisture leaked from the corners of her eyes, yet her relation with the mirror was now far more intimate since she knew she saw herself within it.

She pawed and tumbled the dress the Duke had tucked away behind the mirror for a while. The dust was soon shaken out of it; she experimentally inserted her front legs in the sleeves. Although the dress was torn and crumpled, it was so white and of such a sinuous texture that she thought, before she put it on, she must thoroughly wash off her coat of ashes in the water from the pump in the yard, which she knew how to manipulate with her cunning forepaw. In the mirror, she saw how this white dress made her shine.

Although she could not run so fast on two legs in petticoats, she trotted out in her new dress to investigate the odorous October hedgerows, like a dbutante from the castle, delighted with herself but still, now and then, singing to the wolves with a kind of wistful triumph, because now she knew how to wear clothes and so had put on the visible sign of her difference from them.

Her footprints on damp earth are beautiful and menacing as those Man Friday left.

The young husband of the dead bride spent a long time planning his revenge. He filled the church with an arsenal of bells, books and candles; a battery of silver bullets; they brought a ten-gallon tub of holy water in a wagon from the city, where it had been blessed by the Archbishop himself, to drown the Duke, if the bullets bounced off him. They gathered in the church to chant a litany and wait for the one who would visit with the first deaths of winter.

She goes out at night more often now; the landscape assembles itself about her, she informs it with her presence. She is its significance.

It seemed to her the congregation in the church was ineffectually attempting to imitate the wolves' chorus. She lent them the assistance of her own, educated voice for a while, rocking contemplatively on her haunches by the graveyard gate; then her nostrils twitched to catch the rank stench of the dead that told her her co-habitor was at hand; raising her head, who did her new, keen eyes spy but the lord of cobweb castle intent on performing his cannibal rituals?

And if her nostrils flare suspiciously at the choking reek of incense and his do not, that is because she is far more sentient than he. She will, therefore, run, run! when she hears the crack of bullets, because they killed her foster mother; so, with the self-same lilting lope, drenched with holy water, will he run, too, until the young widower fires the silver bullet that bites his shoulder and drags off half his fictive pelt, so that he must rise up like any common forked biped and limp distressfully on as best he may.

When they saw the white bride leap out of the tombstones and scamper off towards the castle with the werewolf stumbling after, the peasants thought the Duke's dearest victim had come back to take matters into her own hands. They ran screaming from the presence of a ghostly vengeance on him.

Poor, wounded thing ... locked half and half between such strange states, an aborted transformation, an incomplete mystery, now he lies writhing on his black bed in the room like a Mycenaean tomb, howls like a wolf with his foot in a trap or a woman in labour, and bleeds.

First, she was fearful when she heard the sound of pain, in case it hurt her, as it had done before. She prowled round the bed, growling, snuffing at his wound that does not smell like her wound. Then, she was pitiful as her gaunt grey mother; she leapt upon his bed to lick, without hesitation, without disgust, with a quick, tender gravity, the blood and dirt from his cheeks and forehead.

The lucidity of the moonlight lit the mirror propped against the red wall; the rational glass, the master of the visible, impartially recorded the crooning girl.

As she continued her ministrations, this glass, with infinite slowness, yielded to the reflexive strength of its own material construction. Little by little, there appeared within it, like the image on photographic paper that emerges, first, a formless web of tracery, the prey caught in its own fishing net, then in firmer yet still shadowed outline until at last as vivid as real life itself, as if brought into being by her soft, moist, gentle tongue, finally, the face of the Duke.

About The Author:

Angela Carter was born in 1940. When she published her first novel, Shadow Dance, in 1966, she was immediately recognized as one of Britain's most original writers. Eight other novels followed: The Magic Toyshop (1967, John Llewellyn Rhys Prize), Several Perceptions (1968, Somerset Maugham Award), Heroes and Villains (1969), Love (1971), The Infernal Desire Machines of Doctor Hoffman (1972), The Passion of New Eve (1977), Nights at the Circus (1984, James Tait Black Memorial Prize), and Wise Children (1991). Angela Carter also published three collections of short stories The Bloody Chamber (1979, Cheltenham Festival of Literature Award), Fireworks: Nine Profane Pieces (1984), and Saints and Strangers (1985, published in the UK as Black Venus)a book of essays called The Sadeian Woman, two collections of journalism, and a volume of radio plays. She translated the fairy stories of Charles Perrault and edited collections of fairy and folk tales as well as Wayward Girls & Wicked Women: An Anthology of Subversive Stories (1986). She also wrote the screenplay for the 1984 film The Company of Wolves, based on her short story. A fourth collection of stories was published in the United Kingdom in 1993 as American Ghosts and Old World Wonders. Angela Carter's stories have been collected in one volume entitled Burning Your Boats.

From 1976 through 1978 Angela Carter was Arts Council of Great Britain Fellow in Creative Writing at Sheffield University, and from 1980 through 1981 she was visiting professor in the Writing Program at Brown University. She traveled and taught widely in the United States and Australia but lived in London. Angela Carter died in February, 1992.

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Angela Carter - The Bloody Chamber And Other Stories

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Published by the Penguin Group Penguin Books USA Inc.,375 Hudson Street, New York, New York 10014, U.S.A.Penguin Books Ltd, 27 Wrights Lane, London W8 5TZ, EnglandPenguin Books Australia Ltd, Ringwood, Victoria, AustraliaPenguin Books Canada Ltd., 10 Alcorn Avenue,Toronto, Ontario, Canada M4V 3B2Penguin Books (N.Z.)

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A collection of essays on The Bloody Chamber 

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A collection of essays on The Bloody Chamber 

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A CRITIQUE OF THE SNOW CHILD, TAKEN FROM ANGELA CARTER'S THE BLOODY CHAMBER.The first example can be seen in the title of this story - the aspect of snow suggests purity that audiences have come to associate with the colour white whilst the word 'child' suggests the innocence that can only be possessed by children so young.

Throughout 'The Bloody Chamber', Angela Carter takes the highly successful conventions that belong to once innocent fairy tales, and rips them unremorsefully from their seemingly sound foundations to create a variety of dark, seductive, sensual stories, altering the landscapes beyond all recognition and rewarding the heroines with the freedom of speech thus giving them license to grab hold of the reigns of the story.

The connotations carried by colour are used to give us an insight into the personalities of both the Count and the Countess. For we are told that the Count rides 'on a grey mare' and the Countess 'on a black one'. Therefore, if the colour white is associated with purity and goodness as previously mentioned, the colour black is at the opposite end of the spectrum, seeming to suggest evil whilst the colour grey is in between - not totally good but not totally evil either. This begs the question, certainly in mind, as to whether or not we are supposed to feel some sort of ambivalence towards the Count, given his associated colours - however, his language and his later actions seem to deter this thought.

'Oh how I long for a girl as white as snow'.

At face value, this certainly seems to suggest sexual desire yet the words 'girl', suggests innocence and the colour 'white' used in the simile suggests purity, possibly virginal purity which in today's
context
The Snow Child is one such story by Carter, where connotations seen in fairytales such as 'Sleeping Beauty' and ' Little Red Riding Hood' are in evidence and are fused together accompanied by the emergence of feminism to the foreground ...show more content...

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A CRITIQUE OF THE SNOW CHILD, TAKEN FROM ANGELA CARTER'S... | Bartleby

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A CRITIQUE OF THE SNOW CHILD, TAKEN FROM ANGELA CARTER'S THE BLOODY CHAMBER.The first example can be seen in the title of this story - the aspect of snow suggests purity that audiences have come to associate with the colour white whilst the word 'child' suggests the innocence that can only be possessed by children so young.

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Pornography, Fairy Tales and Feminism: Angela Carter's The Bloody Chamber"

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Pornography, Fairy Tales and Feminism: Angela Carter's The Bloody Chamber"

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Robin Ann Sheets

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Sartorial Rhetoric and Gender Roles in Bloody Chamber

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The Eyes of a Panther - Video based on 2017 AS Exam Extract

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The Eyes of a Panther - Video based on 2017 AS Exam Extract

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Margaret Atwood

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Traditional folk tales were the oral tradition of adults. Stories about peoples' lives and imaginations as they struggled with their fears and anxieties by telling tales. Probably helped them to better be able to struggle with them in real life. While many of these tales weren't told specifically for children it is almost certain that they too would listen and enjoy as well as develop respect for certain elements described in the stories.

Characters, plot, setting, theme, events, real life all ages problems based on real life events, setting is every time.

Story Elements

Characterization

Characters are flat.

Usually very good or very bad with most characteristics exaggerated.

The hero and heroine are usually young.

The heroine is usually fair, kind, charitable, and caring.

The hero is usually honorable, courageous, unselfish, and caring.

Both usually have special abilities or powers.

Place is described easily and briefly (humble cottage, magic kingdom) that fits the typical geography of the culture or it is not mentioned but assumed.

Time is in the past (usually long-ago) imbedded within the history of the culture.

Time is fantasy time (Once upon a time sets the stage and They lived happily ever after closes the tale.) any time or any place, timeless or placeless, or long long ago.

Very simple, though interesting.

Thought provoking to didactic.

Is full of action and follows specific and simple patterns. The plot starts right out with fast moving action that grabs the listeners interest and keeps it. Conflicts are usually resolved with great deeds or acts of human kindness related to good and bad/evil.

Usually universal truths, lessons, and values related to people, their actions, and/or material goods that is valued by the group that creates the folktale.

Often the tales tell what happens to those who do not obey the groups traditions.

1. Problems of young adults

2. Security

3. Fear of leaving home

4. Fear of not having children

5. Fear of not being loved or giving love

6. Reflect basic values and concerns of different cultures

7. Good and evil

8. Right and wrong

9. Justice and injustice

10. Happiness, kindness, friendship, loyalty

11. Good triumphant over evil

12. Love and loyalty

13. Love and loyalty can transform ...

14. Discuss basic values of people

Descriptions are quick and to the point with little description and detail.

Plausability story is possible but not probable.

A promise father promises to send one daughter, if set free; promises first son, if spin gold;

Number three father has three daughters and three sons, and three weeks to return

Magic Supernatural beings Objects (mirror, beans, golden objects) Spells, Enchantments,

Magical transformations, Character transformed by a spell and only the love or loyalty of another character can break the spell Ugly person casts a spell on ... Spell is broken and turns into a ...

Run away from home Gingerbread Boy - English, The Bun - Russian, The Pancake -

Norwegian Cumulative Henny Penny, sequence of events or characters that accumulate.

Repeat phrases, develop logic and sequential thinking (for preoperational children), and understanding for more sophisticated literature. The House that Jack Built, The Old Lady that Swallowed a Fly.

Extraordinary animals, monster, or other animated things. Three Little Pigs, Shrek

Explain a natural phenomena or custom. How Rabbit Stole Fire, Why Mosquitoes Buzz in people's Ears, Tikki Tikki Temkbo.

Good versus bad/evil

Reflection of human strengths, frailities, weaknesses, or imperfections.

Reader is lead to new insights and/or understandings.

Point of View
Often third person narrative. Could be first.

Quality Characteristics

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folk tale - description of story elements and quality characteristics

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Folk Tale - description of story elements and quality characteristics

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Traditional folk tales were the oral tradition of adults. Stories about peoples' lives and imaginations as they struggled with their fears and anxieties by telling tales. Probably helped them to better be able to struggle with them in real life.

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Gradesaver

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The Bloody Chamber is a collection of short stories by legendary British writer Angela Carter, whose untimely death in 1992 brought her work extensive critical attention. It was first published in 1979, at which time it won the Cheltenham Festival of Literature prize. Many consider The Bloody Chamber to be a feminist reworking of the patriarchal fairy tale form, yet Carter expressly said otherwise. In her view, she was simply exposing the previously obscured core content of fairy tales. She said, "I was taking the latent image - the latent content of those traditional stories and using that; and the latent content is violently sexual, and because I am a woman I read it that way." She also said that despite their female focus, her stories might "affect men much more than women," because in her opinion, women already recognize the falseness in literature that "mythologizes" them. When Carter wrote The Bloody Chamber, she had been reading the work of Bruno Bettelheim, who inspired her to seek out the psychological aspects to fairy tales. She took issue with Bettelheim's assertion that fairy tales are "consoling" to children, and challenged his assertions by unearthing themes of rape, torture, murder, incest, and cannibalism in her own versions. Opposing many academic voices that might exclude fairy tales from the literary canon, Carter said, "I do tend to regard all aspects of culture as coming in on the same level. If fairy tales are the fiction of the poor, then perhaps Paradise Lost is the folklore of the educated."

Carter published The Bloody Chamber two years after translating the fairy tales of Charles Perrault into English, and many of her stories are based on his versions, although they draw from diverse sources. The collection as a whole refocuses traditional fairy tales to address the heroine's experience. In some, the heroine herself claims a voice by acting as narrator. Carter based the book's title and longest story, "The Bloody Chamber," on the legend of Bluebeard. "The Courtship of Mr. Lyon" and "The Tiger's Bride" both originate from Beauty and the Beast. " Puss-in-Boots" comes from the fairy tale of the same name, and " The Erl-King" borrows its title and title character from German and Scandinavian folktales. " The Snow Child" is based on a somewhat obscure version of Snow White, and "The Lady of the House of Love" is based loosely on Sleeping Beauty as well as vampire legends. The last three stories in the collection, "The Werewolf," "The Company of Wolves," and " Wolf-Alice" all draw on versions of Red Riding Hood. "Wolf-Alice," The Bloody Chamber's finale, also incorporates ideas from Lewis Carroll's Through the Looking Glass and What Alice Found There as well as stories of feral children. Carter collaborated on a film version of "The Company of Wolves" with director Neil Jordan, which was released in 1984. The movie reworks the story's ending, of which Carter approved because her interest was in melding her vision with Jordan's. Additionally, several of the stories in The Bloody Chamber have been made into stage plays, especially "The Bloody Chamber" and "The Tiger's Bride." Carter's canonization, though after her death, is evidence that she has fulfilled her "wish to validate [her] claim to a fair share of the future by staking [her] claim to [her] share in the past.'"

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The Bloody Chamber is a collection of short stories by legendary British writer Angela Carter, whose untimely death in 1992 brought her work extensive critical attention. It was first published in 1979, at which time it won the Cheltenham Festival of Literature prize.

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Carter's revision of BlueBeard

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by Rosemary Moore
Department of English
University of Adelaide

Carter repeatedly declared her interest in the myth of woman and the construction of sexuality. In 1979 her interests coincided in the publication of two different but related works, The Bloody Chamber and The Sadeian Woman. Sade's attempt to demythologize motherhood and femininity was therefore in her mind as she was revising Perrault's classic fairy tales and he became the model for Bluebeard. Since pornography and religion have informed men's phantasies about women his work is integral to Carter's interrogation of the Western imagination in pursuit of demythologizing woman.

Carter rewrites Bluebeard from the point of view of his fourth wife, an impecunious young pianist with a belief in romance. Instead of becoming victim to her husband's view that all women are whores who should be punished, her brief marriage causes her to see through the ideology of romance and the idealization of the feminine woman, and thereby to take her place in the world as a fully responsible human being. Carter changes the traditional plot to promote a partnership instead of a marriage. In choosing a story of cultural significance she reveals the influence of inherited cultural ideas on material existence. We see how the stories we inherit influence our identity, our being, and our sense of reality, since reality is what we believe it to be on the basis of the stories we are told. Our freedom as individuals depends on becoming aware of the way in which we can be trapped by the various forms of representation that mask our identity for ourselves. Thus, life, liberty and happiness depend on being independent of the idealized images of selfhood fostered by tradition, in order that we are not subsumed by them.

The Bloody Chamber depends for its interpretation on stories that have shaped Western culture and identity. The Bluebeard story is of particular interest because it prepares children for their roles in adult life. It is the story of a young girl's sexual initiation in courtship and marriage. It involves her sexual awakening as well as Carter's deconstruction, by means of Gothic excess, of a marriage based on dominance and submission. The young woman's maturity is no longer defined by her biological role, in consequence of which she must produce a son and heir for her husband.

As a popular oral art form that gives us access to lives lived in the past, the fairy tale has historical and cultural significance. Because it allows everyone to participate in the cultural domain, regardless of their status or gender, it is a democratic art form that was the preserve of women, who could make stories their own in the manner in which they told them. The work of the men who collected them for publication shows how they made changes to reinforce middle class values. Fairy tales are pre-eminently tales about the politics of experience, but their significance for Carter lies in the way they reflect 'male phantasies about women and sexuality' (Zipes, cited by Lappas 116).

The way in which Bluebeard was altered in the process of being written down to meet middle class needs reinforced Christian values because the central protagonist was based on Eve — a woman destined to be punished likewise for the sins of curiosity and disobedience. In Perrault's version, as translated by Carter, the desire on the part of the younger of two sisters to make a good match is applauded by all her friends, who congratulate her on her good fortune once they perceive her wealth. Any negative consequences that might arise from marriage to an ugly, old, authoritarian man is overlooked. Thus the tale serves to affirm middle class acquisitiveness whilst, at the same time, warning young females that curiosity comes at a price. Just as Eve's punishment was to bring mortality to mankind as well as pain to herself through disobedience, so Bluebeard's wives face an early demise as a punishment for disobeying their husband's decree. It follows that women should know and accept their place and that their sexual proclivities should be in the control of a male authority figure.

Whilst it does not seem right to us that a young woman should be condemned for disobedience when she discovers that her husband is a serial killer who has got away with murder, in the late seventeenth century it was deemed natural that husbands should master their wives. Yet, Perrault's first moral challenges this assumption. For, he suggests that women's curiosity is after all an irrepressible female trait and that, in a 'modern' context, if a wife showed herself to be boss, her husband would accept it. Yet, the primary moral remains the idea that curiosity is 'the most fleeting of pleasures,' that it can never be satisfied, and that it is inevitably 'very expensive' (Perrault 41).

We do not have access to Bluebeard's mind in the original story. His actions are arbitrary and he is merely unattractive because his beard is blue. However, as a wealthy man in search of a wife he inevitably succeeds in marrying. To this end he presents himself as a man of pleasure and a generous host. He invites two young sisters with their friends to a country house party. He provides them with extensive pleasures over a period of eight days and nights at the end of which time the younger sister finds that she can no longer remember why she had previously thought him unattractive. He puts her to the test after a month of marriage, at which time he leaves her with the keys to his treasures and his interdiction. Whilst he is away her friends feel free to visit her. Yet, their admiration of her possessions is a spur to her curiosity. She thus discovers the corpses of her husband's previous wives reflected, each with her throat cut, in pools of clotted blood upon the floor. Since the blood cannot be washed from the key she drops in shock, her disobedience is evident. Thus, upon her husband's sudden return, she is condemned to die. Prayers and prevarication provide just enough time for her brothers to arrive and dispatch her would-be executioner, thereby saving their sister for a new life with 'an honest man who made her forget her sorrows as a wife of Bluebeard' (Perrault 40).

Although Perrault's story has a positive ending in which his protagonist survives to marry a better man, she is saved accidentally by her brothers who arrive just in time to kill her husband before he kills her. She is not instrumental in her release and she is not given any consciousness beyond that of fearing death. Carter acknowledges that in fairy tales characters are generally abstractions and her young bride is nameless because she is defined by her role as Marquise. Nevertheless, she is endowed with consciousness. She is permitted to tell the story from her own point of view; her awakening to her own sexuality is a spur to self-consciousness; and she chooses her future life based on discovering her own values rather than accepting them as socially given. Thus she is a model for a new way of being which shows that it is possible to be free from the burden of an inherited sexual mythology, which has rendered her forbears the 'slaves of the history' ( Notes 74). Sexuality cannot be effaced in Carter's reworking of the classic tale because 'sexual relations between men and women always render explicit the nature of social relations in the society in which they take place,' which 'if described explicitly, will form a critique of those relations' ( Sadeian Woman, 20).

Carter saw the possibilities in Sade as an historical variant of Bluebeard and, in choosing to set her story in nineteenth century France, she gained access to cultural works that reflect the underlying misogyny in Western culture. As the theme of 'The Reproof of curiosity' indicates, misogyny goes back to the beginnings of history. For instance, in Pandora's Box, Eliphas Levi (pseudonym for Alphonse Louis Constant) refers to the well known myth in which Zeus sent Pandora to earth with a vase filled with curses in order to punish unruly men. Zeus calculated on her curiosity because she was unaware of what the vase contained. She was therefore held responsible for bringing all imaginable evils into the world, leaving only hope behind in her fright.

Similarly, an all-knowing God knew that to forbid an act is an incitement to perform it. Satan sought to encourage Eve's curiosity by inciting her to think she could become a god by eating the forbidden fruit. The problem for actual women is that, being regarded as the daughters of Eve, their sexuality is deemed to be likewise sinful and punishable. The masked man who anticipates whipping the naked girl in Rops's picture entitled 'Reproof of curiosity' chastises her flesh. When Carter's protagonist faces decapitation she knows she has been tricked by her husband since he knew that, in forbidding it, he was inciting her to open the door of the chamber at the end of the long corridor. Her manifest sinfulness would thus justify her death and the eradication of the sexual sin for which she stands. The Marquis is the paradigmatic Western man whose attitudes to sexuality are feudal and who believes that a woman is his slave. Because he stands at the head of an ancient family of aristocrats who have ruled France for five centuries, his family traditions go back to the beginnings of Western civilization. But, since he lives in a world that allows for modern methods of communication, telephones and cars, he foreshadows the present.

The analogy with Sade allows Carter to endow her Bluebeard with a complex inner life and an actual history. He is a man whose identity is based on powers and privileges bestowed on him by right of inheritance as an aristocrat. He is also an everyman who reveals the extent to which, in the history of sexuality, sexual relations have been power relations. Carter's youthful bride is politicized by discovering that she is equivalent to a piece of meat on a butcher's slab. However, this proves to be the route to her self-assertion and her perspective challenges the supposition that the Marquis's views represent the norm.

The young woman is rapidly initiated into a world she has never known. In the moments during which the Marquis anticipates her rape, she studies him through his possessions - his library, his objects d'art, and his collection of paintings. For, she needs to know the nature of the man she has married, especially as he hides behind masks and gives nothing of himself away. What she discovers is the price to be paid for having so magnificently fulfilled society's proscriptions for a good match, having bartered her life for death. However, her escape is not the prelude to another marriage, as she chooses to set up a ménage-a-trois with her mother and a loving partner. Thus she avoids the institution of marriage with its requirement to love, honor, and obey a husband till death.

An abusive husband with conjugal rights is replaced by a kindred spirit and loving companion. Jean-Yves loves her for herself because, being blind, he cannot see her as a sex object. He cannot see the red mark left by the impression of the bloody key on her forehead, with which the Marquis has branded her. However, this is not a sign of guilt. Because it shows that she is capable of good and bad actions, it reveals the young woman's full humanity. She is not reinserted into the patriarchal system which makes separation from the mother the condition for growth and individuation, and her mother, not her father, is the model for identity, independence and initiative. She finds the same courage in herself and the same wish to take control of her own life as her mother had shown, and their relationship constitutes a model for loving freely within the safety of a secure bond. She and Jean-Yves can each pursue an independent path within a relationship of equality.

In The Sadeian Woman Carter considers the situation of a young woman brought up to believe that her beauty makes her an object of reverence for a man. She is destined to suffer a shock when reality intervenes - 'when the state of grace in which she believes she exists is abruptly revoked' ( Sadeian Woman, 72). It will then be her humiliation to discover 'that her value has never resided in herself, but in the values of the open market' — that 'Like a common criminal, she has {had} a price on her head' and can be 'bought and sold' like a cake ( Sadeian Woman, 74). Initially Bluebeard appears to support his wife's idealization. For, he thinks of her as a baby, a child, and a nun, though he intends to corrupt and humiliate her in order to prove her a whore. Her initial shock comes when she perceives herself as he sees her 'with the assessing eye of a connoisseur inspecting horseflesh, or even of a housewife inspecting cuts on the slab,' when she notices 'the sheer carnal avarice' of his look, 'strangely magnified by the monocle lodged in his left eye' (12). When she discovers later that his former wives were not virgins, she realizes 'with a shock of surprise, how it must have been my innocence that captivated him, the silent music of my unknowingness' (22).

A child-bride of seventeen reared in the sheltered world of music, the young woman is the product of a romantic ideology. Her 'coming out' is set against the background of Wagner's opera celebrating the idealized but tragic love affair between Tristan and Isolde. It epitomizes the cultural forces that encourage a young girl to dream of romance and to imagine that true passion can only be consummated in death. The beauty of 'the white-hot passion' (11) of the Liebestod causes a catharsis of emotion that enhances the romantic myth on which the opera is based which, as an artist herself, the young woman fully appreciates. It convinces her that she must truly love the Marquis, especially as the scent of his cigar produces 'a remembered fragrance' that recalls the father she loved and lost, 'how he would hug {her} in a warm fug of Havana, when {she} was a little girl, before he kissed {her} and left {her} and died.' (14) For, it is the memory of his sympathetic touch when he took her to a performance of Tristan as a child that fuels her expectation that the Marquis will similarly love and protect her.

She is convinced that his desire represents an 'imponderable weight' (10) - that it is a force he cannot deny. The transition from poverty to unimaginable wealth, and from nonentity to social status, symbolizes her expectation that love promises personal transformation. For, hers is a fairy tale romance in which she will be placed alongside the world's celebrities — the beautiful women who have been Bluebeard's former wives. To her mind they are the incarnation of the Three Graces - goddesses who enhance the life of others through their refinement and gentleness — quite unlike the actual persons gossiped about in the old magazines she reads.

Her story begins as she is borne off by train to a fairy castle of romance at which time excitement sharpens her senses. That her mother 'defiantly beggared herself for love' (8) is an added inducement to her to suppose that love is all. However, when her eyes are finally opened, she declares that 'in my heart I had always known {he} would be the death of me' (39). At this time she no longer unconsciously follows the romantic scenario of love and death. For, she has learned to separate her identity from the fictions of ideal womanhood that have promoted her passivity, and can no longer be subsumed by her husband's identity.

Initially, she constructs her new home as a place of 'faery solitude' (15), because it is set in 'a landscape with all the deliquescent harmonies of Debussy' (14). Since it is 'a mysterious, amphibious place, contravening the materiality of both earth and the waves' she is encouraged to think of herself as 'the Queen of the sea' (16), as the mysterious woman of male fantasy. However, her awakening reveals that she possesses a body which is the product of history and which, like everything else, arises out of the constructions and representations of the past.

Carter aims to understand what particular configurations of imagery in Western culture actually mean, how ideas influence individual lives. Thus her analysis of Bluebeard in relation to historical reality makes clear why her protagonist is disillusioned with idealized womanhood and romantic love and determined to embrace an ordinary life. Having been born into a privileged position in a society in which power was a social category available only to those born to rule, Sade is a prototypical patriarchal figure. It is natural to him to use other human beings for his own ends. For, in his view, nature supports men's right to abuse women by having given them the strength necessary to make women submit to their desires.

A distinguishing feature of Sade for Beauvoir, was his understanding that 'the pleasure of the senses was always regulated in accordance with the imagination' ( Marquis, 33). Thus, in conceiving of eroticism as the mainspring of human behaviour, he anticipated Freud. As she noted, he criticized conventional beliefs precisely because he wanted 'to free the individual from the ideals to which society {had} bound him' (Marquis 41). For Carter, his extraordinary fantasies about women led him to demystify 'the most sanctified aspects of woman' related to 'the mothering function' ( Sadeian Woman, 36) and a belief in women's purity and goodness. Indeed, his hatred of his own mother is considered by Klossowski to be 'the key to his work' (Marquis 6). In his novel, Justine, or Good Conduct Well Chastised (1792), Sade set out to show that virtue is a source of man's unhappiness, that goodness leads to suffering, and that a bad woman may use her reason to rid herself of the more crippling aspects of femininity. For Carter, the good woman is woman in the context of the historical past, 'enslaved, miserable and less than human,' and the bad woman is the woman of the future, the one 'who will have wings and who will renew the world.' (SW 79). Yet, she anticipates their synthesis in a woman like Bluebeard's wife, who is 'neither submissive nor aggressive,' but is 'capable of both thought and feeling' ( Sadeian Woman 79).

Carter's Bluebeard is not liberatory by intention. Yet, he is a catalyst to his wife's liberation because he makes her aware of the cultural ideology behind her mistaken choice. Like Sade, he is a man of absolute power whose wealth and rank allow him to purchase a woman like a commodity, and he treats his own foster mother, now his housekeeper, as an item of utility. He demands of her a feudal relationship in consequence of which she forfeits all individuality. He is an omnipotent master who keeps his wife under observation, like an all-seeing God whose decrees may not be evaded. Being her superior in age, sex, wealth and rank, he shows that 'the sexes are determined ...by the historical fact of the economic dependence of women upon men.' (SW, 6-7). His extreme carnality links him to the satyr of Greek mythology, half-man, half-beast, and having an evil intent behind a seductive appearance links him to Satan. Yet, finally he is a mere mortal, subject to the corruption of the flesh, and his death subverts his mythological status, thus bringing to an end an ancestral line which stems from the Bluebeard of oral history.

As Beauvoir pointed out, though writing in a predominantly religious age, Sade denounced Christianity as 'a religion of victims.' ( Marquis, 41), he also knew that 'pleasure' arises 'from sacrilege' - 'from the profanation of objects offered us for worship' ( Marquis, 28). For, as Carter also noted, an act of defilement relies upon the concept of 'the holiness of the temple' for its meaning ( Sadeian Woman, 72). Carter surprises us by juxtaposing the language of religion with the language of pornography, because both promote women's passivity and victimization by promising power through submission. It is therefore important to her critique of sexual ideology that Bluebeard's consumerism of art is like his sexual appetite and cannot be satisfied. He has an obsessive and sadistic desire to consume everything with which he comes into contact. That his castle is a treasure trove filled with the collections of 'five centuries of avid collectors' (23) indicates that his forbears were the same.

The castle is a repository of cultural artifacts that illuminate the statement by the Marquis's favourite poet, that 'there is a striking resemblance between the act of love and the ministrations of a torturer' (p.33). His Bible, Huysmans' novel Là-Bas, records a quest to understand the world of a Medieval Satanist, Gilles de Rais, the kidnapper, torturer, and killer of children. Research into his predations by the narrator and author-surrogate reveals the presence of living men who resemble him in profaning the sacred, such as an ex-priest he meets who has murdered a child he fathered with a nun on the altar after mass. The rape of a child bride in the name of marriage is likewise a violation of the sacred.

The Marquis's taste for the Symbolist painters is revealing. 'There was Moreau's great portrait of his first wife, the famous Sacrificial Victim with the imprint of the lacelike chains on her pellucid skin' (23) — an innocent whose naked flesh reveals her true nature. Like his tapestries which depict the rape of the Sabines, his paintings represent mythological scenes in which women are punished for their sex - Ensor's 'monolithic canvas, The Foolish Virgins,' 'The Adventures of Eulalie at the Harem of the Grand Turk,' and Immolation of the wives of the Sultan' (19). What unites the painters to whom Carter refers - Rops, Moreau, Ensor, Gaugin, Fragonard, and Watteau - is the representation of women in mystical and religious settings concerned with the dichotomy between good and evil, spirituality and physicality, light and darkness. Redon and Rops also adopted Baudelaire's ideas about woman as the incarnation of evil, the corrupter of man, who transformes love-making into an evil act.

Thus, because Eve disobeyed God's decree, artists have berated a fallen world and their place in it. Yet, the fact that the second mother of the race, Mary, brought about the redemption through her son, Jesus, provides the Marquise with a positive role model, together with the patron saint of music, St. Cecelia. Nevertheless, the division of women into pure and impure types has fatal consequences for her life. To discover her humanity through her sexuality she must discard this fiction. Yet, being self concerned, the Marquis is unaware of her sexual awakening, and he regards any expression of independent desire on her part as corrupt. He deflowers his child bride in the same way as Sade's heroes 'amuse themselves by deflowering little girls' ( Marquis 24). For the Sadean hero 'male aggression...is never softened by the usual transformation of the body into flesh. He never for an instant loses himself in his animal nature; he remains so lucid, so cerebral, that philosophic discourse, far from dampening his ardor, acts as an aphrodisiac' (Marquis 21). The Marquis therefore anticipates the pleasure of rape and the pleasure of seeing his image multiplied many times over in strategically arranged mirrors in the act of raping 'a dozen vulnerable, appealing girls' (38). His bride is dressed in the ruby necklace —her inheritance as a wounded creature that bleeds and must die. For her, the reflections in the mirror reveal 'a dozen husbands impaling a dozen brides.' Following her violation she has a fractured sense of self in which she is divided from her body as if a part of herself was with the 'mewing gulls' whom she observes swinging 'on invisible trapezes in the empty air outside' (20).

Love and death are inevitable bedfellows. The Marquis twines his bride's hair into a rope to reveal her lovely neck as he prepares to sever it. He fills the rooms with funereal lilies which bloom out of their natural season. However, instead of conveying the mystery whereby God's semen entered Mary's ear through the lily in Gabriel's hand, these lilies have stamens that stain and stems that resemble dismembered limbs. As symbols of mortality they are associated with the Marquis's scent, which seems 'to revert to the elements of flayed hide and excrement of which it was composed' (35). The fact that the 'grand, hereditary, matrimonial bed' is an heirloom on which generations of the Marquis's family have been born, made love, and died, reveals the trajectory of women's lives. That it is 'made of ebony...sliced from the heart of trees' speaks of violated nature in both cases.

When the young woman leaves home she declares, 'my cup runneth over' (11-12). Yet, from the moment of arrival at the castle she discovers that her marriage condemns her to imprisonment, loneliness, and obedience to the laws that govern rank, which makes her a slave to her husband. She is forbidden to gossip with servants and is exiled from the world of chatter, warmth and human love which she glimpsed through the train window on the journey - 'those rectangles of domestic lamplight that promised warmth, company, {and} a supper of sausages hissing in a pan on the stove for the station master, his children tucked up in bed asleep in the brick house with the painted shutters' (13). Then her head was filled with the romance of her situation. It is not until she is given the keys of the castle that she realizes what the practical aspects of marriage to a great man might mean, that she has responsibilities as the castle's mistress, as its châtelaine, the keeper of the keys. However, her child-like lack of forethought and tastes lead indirectly to her preservation. For, when she bursts into tears on the phone whilst proclaiming that she is happy, her mother knows that she is in trouble.

Once Blubeard has gone on his ostensible business trip, she has a strong motive to discover the key to his nature. Clearly he has something to hide. Maybe she will find his heart, pressed flat as a flower, crimson and thin as tissue paper,' laid 'in a file marked Personal'?' (30) Perhaps his soul is visible in the secrets of the Forbidden Chamber? What she does find there is the meaning of the idea that 'there is a striking resemblance between the act of love and the ministrations of a torturer' (33). The Marquis's previous wives were tortured to death and embalmed so that they look alive. He therefore retains power over them for all time. Tricked into her own betrayal, the young woman realizes her actions have been scripted for her. Reason tells her that there is no way to avert her fate. Yet, music provides a way out — not romantic music, but the formal, rational, balanced music of Bach's Well Tempered Clavier. It brings Jean-Yves to her side and their shared confidences prepare them to face the Marquis's return with courage.

Carter challenges the plot laid down for nineteenth heroines, which decrees that any young woman who marries for love against a father's wishes must die. When she was abandoned in her teens with a child, adversity inspired her mother to acts of heroic courage. She divested herself of all romantic notions, and sold her wedding ring to give her daughter an education and thereby the means to earn her freedom from dependence on a husband. Having grown 'magnificently eccentric in hardship,' the mother has retained her husband's 'antique service revolver' (8) for an emergency.

The ending replaces the quest for romantic intensity in love and death with an agenda for life and happiness. It replaces a relationship between power and submission with one of mutual affection and equality. Widowed at seventeen by her mother's hand, the young marquise is not a penny richer than before, but she is rich in her primary relationships, and able to pursue her chosen profession with a loving partner. In dedicating the Marquis's fortune to a school for the blind she reverses the traditions of the Castle of Murder and no longer has a need to be the perfect woman for a man.

Carter's aim has been to demythologize the traditional story of woman's place and to create a new one. Whilst she has offered a critique of Western culture, she has also retained a sense of continuity with the female storytellers of old. She has told the story in her own way for her own time. She has given legitimacy to the young to create a home based on the clarity of the heart's vision. Mutuality, equality, and individuality can thus be celebrated as the basis of the social good. This disposes of Sade's view that "Any enjoyment is weakened when shared."'(Marquis 22). The historical context gives depth to Carter's analysis of gender relations, and the path to maturity is redefined through the young woman's confrontation with sexual and cultural ideology. The demystification of femininity ensures that female maturity it is no longer the product of a biological aim, but is related instead to a world of independent selfhood in which a young woman can achieve her heart's desire personally and professionally.

Works Cited

Carter, Angela. The Bloody Chamber and other stories. London: Victor Gollancz Ltd., 1979.
The Sadeian Woman: An Exercise in Cultural History. London: Virago, 1979, rpt. 1992.
'Notes from the Front Line.' In Wandor, Michelene, ed. On Gender and Writing. London: Pandora Press, 1983.
Trans. and forward. The Fairy Tales of Charles Perrault. London: Victor Gollancz Ltd, 1977.
Lappas, Catherine. 'Seeing is Believing, but touching is the truth: Female Spectatorship and Sexuality in The Company of Wolves.' Women's Studies, 25 (1996), 115-135.
The Marquis de Sade: The 120 Days of Sodom and other writings, compiled and translated by Austryn Wainhouse and Richard Seaver, with introductions by Simone de Beauvoir and Pierre Klossowski. New York: Grove Press, Inc., 1966.
Sage, Lorna. 'Death of the Author.' Granta 4: Biography. New York: Granta Publications, 1992.

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The Reproof of Curiosity: Carter's revision of Bluebeard

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by Rosemary Moore Department of English University of Adelaide Carter repeatedly declared her interest in the myth of woman and the construction of sexuality. In 1979 her interests coincided in the publication of two different but related works, The Bloody Chamber and The Sadeian Woman.

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The British Library

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Angela Carter, Gothic literature and The Bloody Chamber

The Bloody Chamber is a collection of modern fairy tales, many of which incorporate elements of Gothic literature. Greg Buzwell traces the Gothic influence on Carter's stories, from the Marquis de Sade to Edgar Allan Poe.

Introduction

Like every great author of Gothic fiction, Angela Carter was blessed with an intensely vivid and extremely dark imagination. Gothic imagery permeates all of her work but nowhere more so than in The Bloody Chamber (1979), a collection of tales that delights in moonlit forests, graveyards, isolated castles, locked rooms, guttering candles and the howling of wolves in the night. The stories in The Bloody Chamber primarily have their origins in fairy tales, but Carter gave these old and much-loved narratives a radical twist, providing a feminist perspective to stories in which the female characters were young, demure and helpless or else old, haggard and witch-like. As Carter commented in her essay 'Notes from the Front Line', 'I am all for putting new wine in old bottles, especially if the pressure of the new wine makes the old bottles explode'. Carter also took inspiration from Gothic literature's rich heritage, adapting themes and motifs from classic tales of terror and giving them her own uniquely individual slant.

Influences and inspirations

One of the most important influences on Angela Carter's work was the American author Edgar Allan Poe (1809-1849). Carter's afterword to her first collection of short stories Fireworks (1974) includes the observation: 'I'd always been fond of Poe and [Ernst] Hoffmann - Gothic tales, cruel tales, tales of wonder, tales of terror, fabulous narratives that deal directly with the imagery of the unconscious - mirrors; the externalized self; forsaken castles; haunted forests; forbidden sexual objects'. Poe himself even features as a character in one of her short stories - 'The Cabinet of Edgar Allan Poe' - included in the collection Black Venus (1985). The tale visualises Poe's imagination being shaped by his troubled childhood and in particular by the hours he spent watching his mother acting on the stage, playing roles in which she died, often violently, night after night only to return to life when the curtain came down and the lights went up. The story doesn't attempt to explain Poe's talent, but it does offer a suggestion as to why his imagination so frequently embraced the grotesque and bizarre:

Now and then, as a great treat, if he kept quiet as a mouse, because he begged and pleaded so, he was allowed to stay in the wings and watch; the round-eyed baby saw that Ophelia could, if necessary, die twice nightly. All her burials were premature.

It is easy to imagine how a story such as Poe's 'The Oval Portrait' (1842), in which a male artist's painting of his female model becomes increasingly lifelike as the model herself fades towards death, could have been an influence on The Bloody Chamber, a collection of tales in which any woman who remains passive under the male gaze invariably finds herself in peril. In a similar fashion Carter's 'The Loves of Lady Purple', published in Fireworks, in which a male puppet-master grows frail while his female puppet becomes ever more animated plays out the artist/subject relationship of 'The Oval Portrait' in reverse. Another example of Poe's influence on Carter's work can be found in her novel Love (1971), which includes a psychologically unstable woman, Annabel, and her husband Lee, an echo of Poe's poem 'Annabel Lee' which deals with that most morbidly Gothic of all themes - the beautiful but fragile woman, doomed to die young.

Poe's Tales of Mystery & Imagination, illustrated by Arthur Rackham

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'The Oval Portrait' by Edgar Allan Poe, illustrated by Arthur Rackham and published in Tales of Mystery & Imagination, 1935.

Manuscript drafts of 'Alison's giggle' and an article on Edgar Allan Poe by Angela Carter

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'His mind was a cabinet of marvels': from a draft essay by Angela Carter on Edgar Allan Poe and his short story, 'The Fall of the House of Usher'.

Usage terms © Displayed with the permission of the Estate of Angela Carter c/o Rogers, Coleridge & White Ltd., 20 Powis Mews, London W11 1JN. Angela Carter's work is published in the UK by Vintage, Virago, Penguin Classics. You may not reuse the material for commercial purposes.

The main inspiration for the stories in The Bloody Chamber, however, comes from the French author Charles Perrault (1628-1703) and his versions of tales such as 'Little Red Riding Hood', 'Puss in Boots' and 'Bluebeard', along with Beauty and the Beast by Gabrielle-Suzanne Barbot de Villeneuve (c. 1695-1755). Many of these tales had their origins in folklore and myth. Fairy tales and Gothic are closely entwined and a fairy tale's basis in folklore provides a traditional framework upon which modern fears can be explored. Just as Bram Stoker had taken East European folk tales about vampirism and used them in Dracula (1897) to highlight the anxieties that assailed the Victorian fin de siècle, so did Carter take the fairy tales of the 18th and 19th centuries and use them as a framework to address modern issues. In particular, Carter utilised fairy tales as a basis from which to explore contemporary attitudes towards sex and gender in what was still largely a patriarchal society.

Angela Carter's translation of The Fairy Tales of Charles Perrault

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In 1977, two years before The Bloody Chamber was published, Angela Carter published a book of fairy tales by Charles Perrault that she translated from the original French.

Usage terms Charles Perrault: This material is in the Public Domain. Angela Carter: © Displayed with the permission of the Estate of Angela Carter c/o Rogers, Coleridge & White Ltd., 20 Powis Mews, London W11 1JN. Angela Carter's work is published in the UK by Vintage, Virago, Penguin Classics. You may not reuse the material for commercial purposes. Martin Ware: © Estate of Martin Ware. Published under a Creative Commons Non-Commercial Licence.

Angela Carter also took inspiration for The Bloody Chamber, perhaps surprisingly, from the work of the Marquis de Sade (1740-1814), and especially his novels Justine (1791) and Juliette (1797). In the former, a virtuous woman is continually taken advantage of by men and ultimately dies in despair, while in the latter an amoral nymphomaniac achieves considerable influence, success and happiness by exploiting her sexuality. From de Sade's sexual fantasies Carter noted the lesson that passivity in a heroine was not merely undesirable, it was also likely to result in her death. Spirited women meanwhile might well be able to turn the tables on their lascivious admirers and beat them at their own game. Carter explored these ideas much further in The Sadeian Woman and the Ideology of Pornography, published, like The Bloody Chamber, in 1979. The Sadeian Woman met with criticism from feminists, unsurprisingly given the sexually exploitative nature of de Sade's work, and Carter's refusal to vilify him; and yet the very same conclusions Carter reached when presented as variations on fairy tales in The Bloody Chamber achieved both popularity and critical acclaim - an example of how Gothic fiction can explore unpalatable subjects and challenging ideas in a fashion that people are willing to accept.

Typescript draft of The Sadeian Woman by Angela Carter

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Angela Carter composed The Bloody Chamber and Other Stories during the same period as she worked on The Sadeian Woman, a long essay examining pornography, power and sexuality through the work of the 18th century French aristocrat, the Marquis de Sade.

Usage terms © Displayed with the permission of the Estate of Angela Carter c/o Rogers, Coleridge & White Ltd., 20 Powis Mews, London W11 1JN. Angela Carter's work is published in the UK by Vintage, Virago, Penguin Classics. You may not reuse the material for commercial purposes.

'The Bloody Chamber': fairy-tale Gothic for a new age

'The Bloody Chamber' is based on Charles Perrault's fairy tale 'Barbe Bleue' ('Bluebeard', in English), the story of a French nobleman who murders his successive wives and keeps their bodies in a locked room within his castle. Carter called her variation on this story 'The Bloody Chamber', a title laden with significance. In Perrault's tale, a 'bloody chamber' could indicate the blood-spattered room in which Bluebeard keeps the corpses of his butchered brides. Alternatively, the bloody chamber could be a reference to the womb - seat of life, but also a frequent source of death. And when viewed from the present day, and in the light of Carter's version of the tale, the bloody chamber could refer to the marital bedroom and the sadomasochistic sexual desires of the heroine's husband, named in Carter's version 'the Marquis', which inevitably puts the reader in mind of the Marquis de Sade. Sex in 'The Bloody Chamber' is, after all, often couched in terms of exploitation, violence and murder. At one point the heroine, never named, watches her reflection in a dozen mirrors as her husband takes her virginity:

A dozen husbands impaled a dozen brides while the mewing gulls swung on invisible trapezes in the empty air outside.

The link between the marital bedroom, death and her husband's murderous intentions are made explicit a few lines later:

My husband, who, with so much love, filled my bedroom with lilies until it looked like an embalming parlour.

Manuscript notes and drafts of The Bloody Chamber by Angela Carter

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'A long, a winding corridor, as if I were in the viscera of the castle, proceeding towards an unnamed & unconverted dungeon': Angela Carter heightens the Gothic setting and atmosphere as the heroine of 'The Bloody Chamber' approaches the locked chamber. From an undated manuscript draft of the short story.

Usage terms © Displayed with the permission of the Estate of Angela Carter c/o Rogers, Coleridge & White Ltd., 20 Powis Mews, London W11 1JN. Angela Carter's work is published in the UK by Vintage, Virago, Penguin Classics. You may not reuse the material for commercial purposes.

The story also makes use of quintessentially Gothic settings and props. The castle to which the Marquis takes his virginal bride, for example, is isolated and mysterious, like something straight from a tale by Ann Radcliffe or Edgar Allan Poe:

The faery solitude of the place; with its turrets of misty blue, its courtyard, its spiked gate, his castle that lay on the very bosom of the sea with seabirds moving about its attics ... cut off by the tide from land for half a day...

Another quintessentially Gothic touch lies in the way a threat to the heroine is foreshadowed by something seemingly innocent, such as the jewellery worn by the young bride: 'His wedding gift, clasped round my throat. A choker of rubies, two-inches wide, like an extraordinarily precious slit throat'.

Having set the scene with the trappings of a dark Gothic fairy tale, Carter defies our expectations by ensuring the nameless heroine of the story is not simply going to wait for rescue. Carter's women are much more dynamic and resourceful. In the original story of 'Bluebeard' the last in the succession of brides survives when her brothers rescue her. In 'The Bloody Chamber' salvation comes not in the form of dashing brothers, and nor does it come in the form of a heroic father or a handsome prince. Here, salvation comes in the shape of the heroine's mother, riding to the rescue and toting a pistol. The story concludes with the final triumph of dynamic matriarchy over the traditional patriarchy of the fairy tale. It is quite fitting, perhaps, that in this modern variation on the fairy tale the sexually aggressive and murderous Marquis should meet his end at the hands of his own mother-in-law. Between Perrault's 17th-century fairy tale and Angela Carter's late 20th century variation the men have found themselves out-manoeuvred, and the stereotypes of dominant male, fey heroine and rescuing prince have all been overturned.

Greg Buzwell is Curator of Contemporary Literary Archives at the British Library. He has co-curated three major exhibitions for the Library - Terror and Wonder: The Gothic Imagination; Shakespeare in Ten Acts and Gay UK: Love, Law and Liberty. His research focuses primarily on the Gothic literature of the Victorian fin de siècle. He has also edited and introduced collections of supernatural tales by authors including Mary Elizabeth Braddon, Edgar Allan Poe and Walter de la Mare.

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gothic literature and the bloody chamber

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Angela Carter, Gothic literature and The Bloody Chamber | The British Library

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The Bloody Chamber is a collection of modern fairy tales, many of which incorporate elements of Gothic literature. Greg Buzwell traces the Gothic influence on Carter's stories, from the Marquis de Sade to Edgar Allan Poe.

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Fairy tale as sexual allegory: intertextuality in 'The Bloody Chamber.'

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Fairy tale as sexual allegory: intertextuality in 'The Bloody Chamber.'

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ANGELA CARTER, IN HER 1990 introduction to The Old Wives' Fairy Tale Book, makes a distinction between folklore, emerging from oral "unofficial" culture, and the fairy tale, product of a literary "official" culture. Folklore, she explains, is anonymous and fluid, resulting in "stories without known originators that can be remade again and again by every person who tells them, the perennially refreshed entertainment of the poor" (ix). Literary fairy tales, on the other hand, according to Carter, transformed an oral tradition into texts that become middle-class commodities. This analysis accords with Jack Zipes's economic reading of fairy tales in Breaking the Magic Spell: Radical Theories of Folk and Fairy Tales, wherein he argues that folk tales represent a "pre-capitalist folk form" that was transposed by the Grimm Brothers and others into a "bourgeois art form" (20). Carter's narrative of the transition from oral tradition to written tales also suggests Julia Kristeva's notion of intertextuality as the transposing of an entire system of codes or signs.

Distinguishing it from allusion, Kristeva writes in Revolution in Poetic Language that in its "passage from one signifying system to another," intertextuality "demands a new articulation of the thetic--of enunciative and denotative positionality" (60). In other words, the stance of the speaker--the "thetic"--is significantly altered when intertextual transposition takes place, while allusion merely gestures toward another text without taking on its entire context. As Carter suggests in her introduction to The Old Wives' Fairy Tale Book, intertextuality was embedded into the history of the fairy tale when Charles Perrault, the Grimm Brothers, and other compilers of the eighteenth and nineteenth centuries transposed oral folk tales into fairy tales. This transfer involved what Kristeva refers to as "a new articulation of the thetic," as the politics, economics, fashions, and prejudices of a sophisticated culture replaced the values of rural culture that form the context of oral folklore. Part of this transfer, Carter argues, was the transposing of an essentially feminine form, the "old wives' tale," onto a masculine one, the published text. Referring to the tradition of "Mother Goose," Carter asserts that oral folktales record the "strategies, plots, and hard work" with which women have coped with the conditions of their lives but that in their oral form these narratives are considered "Old wives' tales--that is, worthless stories, untruths, trivial gossip, a derisive label that allots the art of storytelling to women at the exact same time as it takes all value from it" (xi). In her 1979 collection of retold fairy tales, The Bloody Chamber, Carter shows an acute awareness of the changes that result from an oral to written transposition and calls attention to them by heightening the intertexuality of her narratives, making them into allegories that explore how sexual behavior and gender roles are not universal, but are, like other forms of social interaction, culturally determined. This theme is closely related to that of Carter's 1978 study of the writings of the Marquis de Sade, The Sadeian Woman, where she attacks what she calls the false universalizing of sexuality, which, tending to enforce the archetype of male aggression and female passivity, merely confuses "the main issue, that relationships between the sexes are determined by history and by the historical fact of the economic dependence of women upon men" (6-7).

I wish to argue that Carter's use of intertextuality in The Bloody Chamber moves the tales from the mythic timelessness of the fairy tale to specific cultural moments, each of which presents a different problem in gender relations and sexuality. Although she recounts the plots of the same fairy tales--"Beauty and the Beast" twice, "Little Red Riding Hood" three times--Carter changes the cultural context from tale to tale, and, as a result, each retelling generates a different narrative. The outcomes for her protagonists can be tragic or triumphant, the tone can be serious or farcical, depending on the historic and cultural circumstances. To demonstrate the range of the collection, I will consider two tales with the same scenario, a young, powerless woman under the domination of an older, powerful male figure who is not only a threat to her virginity but a threat to her life. "The Bloody Chamber," a retelling of "Bluebeard," is set in the world of decadent turn-of-the-century French culture, among the operas of Wagner and the fashions of Paul Poiret. "The Snow Child" is set in medieval Europe, deep in a forest, and is based much more closely on its original, a version of "Snow White." "The Bloody Chamber" is a tale of feminine courage triumphant, while "The Snow Child," as its chilling title suggests, is a stark, uncompromising tale of sexuality as a function of overwhelming male power.

The lengthiest and perhaps the paradigmatic story of the collection, "The Bloody Chamber" explores the sexual symbolism of the secret room, making explicit the Freudian interpretation given by Bruno Bettelheim in The Uses of Enchantment that the "bloody chamber" is the womb. In addition to making the tale's latent sexual symbolism manifest, Carter also addresses in this story what she calls in The Sadeian Woman the "mystification" associated with the womb. The "bankrupt enchantments of the womb" led, she writes, to the segregation and punishment of women (109); in "The Bloody Chamber," Bluebeard, the connoisseur of women, makes his womblike secret chamber into a museum of tortured and murdered women.

Following the tradition recorded by Iona and Peter Opie, that the original of Bluebeard was a notorious Breton nobleman (103-5), Carter places her version of the tale in a castle on the coast of Brittany but makes its owner a wealthy aesthete who is as much at home at a performance of Tristan at the Paris Opera as he is within his ancestral hall. If the secret room containing the corpses of his dead wives is likened to a womb, Bluebeard's castle is a metaphor for his sexuality. A phallic tower, it floats upon the "amniotic salinity of the ocean," reminding Bluebeard's bride of an "anchored, castellated ocean liner" (12, 14), and becomes the stage for a symbolist version of the battle of the sexes. The fin de siecle time period is critical to Carter's interpretation of "Bluebeard," because she sees the bride's fate as possible only at the moment in history when images of female victimization and of female aggression converged.

Combining, like J. K. Huysmans, a taste for Catholic ritual and for sensual experimentation, Carter's Bluebeard displays an edition of Huysmans's La-bas "bound like a missal" among an extensive collection of eighteenth- and nineteenth-century pornography (16). Like Huysmans also, Bluebeard has discovered a group of symbolist painters whose imagery accords with his temperament.(1) Among these images of young, attenuated, passive women, Carter includes some imaginary symbolist paintings, such as Moreau's "famous Sacrificial Victim with the imprint of the lacelike chains on hr pellucid skin" and "Two or three late Gauguins, his special favourite the one of the tranced brown girl in the deserted house" (20). A willowy young music student, living in poverty with her widowed mother, the bride becomes a vehicle for Bluebeard's attempt to realize the decadent image of the dependent, virginal child-woman, ripe for tragedy.

Avis Lewallen has commented that she finds "The Bloody Chamber" the most disturbing of the tales in the collection, because of its lush, seductive descriptions of sexual exploitation and victimization.(2) Carter, however, uses the language of the story not to lull the reader into ignoring the dangers posed by Bluebeard but instead to heighten the reader's awareness of the threat posed by the sadomasochistic underpinnings of much of decadent culture, which created a dangerously passive and readily victimized feminine ideal. In The Sadeian Woman, describing the ideal presented by Sade's victimized Justine, she writes, "She is obscene to the extent to which she is beautiful. Her beauty, her submissiveness and false expectations that these qualities will do her some good are what make her obscene" (57). The decadent sign system that surrounds this version of Bluebeard brings the sadomasochistic subtext of the original to the foreground by giving its murderous episodes the lush refinement of Beardsley's illustrations of Salome.

Bluebeard, like his historical precursor the Marquis de Sade, is a producer of theatrical effects. His rooms are deliberately planned as stages for symbolic action, the bloody chamber a kind of wax museum of his previous wives, preserved in their last moments of agony, the mirrored dedroom with its "grand, hereditary, matrimonial bed" a set for "a formal disrobing of the bride" (14, 15). Clothing, in this theatrical context, becomes costume, in which, as in theater and religous ritual, the individual is subsumed by a role. The bride's dress (designed by Poiret, the inventor of the "hobble" skirt) and her wedding gift, "A choker of rubies, two inches wide, like an extraordinarily precious slit throat" (11), not only situate her in fin de siecle France but also reflect the image of innocence, vulnerability, and victimization that Bluebeard desires. Nakedness becomes a kind of costume as well, in the overdetermined imagery of Bluebeard's bedroom. Watching herself being disrobed by him, the bride perceives herself as a pornographic object: "He in his London tailoring; she, bare as a lamb chop. Most pornographic of all confrontations" (15). In this scene the bride has been reduced to an unaccommodated body, while Bluebeard retains all the accoutrements of power, wealth, and taste.

However, Bluebeard has conveniently excised from his collection of fin de siecle imagery the era's complement to the woman-as-victim, the avatar of the New Woman, "She-who-must-be-obeyed." Sandra Gilbert and Susan Gubar point out that these complementary images appeared almost simultaneously in the late 1880s, when the harrowing mutilations and murders of women by Jack the Ripper took place at the same time as Rider Haggard's enormously popular novel She introduced a heroine who, by combining virtue with authority, represented "an entirely New Woman" (6). Gilbert and Bubar suggest that the emergence of female aggression in the suffrage movement generated a backlash of images of suffering, victimized women. Carter, in The Sadeian Woman, shares this interpretation when she argues that the real threat posed by the emancipation of women was the removal of "the fraudulent magic from the idea of women" (109). If Bluebeard's murders mirror those of Jack the Ripper, who was also obsessed with the womb, then Bluebeard's murders are avenged by a figure who also seems to have stepped out of the zeitgeist of the 1880s. The bride's mother rides onto the scene just as Bluebeard is preparing to dispatch his latest wife and kills him with a single shot from her dead husband's service revolver. Like Haggard's fearsome heroine, she is woman-as-avenger on a grand scale. At the tale's opening the bride calls her mother "eagle-featured, indomitable," recalling that she "had outfaced a junkful of Chinese pirates, nursed a village through a visitation of the plague, shot a man-eating tiger with her own hand and all before she was as old as I" (7). Appropriately, she reappears at the conclusion as a complement to her daughter's masochistic passivity, just at the point when the bride herself has begun to act in her own behalf and emancipate herself from Bluebeard's pornographic scenario.

Patricia Duncker reads the ending of "The Bloody Chamber" as carrying "an uncompromisingly feminist message" (12), while all of the other tales in the collection, she feels, merely recapitulate patriarchal patterns of behavior. What Duncker perceives as an inconsistent application of feminist principles is, I believe, merely a reflection of Carter's project in this collection, to portray sexuality as a culturally relative phenomenon. The feminism, as well as the masochism of "The Bloody Chamber," is a feature of its turn-of-the-century setting. The same scenario, when it is transposed to a medieval Northern European setting in "The Snow Child," will have a much darker resoluton since its cultural context lacks an image of power for women.

"The Snow Child" is a stark, two-page version of "Snow White," reducing the fairy tale to its skeletal outlines as a fable of incest. Carter uses, rather than the Grimm Brothers' version, in which a queen wishes for a child, another version, quoted by Bruno Bettelheim in The Uses of Enchantment, in which a count wishes for a daughter (200). The girl appears, just as he imagined her, but he is forced to abandon her through the jealous stratagems of his wife. Bettelheim argues that all versions of Snow White are myths of Oedipal conflicts between mothers and daughters, but certainly the harsh simplicity of this version heightens the Oedipal tension.

Its opening paragraphs in exact parallel with the traditional tale, Carter's version veers away as the Countess's stratagem for leaving the girl behind is intercepted by the Count: "The Countess dropped her glove in the snow and told the girl to get down to look for it; she meant to gallop off and leave her there but the Count said: 'I'll buy you new gloves'" (92). From this point, the tale becomes a fable of the struggle between masculine power and women's sexuality. In the traditional tale the Count must choose between the Countess and the Child. In Carter's version the Count, who has all the real power, does not have to choose; he can have both Countess and Child. The Countess, in fact, is as powerless as the Child, since both are held in the tyranny of the Count's desire. He has granted a subsidiary power to his wife, signaled by her title and indicated by her horse, furs, boots, and gloves, but as a sign of their mutual dependence on his favor, the furs, boots, and jewels fly off the Countess, onto the girl, and back onto the Countess again depending on the whims of the Count.

In its harsh reduction of sexual desire to a function of power, the story's scenario echoes the sexual politics of Sade. The Child, like Bluebeard's bride in "The Bloody Chamber," is a version of Sade's masochistic Justine, whose situation is summed up by Carter in The Sadeian Woman: "To exist in the passive case is to die in the passive case--that is, to be killed. [paragraph] This is the moral of the fairy tale about the perfect woman" (77). Like Sade's Justine, the Snow Child will die, a victim of the Count's tyrannous desire and of the Countess's realization that they are rivals in a life-and-death struggle. Duncker has noted the resemblance between the Countess and Sade's sadistic Juliette: "with one small touch Carter reveals the Mother [the Countess] as a sister to Sade's Juliette, the sexual terrorist" in the image of her high-heeled, spurred boots (7). Instead of a fiery suffragette, then, the Snow Child finds a mother-figure who colludes in her subjugation. In the feudal culture of "The Snow Child" power is masculine, and in this tale Carter portrays the sexual consequences of a feudal system of absolute power.

When she picks up the Countess's rose, the Snow Child is pricked in the finger and dies. After her death, her body is raped by the Count, and then it melts into the snow, leaving only a feather and a bloodstain. This closing image underlines the portrayal of the Snow Child as a creature of the forest, who, naked and mute, confronts the culture of the dressed and mounted Count and Countess. The Countess, though associated with the Count, is also compared to a wild animal, "wrapped in the glittering pelts of black foxes" (91), and she, too, is naked when her clothing flies onto the body of the girl. In their wildness and in their nakedness both women are contrasted with the Count, who not only represents culture but also bestows a cultural status on women. Like the bride in "The Bloody Chamber," the women in "The Snow Child" are placed in a pornographic contrast with the Count who is always clothed, always embedded in culture. Thus Carter introduces the notorious analogy that in Western culture male is to female as culture is to nature. Although some feminist theorists claim to find a kind of liberation in the position of woman as Other in phallogocentric culture, Carter finds the situation more complex and more troubling. Always suspicious about universals and never romantic about oppression, Carter sees the real suffering involved in the politics of gender. It is hardly liberating to be likened to an animal, if that implies entrapment, control, exploitation, and even violent death. Sally Robinson, in her discussion of Carter's fiction, adds that "for Carter, denigration and celebration of Woman as Other are both masculinist strategies within patriarchal cultures, whereby Man secures his hegemony over the places of enunciation" (98). In "The Snow Child" Carter demonstrates the deadly consequences of the nature/culture analogy's denial of cultural status to women.

In The Sadeian Woman Carter writes, "the notion of a universality of female experience is a clever confidence trick" (12), a statement that neatly sums up her deuniversalizing of fairy tale plots in The Bloody Chamber. Situating her tales within carefully defined cultural moments, Carter employs a wideranging intertextuality to link each tale to the zeitgeist of its moment and to call attention to the literary fairy tale as a product, not of a collective unconscious but of specific cultural, political, and economic positions. In addition, focusing on the "strategies, plots, and hard work" of women allows Carter to reappropriate the "old wives' tale" as feminine narrative. In The Bloody Chamber, then, Carter deconstructs the underlying assumptions of the "official" fairy tale: that fairy tales are universal, timeless myths, that fairy tales are meant exclusively for an audience of children, and that fairy tales present an idealized, fantastic world unrelated to the contingencies of real life. Instead, Carter pushes Bruno Bettelheim's reading of fairy tales as Freudian fables even further and presents them as studies in the history of imagining sexuality and gender.

NOTES

(1)In this Symbolist Art Edward Lucie-Smith writes, "the fact, however, is that the literary Symbolists, when they at last achieved an identity of their own by bringing together ideas which had existed in a state of potentiality for some years previously, also looked about for artists who seemed to echo and to justify their own announced programme in another field of creative activity. The best-known example of this is J. K. Huysmans's discovery of the work of Gustave Moreau and Odilon Redon, and the use which he made of it in his novel A rebours (Against Nature), published in 1884. Gauguin was also to be taken up in this way, at a slightly later date, after the Cafe Volpini exhibition of 1889" (51).

(2)Lewallen writes, "Of all the tales in the volume I found 'The Bloody Chamber' most troubling in terms of female sexuality, largely because of the very seductive quality of the writing itself. As readers we are asked to place ourselves imaginatively as masochistic victims in a pornographic scenario and to sympathise in some way with the ambivalent feelings this produces" (151).

WORKS CITED

Bettelheim, Bruno. The Uses of Enchantment: The Meaning and Importance of Fairy Tales. New York: Random House, 1977.

Carter, Angela. The Bloody Chamber. 1979. New York: Penguin, 1992.

___. Introduction. The Old Wives' Fairy Tale Book. Ed. Angela Carter. New York: Pantheon, 1990.

___. The Sadeian Woman and the Ideology of Pornography. New York: Pantheon, 1979.

Duncker, Patricia. "Re-Imagining the Fairy Tales: Angela Carter's Bloody Chambers." Literature and History 10 (1984): 3-14.

Gilbert, Sandra M., and Susan Gubar. Sexchanges. Vol. 2 of No Man's Land: The Place of the Woman Writer in the Twentieth Century. New Haven: Yale University Press, 1989.

Kristeva, Julia. Revolution in Poetic Language. Trans. Margaret Waller. New York: Columbia University Press, 1984.

Lewallen, Avis. "Wayward Girls but Wicked Women?: Female Sexuality in Angela Carter's The Bloody Chamber." In Perspectives on Pornography: Sexuality in Film and Literature. Ed. Gary Day and Clive Bloom. New York: St. Martin's Press, 1988. 144-58.

Lucie-Smith, Edward. Symbolist Art. New York: Oxford University Press, 1972.

Opie, Iona, and Peter Opie. The Classic Fairy Tales. 1974. Oxford: Oxford University Press, 1992.

Robinson, Sally. Gender and Self-Representation in Contemporary Women's Fiction. Albany: State University of New York Press, 1991.

Zipes, Jack. Breaking the Magic Spell: Radical Theories of Folk and Fairy Tales. New York: Methuen, 1979.

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Fairy tale as sexual allegory: intertextuality in Angela Carter's 'The Bloody Chamber.' (Angela Carter)

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ANGELA CARTER, IN HER 1990 introduction to The Old Wives' Fairy Tale Book, makes a distinction between folklore, emerging from oral "unofficial" culture, and the fairy tale, product of a literary "official" culture. Folklore, she explains, is anonymous and fluid, resulting in "stories without known originators that can be remade again and again by every person who tells them, the perennially refreshed entertainment of the poor" (ix).

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A feminist appropriation of misogynist and patriarchal texts: Angela Carter's The Sadeian Woman and The Bloody Chamber.

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A feminist appropriation of misogynist and patriarchal texts: Angela Carter's The Sadeian Woman and The Bloody Chamber.

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University essay - critique this (it's not accredited literary criticism)

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Times Literary Supplement

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Angela Carter's monsters - Book Review - Literary criticism - TLS

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Kate Webb on Memories of Carter - combative, indignant, sui generis

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A dark and delicious foray into novelist Angela Carter's extraordinary life, narrated by Sally Phillips.

Angela Carter's surreal imagination produced some of the most dazzling fiction of the last century. Pioneering her own distinctive brand of 'magic realism,' works like The Magic Toyshop and Nights at the Circus cracked open the middle-class conventions of the postwar novel and influenced a new generation of writers.

Yet in her lifetime, Carter's fierce politics, frank exploration of gender and fondness for the supernatural unnerved the macho literary establishment. She never won the Booker Prize or received the staggering advances of her male contemporaries - and regularly struggled to pay the bills, despite creating the acclaimed film The Company of Wolves. Four decades on, Carter's powerful tales of desire, fearless women and monstrous sexual predators have never felt more relevant. As Jeanette Winterson says in the film: 'Every woman writing now has a debt to Angela Carter whether or not they have read her. She was ahead of her time. And that's why we're so interested in her now because she's coming into her time almost prophetically.'

Narrated by Sally Phillips, this film is a dark and delicious foray into Angela Carter's extraordinary life. While Carter's early work drew on her creepily claustrophobic childhood and miserable early marriage, it was her experience of living in Japan in the 1970s that liberated both her writing and her sexuality. And she continued to live out of kilter with polite society - horrifying critics with expletive laden put-downs, falling in love with a teenage builder in her 30s, becoming a mother at 43 and, tragically, winning the reviews of her career for Wise Children, the week after her death at the age of 51.

Made by the team behind The Secret Life of Sue Townsend (Aged 68 3/4), with animation by Emmy Award-winning Peepshow Collective, this film is a visual treat inspired by the surreal imagery of Carter's fiction. Hattie Morahan plays the young Angela (with extracts from unpublished letters and diaries), while Maureen Lipman, Kelly MacDonald and Laura Fraser read from Carter's fiction. Including rare archive and family photos, with contributions from Angela's friends, family, students and admirers - including Margaret Atwood, Salman Rushdie, Jeanette Winterson and Anne Enright.

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BBC Two - Angela Carter: Of Wolves and Women

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A dark and delicious foray into novelist Angela Carter's extraordinary life, narrated by Sally Phillips. Angela Carter's surreal imagination produced some of the most dazzling fiction of the last century. Pioneering her own distinctive brand of 'magic realism,' works like The Magic Toyshop and Nights at the Circus cracked open the middle-class conventions of the postwar novel and influenced a new generation of writers.

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The English novelist Angela Carter is best known for her 1979 book "The Bloody Chamber," which is a kind of updating of the classic European fairy tales. This does not mean that Carter's Little Red Riding Hood chews gum or rides a motorcycle but that the strange things in those tales-the werewolves and snow maidens, the cobwebbed caves and liquefying mirrors-are made to live again by means of a prose informed by psychoanalysis and cinema and Symbolist poetry. In Carter's version of "Beauty and the Beast," retitled "The Tiger's Bride," the beast doesn't change into a beauty. The beauty is changed into a beast, a beautiful one, by means of one of the more memorable sex acts in twentieth-century fiction. At the end of the tale, the heroine is ushered, naked, into the beast's chamber. He paces back and forth:

I squatted on the wet straw and stretched out my hand. I was now within the field of force of his golden eyes. He growled at the back of his throat, lowered his head, sank on to his forepaws, snarled, showed me his red gullet, his yellow teeth. I never moved. He snuffed the air, as if to smell my fear; he could not.

Slowly, slowly he began to drag his heavy, gleaming weight across the floor towards me.

A tremendous throbbing, as of the engine that makes the earth turn, filled the little room; he had begun to purr. . . .

He dragged himself closer and closer to me, until I felt the harsh velvet of his head against my hand, then a tongue, abrasive as sandpaper. "He will lick the skin off me!"

And each stroke of his tongue ripped off skin after successive skin, all the skins of a life in the world, and left behind a nascent patina of shiny hairs. My earrings turned back to water and trickled down my shoulders; I shrugged the drops off my beautiful fur.

Imagine that: a great, warm, wet, abrasive tongue licking off skin after skin, down to the bottommost one, which starts to sprout shiny little animal hairs.

Because Carter took on fairy tales, she was sometimes pigeonholed as a "white witch," the sort of person who reads Tarot cards and believes that the earth speaks to her. It didn't help that she favored an outré look, with long, flowing skirts and, in her late years, a great, disorderly mane of white hair. (Andrew Motion said she looked like "someone who'd been left out in a hurricane.") So it's good to see that "The Invention of Angela Carter" (Oxford), by Edmund Gordon, a lecturer in English at King's College London, is a notably levelheaded book. The first thorough account of Carter's life, it is an authorized biography-Gordon had the coöperation of Carter's intimates, and access to her letters and diaries. It shows the faults endemic to that genre: too much detail, together with a suspicious vagueness about family members who are still alive. But it reclaims Carter from the fairy kingdom and places her within what sounds like a real life. Unsurprisingly, we find out that the white witch cared about her reviews and sales.

Carter was born in 1940 and grew up in a quiet, middle-class suburb of London, the second child of a straitlaced mother, Olive-she turned off the TV if a divorced actor came on the screen-and a father, Hugh, who was the night editor of London's Press Association. Both parents spoiled Angela outrageously. She was crammed with treats, bombarded with kittens and storybooks. Her mother never put her to bed until after midnight, when Hugh got back from work-she wanted her company-and, even then, often let her stay up. Hugh brought home long rolls of white paper from the office for her, and as her parents chatted she wrote stories in crayon.

She grew to be a tall, pudgy child, with a stammer. Between those disadvantages and extreme shyness, which she covered with an aloof and frosty manner, she had few friends. Olive redoubled her attentions. Angela was not allowed to dress herself, or to go to the bathroom alone. Finally, she rebelled, went on a diet, and changed from a fat, obliging girl to a skinny, rude girl. She slouched around in short skirts and fishnet stockings, smoking and saying offensive things to her mother.

She was a good student, though, in a good school. The 1944 Butler Act, riding the same democratic wave as the American G.I. Bill, provided grants for gifted children from regular backgrounds to go to élite private schools. Carter, as an adult, had a theory that this created Britain's first real intelligentsia, a group of people who had no interest in using education to maintain the class system but who simply wanted to operate in a world of ideas. If so, she was one of them. Her teachers urged her to apply to Oxford. Olive, hearing this, pronounced it an excellent idea, and said that she and Hugh would take an apartment there, to be close to her. Angela thereupon dropped all thought of going to university. Marriage, she realized, would be the only way to escape her parents.

Through her father's connections, she got a job as a reporter. She started writing record reviews and liner notes and getting involved in London's music scene. In an independent record store, she met a serious-minded young man, Paul Carter, an industrial chemist who moonlighted as a producer and seller of English folk-song records. Gordon thinks that Paul was the first man to take a romantic interest in Angela. Or, as Angela put it, "I finally bumped into somebody who would . . . have sexual intercourse with me." But Paul insisted that they get engaged first, and so Angela found herself, at twenty, a married woman.

They seem to have been happy at the beginning. Paul taught Angela to love English folk music, thereby giving her a great gift. The folk iconography, in time, offered her an escape hatch from the rather gray realism dominant in British fiction of the period. Folklore also presented her with a set of emotions that, while releasing her, eventually, from sixties truculence, nevertheless felt true, not genteel.

But soon the marriage was failing. Paul suffered engulfing depressions. Sometimes he and Angela barely spoke for days. She felt swollen with unexpressed emotion. "I want to touch him all the time, with my hands & my mouth," she wrote in her diary. "(Poor luv, it annoys him.)" The note of sarcasm here is interesting. Through some miracle, Angela, who had little sexual self-confidence-she once described herself as "a great, lumpy, butch cow . . . titless and broadbeamed"-did not allow Paul's withdrawal to demoralize her. She wanted to save herself. On her twenty-second birthday, her Uncle Cecil, knowing that she was unhappy, invited her to lunch at an Italian restaurant and told her to apply to university. As she recalled, he said to her, "If you've got a degree you can always get a job. You can leave your husband any time you want."

She took his advice. The couple had recently moved to Bristol for Paul's work, and she enrolled in the university there, studying English. Gordon, who is always good at contextualizing, says that Bristol's English department was not ideal for her; it was dominated by the principles of F. R. Leavis, who was intent on rescuing English fiction's "great tradition" from the showy, the sentimental, and the bizarre. Carter, who called this the "eat up your broccoli" school of criticism, managed to hide out in medieval studies, which she loved. She also encountered Freud, gaining, she thought, a scientific support for the world of shock, dream, and eros that she now saw as the realm of art. A little later, she discovered the Surrealists, and learned from them that the goal of art was not truth (as the Leavisites would have it) but the marvellous-indeed, that the marvellous was the truth.All of this fed into her developing feminism. She became an ardent feminist, but not an orthodox one. Her concern was not with justice; she hated the idea of put-upon, suffering women, and implied that they had it coming, by being such weaklings. She wanted women to seize what they needed-power, freedom, sex-and she saw no fundamental difference between the sexes that could prevent that. As she wrote to a friend, Carole Roffe:

Somebody asked me who my favorite women writers were the other day, meaning, I guess, some kind of writers who expressed a specifically feminine sensibility-I said Emily Bronte, who's pure butch, and cursed myself afterwards because the greatest feminine writer who's ever lived is Dostoevsky, followed closely by Herman Melville, who has just the kind of relish of beautiful boys that emancipated ladies such as yourself express. And D. H. Lawrence is infinitely more feminine than Jane Austen, if one is talking about these qualities of sensitivity, vulnerability and perception traditionally ascribed by male critics to female novelists. . . . D. H. Lawrence's tragedy is that he thought he was a man.

I don't know what she means about Dostoyevsky, but her general statement should sound familiar in our day of loose gender definitions.

Energized by her discoveries, she became a bustling presence in her department and the co-editor of its literary magazine. Gordon has gone through the stapled-together pages of this publication, and reports that the best items were pseudonymous poems by Carter. He quotes one called "Unicorn." In the Middle Ages, there was a belief that the only way to catch a unicorn was to send a virgin, alone, into the woods. The unicorn, spying the girl, would come and lay his head in her lap. Such a virgin is the speaker in Carter's poem, but she is not a tender little thing. She is naked, with breasts "like carrier bags" and "curious plantations of pubic hair." The unicorn is drawn to her by "the fragrance of her moist / garden plot." He will be sorry. "I have sharp teeth inside my mouth," she says. "Inside my dark red lips."

At the same time, Carter was producing the first novels that she would be willing to publish. She wrote at a furious speed, turning out narratives of violence that were sometimes layered with comedy, sometimes not. In "Shadow Dance" (1966), her first novel, a man named Honeybuzzard carves up the face of an annoyingly virtuous girl, Ghislaine. (After she gets out of the hospital, he finishes the job, strangling her and leaving her naked corpse in an attic.) A year after that came "The Magic Toyshop," in which the orphaned heroine is sent to live with her uncle, a sadistic puppeteer. In one scene, he forces her to play Leda to a mechanical swan. Her next two efforts were in a similar vein. There are excellent things in all these books, but there is also a strong suggestion that Carter is still trying to drive her mother crazy. Even when the material is not shocking, the treatment is often self-indulgent. An editor once forwarded to her a reader's report describing a novel of hers as "a queer little book." Carter, always lovably forthright, replied that the person who wrote that "put her finger on my weakest spot, which is a tendency to a batty kind of whimsicality." She said she was sure she would work out some satisfactory solution.

She did. In 1969, Carter received a Somerset Maugham Award, worth five hundred pounds, to be used for foreign travel. She decided that she would grant herself an old wish, to go to Japan. She arrived in September of that year, without Paul.

"I arrived by air, in the dark," she wrote, two years later. "When night descended over the ocean, many unfamiliar stars sprang out in the sky; as we approached land, there began to blossom below me such an irregular confusion of small lights it was difficult to be certain if the starry sky lay above or below me. So the aeroplane ascended or descended into an electric city where nothing was what it seemed at first and I was absolutely confused." There she is-dizzy, suspended between two beds of light. It is like a painting of a conversion experience, and, by the time she wrote it, she surely knew that.

Within a few weeks, at a Tokyo coffeehouse a Japanese man, Sozo Araki, twenty-four years old-six years her junior-stopped at her table. She described the scene in a later, unpublished story: " 'Where are you from?' he asked her. 'England,' she said. 'That must be terribly boring,' he said & gave her the great international seducer's smile." They ended up, that evening, in a "love hotel," the kind that rents rooms by the hour. The next morning, she went back to where she was staying, to take a shower, while he played pachinko, a Japanese version of pinball. Then they met again, had breakfast, and went to another hotel. Gordon tries hard to determine what Carter and Araki talked about when they weren't having sex. Araki had recently dropped out of a university program in political science, intending to write a novel, and they apparently did discuss fiction. He liked Faulkner and Dostoyevsky. It seems, though, that he liked Elvis Presley and pachinko better.

But literary companionship was not what she was looking for. Nor, it appears, were her interests merely, or even primarily, sexual. Carter seems to have been seeking a sort of rapture, a sensation of being carried to a new place, or to an old, ideal one. "His face did not, when I first met him, seem to me the face of a stranger," she wrote of Araki. "His image was already present somewhere in my head, & I was seeking to discover him in reality, searching every face for the right face." She later said that in Japan she had "taken certain ideas (like living for love) as far as they will go." Gordon feels that she doesn't seem to mean love, exactly, but something like love-an idea, a Platonic idea.

As for the husband who was waiting for her in England, "I can't live with him anymore," she wrote to a friend, "or I'll kill myself & that's that." Two weeks after she met Araki, she had to go to Hong Kong briefly. In the airport's departure lounge, she took off her wedding ring and left it in an ashtray. (She wrote to Paul soon after, asking for a divorce. He took it badly. More than forty years later, he refused to speak to Gordon.) That was one captor disposed of. The other did the job herself. While Angela was back in England that winter, renewing her visa, Olive suffered a pulmonary embolism. Angela went to the hospital, but Olive, upon seeing her, turned her face to the wall. (She had always disliked Paul, but she disliked divorce more.) She died a few days later.

Carter returned to Tokyo, set up house with Araki, and soon found that she had to acquire an additional sort of freedom. Araki liked to go out with his friends at night, and Carter's joining them was not convenient. For one thing, she never learned to speak more than a few words of Japanese. Furthermore, as she soon realized, he was seeing other women-lots of them. (She came to describe him as an "ambulant penis.") One night, as they were undressing, Carter saw a smear of lipstick on Araki's underpants. She didn't wear lipstick. Describing the episode to a friend, she wrote that she burst out laughing.

Carter always said that the two years she spent in Japan were what radicalized her as a feminist. The young women of Tokyo, she wrote, acted as though they had "become their own dolls." Her rejection of that position, and of the enforced gender identity that lay behind it, meant, to her, that she could put up with Araki's infidelities. Gordon believes that she began to enjoy having the night to herself; she could write in quiet and then go to bed with Araki when he came home at five in the morning, once the trains started running again. But, if she could tolerate this routine, he couldn't. While he was out tomcatting, she was earning their daily bread, and, as he told Gordon, "I didn't want to be a gigolo anymore." He left her.

She was brokenhearted, and furious. She had panic attacks. She couldn't eat. Finally, she comforted herself with a young Korean, Mansu Kō. She relieved him of his virginity. In gratitude, he brought her a can of pineapple. He moved in with her almost immediately, and did all the cooking and cleaning. He was two inches shorter than her, and nineteen years old, though she wrote that he looked fourteen: "Every time I pull down his underpants I feel more and more like Humbert Humbert." (She was thirty-one.) He spoke less English than Araki had and didn't have much to say, anyway. "Apart from the sheer delight, he does bore me," she wrote. The boredom didn't cancel out the delight: "the childlike delicacy and precision with which he stirs sugar into his coffee; his small sign of content . . . the way he carries his head, like a bird." But, after five months with him, she went back to England."Apart from the sheer delight, he does bore me." That was what Carter discovered in Japan: the mixed, middle states of the heart. Having thrown pretty much everything else away, she had time to pay attention to this, and, with the clarity she had gained, to present it in very stark imagery. In Japan, her best work went into short fiction-tales, she called them-which she later published in the collection "Fireworks" (1974). The finest of them, "Souvenir of Japan," is a tribute to Araki. Here is the "pleasure hotel" they went to on their first night:

We were shown into a room like a paper box. It contained nothing but a mattress spread on the floor. We lay down immediately and began to kiss one another. Then a maid soundlessly opened the sliding door and, stepping out of her slippers, crept in on stockinged feet, breathing apologies. She carried a tray which contained two cups of tea and a plate of candies. She put a tray down on the matted floor beside us and backed, bowing and apologizing, from the room whilst our uninterrupted kiss continued. He started to unfasten my shirt and then she came back again. This time, she carried an armful of towels. I was stripped stark naked when she returned for a third time to bring the receipt for his money.

There love is mixed with comedy. Three paragraphs later, it is mixed with death, a beautiful death: "I should have liked to have had him embalmed and been able to keep him beside me in a glass coffin, so that I could watch him all the time and he would not have been able to get away from me." A glass coffin: "Snow White." And that's where she was headed-to fairy tales.

In 1976, she accepted a commission to translate Charles Perrault's fairy tales. She had been back in England for four years, but she was still living off the psychological tank dive of her Japanese period. After the Perrault volume was published, she embarked on "The Bloody Chamber," with her own, reconceived versions of Perrault and the Brothers Grimm. This is her great book, the one that only she could have written, the one in which everything that was good in her came to the fore and everything that had been bad became good. She was always best in the short form, as her friend Salman Rushdie noted. In her novels, he wrote, her voice, "that moonstone-and-rhinestone mix of opulence and flim-flam, can be exhausting. In her stories, she can dazzle and swoop, and quit while she's ahead."

The truth is that she never cared much about character development or plot, which are the meat of the novel. In a tale, she could dispense with them, and just go for emotion and image. We get Bluebeard smoking a cigar as "fat as a baby's arm," and the Erl-King gathering his dinner in the woods: "He knows which of the frilled, blotched, rotten fungi are fit to eat; he understands their eldritch ways, how they spring up overnight in lightless places and thrive on dead things." In "The Company of Wolves," Carter's famous version of "Little Red Riding Hood," the heroine doesn't struggle with the wolf. She goes to bed with him. Her grandmother's bones rattle beneath the bed. She doesn't hear them.

That was her peak, "Fireworks" and "The Bloody Chamber." Strange to say, she wrote most of those unsettling stories in a period of relative contentment. Maybe she needed that in order to get past the aggressive luridness of her early work. In any case, she told an interviewer that she had a rather nice time in her thirties: "I started doing things like foreign travel and having a house, and you know, watching television and things like that." Soon she had someone steady to do those things with. One day, two years after her return from Japan, one of her water faucets burst. She had seen a construction worker in the house opposite, and she ran to get him. His name was Mark Pearce, another nineteen-year-old. (She was now thirty-four.) "He came in," Carter said, "and never left."

He was strikingly handsome. Friends said he looked like Jesus; tellingly, she claimed that he looked like a werewolf. He was silent most of the time, but she didn't mind, because she liked to do the talking, just as she liked being older. He went on doing construction work, she went on writing-and that was their life, except for one big change, in 1983: Carter, at the age of forty-three, gave birth to a son, Alexander. This made her very happy-repeatedly, she had had phantom pregnancies-but Mark was really the one who raised Alex. It was a bohemian household, with dirty dishes stacked in the sink, but they liked having people over. Carter was a good cook. Rushdie told Gordon that, when he was in hiding, after the Ayatollah Khomeini issued the fatwa against him, his bodyguards always enjoyed it when he went to visit Carter, because she invariably had a nice meal for them to eat, and they could watch TV.A recurrent theme of Gordon's book is Carter's position as a woman in her profession. This is tiresome but unavoidable: in the nineteen-eighties, there was a much-trumpeted spurt of energy in English fiction, with the rise of a number of talented young men, notably Rushdie, Ian McEwan, Martin Amis, and Julian Barnes. In 1981, Rushdie's second novel, "Midnight's Children," won the Booker Prize, and McEwan's second, "The Comfort of Strangers," was short-listed. Barnes was short-listed in 1984. Carter was never short-listed, let alone given the prize, and she did feel that this was, in part, because she was a woman. In 1984, she told an interviewer:

It would be whingeing to say that men who are no better than I are very much more famous and very much richer and also regarded as . . . the right stuff. It would ill become me. But it's amazing what the Old Boys' club does for itself. They list the "important British contemporary writers," and they'll list Malcolm Bradbury and Kingsley Amis, and they'll leave out Doris Lessing, who's the only one with a really huge international reputation.

There was a generational aspect, too. Carter was most of a decade older than the others, born a few months into the Second World War rather than after it, and her Freudian-influenced, "mythic" subject matter was out of step with their more postmodern concerns, their explorations of language, narrative, and representation. Still, there is no question that being female was part of the reason that Carter received less attention. Rushdie says that though she did wish for greater recognition, "she was not ever envious of other people's success." That must have been a comfort to them.

Soon after her son was born, Carter started to age quickly, as she recorded in her diary: "I catch myself in the mirror looking like my father." She resented this, and reacted defiantly, adopting, according to one friend, "a madwoman-in-the-attic look." Yet Gordon seems to think that, on balance, she got happier as she got older. This is certainly suggested by her final novel, "Wise Children," in which a seventy-five-year-old woman, Dora Chance, tells of the life that she and her identical-twin sister had as music-hall artists. In a sense, "Wise Children" is about what happens to women when they're no longer salable, but it's hard to locate a note of regret, because the book contains so much life and fun-nice dresses and memorable fornications and wild parties and theatre, theatre, theatre. ("We were wet for it," Dora recalls.) The sisters now live in a basement apartment with an ex-wife of their father's, drinking tea out of chipped mugs until six, when they switch to gin. The whole thing is as lovable and comfortable as an old shoe.

Early in 1991, just before "Wise Children" was published, Carter went to the doctor with a pain in her chest and was told that she had a cancerous tumor on her right lung which had spread to her lymph nodes, making it inoperable. Strong-minded woman that she was, she laid aside her plans for a new novel-"Adela," about Jane Eyre's pupil, Mr. Rochester's daughter-and went to work, fast, with an assistant, on a collection of her nonfiction. (Over the years, needing the money, she had written many magazine articles.) She and Mark got married, as they had neglected to do previously, and, week after week, she got dressed and sat up straight to have goodbye teas with her friends. In February, 1992, she died at home, at the age of fifty-one. She was young, and she had had only a few years of absolutely first-rank work, but that is true of many writers, including some of the greatest. She had her time, and it was wonderful. ♦

An earlier version of this article misstated Angela Carter's age at the time of her death.

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The English novelist Angela Carter is best known for her 1979 book "The Bloody Chamber," which is a kind of updating of the classic European fairy tales.

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Angela Carter: fairy tales, cross-dressing and the mercurial slipperiness of identity

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Angela Carter: fairy tales, cross-dressing and the mercurial slipperiness of identity

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Marina Warner explores cross-dressing and the performance of identity in Angela Carter's fairy tale-inspired works.

In the 20th century, traditional tales have offered many imaginative writers a territory of freedom to express their rebellion: the granny bonnet and the wolf mask have offered a helpful disguise to some of the boldest spirits. Angela Carter's quest for a female erotic voice, her perseverance in the attempt to capture its energy in her imagery, her language and her stories, drew her to fairy tales as a form, and before her death in 1992 she wrote some of the most original reworkings in contemporary literature in her collection Fireworks (1974) and The Bloody Chamber (1979), while the posthumous American Ghosts (1993) contains a Cinderella story ('Ashputtle, or The Mother's Ghost') told with the succinct lyrical poignancy of Carter at her most tender.

Manuscript notes and drafts of stories from The Bloody Chamber by Angela Carter

Explicit references to the Snow White tale, from which Angela Carter draws her alternative reading, can be found in this heavily modified typescript draft of 'The Snow Child', here titled 'The Sleeping Beauty'.

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In the longer fiction of The Magic Toyshop (1967), Nights at the Circus (1984) and Wise Children (1991), Carter conjures gleefully with fairy tale motifs: changelings and winged beings, muted heroines, beastly metamorphoses, arduous journeys and improbable encounters, magical rediscoveries and happy endings. Her use of the form has had a widespread influence, palpable in the writings of contemporaries like Salman Rushdie, Robert Coover and Margaret Atwood.

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It is interesting, in the context of fairy tale narrators' masquerades, that Carter was also deeply fascinated with female impersonation as a literary device, as a social instrument of disruption and as an erotic provocation; with exceptional bravura she made theatrical burlesque and music-hall travesties into a high style; her own prose was glitteringly, self-mockingly hybrid, contrived and slangy at once, beautiful and vulgar, romantic and cynical. These contradictions were conveyed through the figure of the cross-dressed male or female. As on the boards, cross-gender disguises provide a recurrent tease; from Shakespeare in his comedies and romances Carter borrowed the fantastic, perverse, bewildering entertainment of double drag - Rosalind and Viola dressed as boys played by boys cross-dressed as girls; she continually explored her protagonists the imagination's own capacity for protean metamorphoses, which allows it to leap barriers of difference, or at least play with them till they seem to totter and fall. It is revealing that she enjoyed the fairy tale motif called 'the witch's duel', when a heroine or hero seizes hold of the witch or evil fairy who has snatched away their beloved, and holds on and never lets go; the witch keeps shifting her shape, from one creature to another, but cannot shake off her assailant, and when the dawn breaks and light returns, she has to give up her victim, as in Robert Burns' Tam O'Shanter, one of the most famous versions. Angela Carter understood this struggle very well, and in her writing she conveys the mercurial slipperiness of identity as well as the need to withstand it and secure meanings.

The centrepiece of her novel The Passion of New Eve (1977) dramatises the wedding of Tristessa, a legendary screen goddess, who is really a man in disguise, and her long-time fan, the novel's New Eve and protagonist, who began life as a boy but has travelled a long way since then. In Nights at the Circus, seven years later, the American journalist and questing hero, Jack Walser, speculates at the very start that Fevvers, the winged giantess, might be a male in disguise.

Carter's treatment of travesty moves from pleasure in its dissembling wickedness and disruption of convention, to exploring, in her later work, its function as a means of survival - and a specifically proletarian strategy of advancing through the construction of self in image and language. In this, many of Carter's heroines - both in her writing and in life, like Fevvers, like the music-hall artistes the Chance sisters of Wise Children, like her idol Lulu/Louise Brooks - resemble the literary text of the kind she herself was writing: ornate, bejewelled, highly wrought prose of supreme artifice, which conjures straight-talking and foul-mouthed characters underneath their greasepaint and costumes. Her crucial insight is that women like the circus aerialiste Fevvers produce themselves as women, and that this is often the result offinding the inner strength to use what you have to get by. The fairy tale transformations of Cinders into princess represent what a girl has to do to stay alive.

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Angela Carter was a fantasist with a salty turn of mind, a dissident with a utopian vision of possibilities in the midst of disaster, who always sprang surprises and challenged the conventional response, as in her controversial essay of the late 1970s, The Sadeian Woman, which found in the Marquis de Sade a paradoxical champion of women's sexual liberation. In her novels of the 1960s and early 1970s ( Heroes and Villains, The Infernal Desire Machines of Dr Hoffman), in the dazzling reworkings of The Bloody Chamber, and her last, full-stretch flights ( Nights at the Circus and Wise Children), she developed Freud's polymorphous perversity with panache and played with humour in a wide variety of keys, ranging from flamboyantly upfront ribaldry to the quietest, driest, droll asides. She opened a recent anthology of fairy tales with the figure of Sermerssuaq, a heroine of contemporary Eskimo folklore, who was 'so powerful' that

she could lift a kayak on the tips of three fingers. She could kill a seal merely by drumming on its head with her fists ... Sometimes this Sermerssuaq would show off her clitoris. It was so big that the skin of a fox would not fully cover it. Aja, and she was the mother of nine children, too!
('Sermerssuaq', Angela Carter's Book of Fairy Tales)

Carter was invited to moderate this passage as its inclusion, especially in the heraldic position at the beginning of the book, would prevent teachers using the collection in schools. But she stood firm; she practised through her writing a constant stretching of the permitted, of the permissible. Taboo was her terrain (a collection of her journalism is called Nothing Sacred and another, of her short stories, Burning Your Boats). Comedy was one of her most effective forms of trespass. Not for her the humour of control, of convention, of censure. In one of the very last pieces she wrote, she celebrated the British pantomime tradition, its transvestite roles, use of heavy innuendo and bawdy banter about sexual oppositions:

The Dame bends over, whips up her crinolines; she has three pairs of knee-length bloomers... One pair is made out of the Union Jack... The second pair is quartered red and black, in memory of Utopia. The third and vastest pair of bloomers is scarlet, with a target on the seat, centred on the arsehole...
('Part Two: In Pantoland', American Ghosts & Old World Wonders)

The Fool in Dutch painting deals in comic obscenity in this manner: as fools can enter where angels fear to tread, and thumb their noses (or show their bottoms) at convention and authority tomfoolery includes iconoclasm, disrespect, subversion.

The Dame became one of Angela Carter's adopted voices (a woman speaking through a man disguised as a woman); this double drag scatters certainty about sexual identity, and calls the idea of fixed identity into question. But it was not always so, and in the broadening of her comedy one can decipher the risks and the difficulties she suffered as a writer. This transformation itself forms part of the larger shift that has taken place in recent times, which has made humour the weapon of the dispossessed, the marginal, the response of the victim who feels Punch's stick, not the manic joy of Mr Punch himself.

Her humour was of the unsettling variety which makes it necessary to examine one's own received ideas. It was so very impolite, with its particular idiosyncratic feminism, its blend of the irreverent and the Gothic, its dazzling linguistic intricacy and relish for imagery. But it is this humour, its dark and even snaky stabs, that above all produced the shock and unease people felt at her work - which is of course what she - like Sermerssuaq, like the Panto Dame - wanted.

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Manuscript drafts of 'Alison's giggle' and an article on Edgar Allan Poe by Angela Carter

In the essay 'Alison's Giggle', Angela Carter examines the presence (or absence) of women's laughter and humour throughout the history of literature.

Usage terms © Displayed with the permission of the Estate of Angela Carter c/o Rogers, Coleridge & White Ltd., 20 Powis Mews, London W11 1JN. Angela Carter's work is published in the UK by Vintage, Virago, Penguin Classics. You may not reuse the material for commercial purposes.

The growing presence of humour in Carter's fiction signals her defiant hold on 'heroic optimism', the mood she singled out as characteristic of fairy tales, the principle which sustained the idea of a happy ending, whatever the odds. But heroic optimism shades into gallows humour. Although laughter breaks the silence and jesting can be provocative, disruptive, anarchic and unsettling, some laughter never unburdens itself from knowledge of its own pessimism; it remains intrinsically ironic.

In her later fiction, Carter used her own brand of carnivalesque comedy to mock the yearnings and delusions of Eros, and in Wise Children she burlesques Shakespeare's A Midsummer Night's Dream, recasting this recension of 'Beauty and the Beast' as a full Hollywood spectacular, Cecil B. DeMille-cum-Busby Berkeley; like the Bard, a presiding presence in the book, Carter has fun at the Queen of the Fairies' expense, but she vividly takes the part of the rude mechanicals, too. Wise Children is another of Bottom's dreams: it literally looks at romance from the angle of those at rock bottom, the Chance sisters, and snatches victory from the jaws of defeat, as the donkey proves, against all expectations, that folly has its wisdom too.

Usage terms © Displayed with the permission of the Estate of Angela Carter c/o Rogers, Coleridge & White Ltd., 20 Powis Mews, London W11 1JN. Angela Carter's work is published in the UK by Vintage, Virago, Penguin Classics. You may not reuse the material for commercial purposes.

It is uncomfortable to know you are identifying yourself as an outsider by what you say, that all the disguises in the wardrobe will never fix identity, all the voices in the repertory will not tell the complete story. Angela Carter was the most recent and most original of the goose-footed queens, of the riddling, scabrous dames, to put hard questions in the quest of a deeper understanding.

From the Beast to the Blonde by Marina Warner. Published by Vintage, 1994. Copyright © Marina Warner. Reproduced by permission of the author c/o Rogers, Coleridge & White Ltd., 20 Powis Mews, London W11 1JN

Marina Warner's books include Alone of All Her Sex: The Myth and the Cult of the Virgin Mary (l976), Joan of Arc: The Image of Female Heroism (l982), From the Beast to the Blonde : On Fairy Tales and Their Tellers (1994) and No Go the Bogeyman (1998). In l994 she gave the BBC Reith Lectures on the theme of Six Myths of Our Time. Recent books include Stranger Magic:Charmed States and The Arabian Nights (2011) and Once Upon a Time: A Short History of Fairy Tale (OUP, 2014). She has also published novels ( The Lost Father (l988), INdigo (l996) and The Leto Bundle (2000). A third collection of short stories Fly Away Home came out in 2015. She is Professor of English and Creative Writing at Birkbeck College, London. She was made DBE in 2015 and the same year was awarded the Holberg Prize in the Arts and Humanities.

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cross-dressing and the mercurial slipperiness of identity

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Angela Carter: Fairy tales, cross-dressing and the mercurial slipperiness of identity

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Marina Warner explores cross-dressing and the performance of identity in Angela Carter's fairy tale-inspired works. In the 20th century, traditional tales have offered many imaginative writers a territory of freedom to express their rebellion: the granny bonnet and the wolf mask have offered a helpful disguise to some of the boldest spirits.

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Jessamy Baldwin

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"I am all for putting new wine in old bottles, especially if the pressure of the new wine makes the old bottles explode" -Angela Carter

Reading Angela Carter's collection of opulent short stories, The Bloody Chamber (1979), is like riding an exhilarating roller coaster. You think you can predict the twists and turns of the ensuing ride, but are instead taken on an electrifying, exotic journey that will stimulate you from beginning to end. The Bloody Chamber injects new energy into traditional tales and motifs by deconstructing and transforming some of the core elements that support such stories. This essay intends to explore how Carter's text presents us with a complex and original expression of a forceful feminist vision. It dismantles and explodes long-established depictions of women within the fairy tale genre, which "encoded the dark and mysterious elements of the psyche" (Makinen).

By re-shaping these tales, Carter was "deliberately drawing them out of their set shapes, out of the separate space of children's stories or folk art and into a world of change" (Sage); these are "no children's bedtime stories...they are fierce, dark, erotic [and] gothic" (Gamble). This is specifically achieved in the intense and vibrant title story, 'The Bloody Chamber', which tells the story of a young woman's seduction into - and escape from - a deadly marriage. Subsequently, Carter also "attempts to decolonise our habits of thought" (Makinen) by working within and against fairy tale conventions in her bid to expose how Western culture has "shaped limiting concepts of gender and sexuality" (Bristlow and Broughton).

As a woman who personally and publically identified herself as a feminist, it comes as no surprise that Carter's stories within The Bloody Chamber are informed and influenced by her feminist principles. Indeed, she has declared:

"It's been amazingly difficult... trying to sort out how I feel that feminism has affected my work, because that is really saying how it has affected my life and I don't really know that because I live my life, I don't examine it" (Carter 'Notes').

Indeed, as Alison Easton has noted, it is important that we understand Carter's explorations of gender and female sexuality in The Bloody Chamber within "the context of the many different, contested positions that feminism has taken over the past thirty years". Within this continual feminist debate, issues surrounding pornography, sexuality, violence and the representation of women intensified in the late 1970s and 80s which would have significantly influenced Carter's work and prompted critics to readily respond to The Bloody Chamber and The Sadeian Woman, which were both published in 1979. While many feminists agreed that pornography "reflected a sort of distilled essence of the entrenched binaries of patriarchal gender relations, the conflict revolved around the extent to which pornographic representations could be appropriated" (Benson 37) to adequately critique it and suggest alternatives. Subsequently, for many feminists who saw pornography purely as the eroticization of male power and female weakness, the stories in The Bloody Chamber, which are permeated by sexual violence, sexual gratification, erotic desire and sadism, were unsuccessful in achieving a feminist objective.

The question of what precisely Carter's objective was with The Bloody Chamber, has also dividedcritics. Never occupying a particular or specific feminist position and being continually influenced by contrasting ideas and notions relating to gender and sexuality, Carter was able "to critique phallocentrism with ironic gusto and to develop a wider and more complex representation of femininity" (Makinen). Yet some early critics, such as Robert Clark and Patricia Duncker, saw her wide ranging feminist agenda as too ambiguous, the latter felt she was "rewriting the tales within the strait-jacket of their original structures" (qtd. in Makinen) and remained unconvinced that Carter was able to completely escape the conservative gender stereotypes often exemplified in traditional tales and motifs. Others stated that she failed to make the old bottles explode in the spectacular way she had hoped and "gets locked into... conservative sexism despite her good intentions" (Makinen). Also, that the strong pornographic nature of her tales and the fairy tale genre itself, could not be appropriated to critique and map alternatives to gender binaries, especially considering the role of fairy tales "in the installation of these very traditions" (Benson).

Nevertheless, such evaluations of Carter's work can be seen as dangerously missing the powerfully ironic point she puts across in her transformation of traditional tales and motifs. Yes, she uses narrative structures that are based on old-fashioned notions of women and men's sexual roles; but Carter utilises such story lines as working construction sites in her renovation of such concepts. Carter chose to use elements from fairy tales because those were the stories that developed through oral tradition and she saw them as "the most vital connection we have with the imaginations of the ordinary men and women whose labour created our world" ('Virago Book of Fairy Tales'). Therefore, by tackling such deep rooted customs and concepts, the reader is forced to respond due to familiarity with the old story when faced with the implications of the new one.

Moreover, considering patriarchal distain for the proto-feminist actions of the witty, salon women of the 17 th Century, from which fairy tales began to circulate, "it is ironically apropos that Carter, a feminist, should now speak through Perrault's tales" (M. Roemer and Bacchilega), and cleverly undermine their core principles. Although her intense and colourful writing style may not suit everyone and "the savagery with which she can attack cultural stereotypes [is potentially] disturbing, even alienating" (Makinen), it nonetheless remains brilliantly perceptive and invigorating to read. Makinen also argues that those critics who fail to understand Carter's subtle ironies do so because they fail to "position themselves outside phallocentric culture".

Carter's marvellously gothic title story, 'The Bloody Chamber' is a feminist re-write based on Charles Perrault's traditional fairy tale, 'Bluebeard'. Her story also heavily draws on the eccentric life of the French aristocrat and sexual libertine, the Marquis De Sade. The Marquis's chamber is also "that private slaughterhouse of his" (Carter 'The Bloody Chamber') and signifies the dark, fetishized world of Sadeian erotic fantasy. Carter expanded on representations of sexual violence and her interest in the Marquis de Sade in The Sadeian Woman (1979). This too received mixed criticism from feminist critics, and Susan Kappeler condemned her depictions of women as mere objects of male pornography. However, what Carter depicts in The Bloody Chamber and The Sadeian Woman is an alternative view of women's sexuality as entirely unrelated from their reproductive and biological role. Indeed, "during the 1970s, Carter had been re-reading fairy tales and Sade in tandem and bleakly contemplating the fate of good, powerless girls, the Red Riding Hoods and the Sleeping Beauties of the world" (Sage 'Angela Carter: The Fairy Tale') .

'Bluebeard' is a well-known European folktale which has contrasting characteristics depending on its origin, "in Norway the husband is a troll, in Italy, a devil, and in an ancient Greek version, death itself" (Lokke). However, Carter uses the basic elements from Perrault's tale, namely the rich and powerful man who marries a series of young wives, gives them the key to a forbidden room but prohibits them from entering it, thus testing their obedience to him. Each woman gives into her curiosity which is revealed by the blood stained key, yet while the previous wives are killed by Bluebeard and locked in the chamber, the cycle is broken when his current wife is rescued just in time and he is then killed.

In comparison to 'Bluebeard', then, 'The Bloody Chamber' is far more sexually violent and pornographically explicit. Carter once said "you mention folk culture and people immediately assume you're going to talk about porridge and clog dancing" (qtd. in Sage 'Angela Carter: The Fairy tale') and that in actual fact, "the latent content of those traditional stories... is violently sexual" (qtd. in Ozum). Indeed, similar to many fairy tale motifs, the 'Bluebeard' story is "grotesque in essence" (Lokke), so as readers we are prepared for the evil in the narrative. Carter then cleverly uses these inherent expectations to alter how we view the intensified sexual descriptions and violent images in her tale; subsequently we are forced to question rigid sexual binaries and gender definitions.

In 'The Bloody Chamber', though the female protagonist is potentially a victim to male pornography and is an object of male property at first, she is able to surpass this oppression and realise her own potential for independent sexuality. Moreover, the Marquis's "victimisation of women is overturned and he himself is vanquished by the mother and daughter" (Makinen). The traditionally old, domesticated fairy godmother who solves all the problems in fairy tales such as Cinderella, or the valiant hero or future lover who saves the day is transformed and rewritten in 'The Bloody Chamber'. In true feminist fashion, it is the fearless, Amazonian mother who rides to the rescue, "a wild thing... skirts tucked around her waist... as if she had been Medusa" (Carter 'The Bloody Chamber'). This intervention of the mother is unusual in The Bloody Chamber and in Carter's other work where mothers are typically absent from the plot. The other stories in the collection contain either a lost mother or no mother at all, similar to her novels such as Wise Children or The Magic Toyshop in which the former skips a generation to focus on grandmothers and the latter deals with mother figures in place of biological mothers.

Unlike in 'Bluebeard' where the bride's brothers come to the rescue, the Marquis is overcome by female autonomy, he is "impotent at last [as the] dolls break free of their strings, abandon the rituals he had ordained for them since time began and start to live for themselves" (Carter 'The Bloody Chamber'). Indeed, "with his removal, the rigid dichotomy of his eroticised power games is shattered and the space he once occupied is recovered and reconfigured" (Gamble), the female protagonist comes to realise that she does not need a rich husband and refuses to be the victim of a "puppet master" (Carter 'The Bloody Chamber'). By contrast, in the original 'Bluebeard', the woman immediately marries "an exceedingly pleasant man, who soon made her forget the bad time she had with Bluebeard" (Perrault) emphasizing her continual reliance on male authority. Therefore, as Lucie Armit argues, it is critics like Duncker "who remains ensnared" in patriarchal narratives, through their inability to recognise the powerful transformation the female protagonist undergoes in this story.

Furthermore, while Perrault's tale is narrated in third person and we remain relatively distant from the woman in the story, Carter's story is narrated retrospectively by the woman herself. This shifting focus towards the woman's physical and mental journey is "foreign to the traditional fairy tale" (Lokke) and provides us with an exuberant reading experience that "actively engages the reader in a feminist deconstruction" (Makinen). We experience the protagonist's transition from innocence and dependence to maturity and independence. When initially asked by her mother if she is certain she loves the Marquis, she replies, "I'm sure I want to marry him" (Carter 'The Bloody Chamber'), thus demonstrating her initial fixation on marriage because it is the next stage in her socially conditioned female role. However, by the end of the story she is happy to give away the inherited money from her dead husband to various charities and runs a school for the blind at the castle. Therefore, the typical fairy tale journey of poverty and unhappiness towards wealth through marriage is here remodelled so that female autonomy rather than wifely subservience is the happily ending.

Moreover, while in Perrault's tale the woman accepts she "must die", in Carter's, she tells the piano tuner "I've done nothing; but that may be sufficient reason for condemning me" ('The Bloody Chamber'), she shows a lot more female gumption and is less prepared to receive punishment for her curiosity. Therefore, while Perrault is warning his readers or listeners against over inquisitiveness and wifely disobedience, Carter is conveying the opposite. The murderous Marquis also represents all symbolically murderous marriages where the man destroys independent female desire for his own corrupt purposes. Indeed, Carter is redefining the basic associations of women in fairy tales, innocence is inferior to knowledge, sexuality is empowering not degrading and the knight in shining armour may be a "indomitable mother" (Carter 'The Bloody Chamber') riding to the rescue or even the heroine herself in her conquering of individual fears or social convention. Such deconstruction results in an entirely new collection of stories which convey liberating realities for women, where they can live independently of patriarchal dominance or exist simultaneously through mutual desire, as shown in 'The Tiger's Bride' or 'The Company of Wolves'.

The Red Riding Hood character in 'The Company of Wolves' displays confidence and self-assurance. She bursts out laughing and says "she knew she was nobody's meat" (Carter) in response to the traditional exchange between the wolf and herself over the animals large teeth which are "all the better to eat you with" (Carter 138). By utilizing the older tale and transforming the meaning of such fundamental elements to convey the sexual freedom of the modern Red Riding Hood, we can see how Carter enhances her own feminist narrative by such recognition and transformation. Subsequently, she critiques conservative and limiting depictions of women and gender notions through a complex interplay of old and new.

The Red Riding Hood of Perrault's tale is described as an innocent, little girl whereas we are told that the girl in 'The Company of Wolves' had "just started her woman's bleeding"(Carter), that "her breasts have just begun to swell" and though she is a virgin, "she has her knife and she is afraid of nothing" (Carter). Therefore, Carter remaps the stereotypical female victim into a woman who is in control of her "magic space" ('The Company of Wolves'). In her assertion that she is "nobody's meat" ('The Company of Wolves'), she refuses to be the victim or prey, she gives in to her desire "freely" ('The Company of Wolves') and therefore embodies independent female desire. Moreover, the female protagonist of 'The Bloody Chamber' is arguably more ignorant and passive at the start of the story, before she has come into contact with sexual violence, however she soon possesses a "dark new-born curiosity" (Carter) about the forbidden chamber after her first sexual experience. E.B.Manley argues that she is "a woman in process, someone who is exploring her subject position and beginning to tell her own story" and this desire for knowledge and truth is empowering. It allows her to eventually recognise her potential for corruption if she remains the female object, she does this by discovering what lies inside "the kingdom of the unimaginable" (Carter 'The Bloody Chamber') and eventually overcoming her husband's patriarchal power games.

Furthermore, once the girl from 'The Company of Wolves' and the wolf have recognised and fulfilled their mutual desire, when she has "laughed at him full in the face" and "ripped off his shirt for him", she is able to sleep sweet and sound "between the paws of the tender wolf". This is because she is not a female victim or object; she is an independent sexual woman who has transcended the traditional, subversive woman commonly depicted in traditional fairy tales and it is clear that "both male and female benefit from the transformation of the old power relations" (Gamble).

Despite Duncker's opinion that the girl from 'The Company of Wolves' simply sees rape as inevitable, "she wants it really, they all do." (qtd in Gamble) and that Carter fails to transcend ideology, this particular reading of sexual awakening feels incomplete and limiting. Robert Clark also maintains that though the Red Riding Hood figure embraces her sexuality, she does so at the cost of "accepting patriarchal limits to women's power" (qtd in Gamble). However, it is important to remember how "later re-writings that take the genre and adapt it will not necessarily encode the same ideological assumptions" (Makinen). Indeed, Carter is showing that the women in her tales do have autonomous desire. At the end of 'The Tiger's Bride', the tiger's licking of the woman's skin causes the woman who was "unaccustomed to nakedness" (Carter 'The Tiger's Bride') to expose the female tiger that lies within her as an individual. She is left with a "nascent patina of shining hairs" and sees her new fur as incredibly beautiful, unlike her culturally constructed, innocent skin which she was so "unused to" (Carter 'The Tiger's Bride').

So, instead of giving into male desire, Carter is showing how the woman in this tale is satisfying her own polymorphous desire, so it is "not women re-enacting porn for the male gaze, but...woman reappropriating libido" (Makinen) for themselves.

While mirrors are only mentioned briefly in 'Bluebeard', they play a vital role in 'The Bloody Chamber' as the female protagonist transitions from female object to female subject, E.B. Manley argues that "the mirror scenes establish the protagonist as oscillating between girlhood and womanhood, between a patriarchal view and her own definition of herself". Indeed, they force the protagonist to reflect on her innocence and increasing desire as the story progresses. On the night before her wedding, at the performance of Tristan and Isolde, she catches herself in the mirror and sees herself through the eyes of her fiancé who watched her "with the assessing eye of a connoisseur" (Carter 'The Bloody Chamber'), a gaze which suggests his carnal desire to consume and feed off her innocence.

She sees:

"the white dress; the frail child within it; and the flashing crimson jewels round her throat, bright as arterial blood... [and] sensed in [herself] a potentiality for corruption" (Carter 'The Bloody Chamber').

This image also forebodes the Marquis's wish to decapitate her at the end of the story. However, even at this stage she realises it was "my innocence that captivated him" (Carter 'The Bloody Chamber') and it is all part of his plan to corrupt her for his own pleasure. Attraction to innocence and naiveté is perhaps a reflection of mankind as a collective and is a motif which is traditionally represented in many fairy tales. I believe the protagonist is representative of the female collective in the mirrors of her bedroom, indeed, she watches as "a dozen husbands impaled a dozen brides" (Carter 'The Bloody Chamber), thus insinuating an entire history of women who have been victims of unhappy marriages or violent abuse and therefore signifying a universal need to alter the way society understands female sexuality.

Recognising the innocent image in the mirror as one that has been socially conditioned to meet the needs of a phallocentric culture which itself desires domination over the female object, along with her increased knowledge of sexuality and violence due to her experience in the chamber, all help to increase her female independence. She almost succeeds in seducing her husband, by using the male desire for innocence against him, "a dozen vulnerable, appealing girls reflected in as many mirrors... if he had come to me in bed, I would have strangled him" (Carter 'The Bloody Chamber'). Faced with the reality of death as a result of female submission, she is no longer naïve.

By contrast, Perrault's female character "almost fainted with terror" and flings herself at her husband's feet, "weeping and imploring him to forgive her for having disobeyed him". Consequently, Carter portrays powerful female sovereignty through the heroine and her brave mother, and therefore reconfigures the traditional motif of female weakness in traditional fairy tales. Though both women are frightened by their experience, Perrault's heroine does not progress as a character, unlike Carter's.

The protagonist of 'The Blood Chamber' is extremely isolated in "the faery solitude of the place...cut off from land for half a day" (Carter 'The Bloody Chamber'), whereas in 'Bluebeard', the woman is continually surrounded by "amusements...hunting and fishing parties, banquets, dances and suppers" (Perrault) and therefore has less need to soul search. Carter's protagonist is forced to face internal conflicts and confront the woman in the mirror. Moreover, although we are told that the woman in 'The Bloody Chamber' goes on to live with her mother and the blind piano player, she is not reliant on either of them and is not victimised by the male gaze due to his blindness. Therefore, "the marriage of wealth and power, standard goal for fairy tale heroines, is rejected. She has been allowed through her initiation in the chamber, to understand and survive the deadly peril that kind of marriage holds for her" (Renfroe). By contrast, in Perrault's tale, the young widow immediately "married an exceedingly pleasant man, who soon made her forget the bad time she has with Bluebeard" (Perrault) conveying the notion that dependence on a man was a traditional motif that Carter wanted to eradicate.

Nevertheless, the end of 'The Bloody Chamber' has caused some debate among critics. The red heart imprinted on the woman's forehead due to the blood stained key causes her shame, but shame over what exactly is open to interpretation. It may well be the mark serves as a reminder to all women to never become victims of the bloody chamber, if indeed it represents sexual confinement or dominance by men. Lokke argues that the heart is a "badge of courage" and the shame can therefore be seen to result from her initial subservience to her violent and unemotional husband. The mark is a constant reminder of her knowledge of the human heart and forces her to realise she need not give into marital convention just because it is socially acceptable or economically beneficial. Indeed, even though her innocence becomes "subtly tainted" (Carter 'The Bloody Chamber'), this realisation and knowledge leads to her "recognition of the evil within her" (Lokke), that all men and women have the potential to succumb to, embrace or resist. Coming to terms with her potential for corruption signifies her maturity and "acceptance of responsibility rather than destructive self-depreciation" (Lokke). Therefore, the heroine's experience of violent and sexual perversion, followed by her ability to recreate the castle into a school for the blind, shows how Carter is metamorphosing traditional images of the heroine marrying the prince charming, into modern projections of female knowledge and independence as the perfect happy ending.

Indeed, Carter takes emotions that have simmered just below the surface of classic fairy tales, of suggested carnal desires and sensuous cravings, of cruelty that is left to the readers imagination, and presenting them to us in rich, juxtaposing ways. We are thus forced to question the depictions of gender, violence and sex in traditional tales and motifs. The grand castle we see in numerous fairy tales is redefined and here becomes the larger container of the bloody chamber itself, it is seductively captivating, yet eerily isolated, it seems to exist "neither on the land nor on the water, [it is] a mysterious, amphibious place" (Carter 'The Bloody Chamber' 9), illustrating how Carter re-appropriates core elements of traditional motifs for her own purposes.

Within moments of beginning 'The Bloody Chamber', we are lured into its narrative and enticed by the profusion of lush, sumptuous, erotic prose that seduces and repels us all at once. The awakening of desire is felt from the very first sentence when the protagonist tells us how she "lay awake in the wagon-lit in a tender, delicious ecstasy of excitement, [her] burning cheek pressed against the impeccable linen of the pillow". She also says how the pounding of her heart mimics "the great pistons ceaselessly thrusting the train" as she is borne away from Paris, "away from girlhood, away from the white, enclosed quietude of my mother's apartment, into the unguessable country of marriage".

The protagonist's experiences in the castle continually transition between the sensual and the violent and the language is extremely perfumed and poignant. As the story goes, our senses become even more heightened to the evocative language on the page, much like the vivid colours of a Disney fairy tale; we are drawn into the this particular story by vivid descriptions and intense images, which combine to produce an unnerving, yet exhilarating effect. The uncanny, sallow descriptions of her inhuman husband's "waxen face", which seemed like "a mask", his resemblance to "one of those cobra-headed, funeral lilies whose white sheaths are curled of a flesh as thick and tensely yielding to the touch as vellum, his leather covered, pornographic library with its "rugs...dark panelling...lulling music...flames" and the "ruby necklace that bit into [her] neck", are all images that heighten our horror and anticipation due to the foreplay of sensual language. The husband's association with lilies which have phallic and death like associations, and the way he makes the bedroom look like "an embalming parlour" conveys his overall destructive nature and oppressive sexual perversion, in stark contrast to the heroine's vitality. The protagonist is eventually able to overcome sexual perversion and defeat death and her husband, who is the embodiment of death itself. Lokke argues that by "acknowledging the glamour of sado-masochist self-annihilation as well as its ultimate brutality, ugliness and misogyny", Carter maps before the reader how imperative it is that both female and male sexual desire is redefined on the grounds that the women is not the objective victim as she is often depicted in traditional tales, she should have control over her own sexual desires rather merely playing the sexual role a man has assigned to her.

In conclusion, by writing stories about fairy tales, which each reader would have previous assumptions and associations, then subverting the original messages, Carter forces us to radically question our beliefs surrounding the cultural constructions of gender and female sexuality. The fixed gender binaries and stereotypes often depicted in oral and literary tradition are exploded in 'The Bloody Chamber' and the rest of the short stories. While new wine in old bottles was a motivation and underlying principle in all her work, this logic was epitomised in these revolutionary tales which are incandescent throughout. Despite the ethereal quality to her work, Carter once wrote that she was "in the demythologising business" ('Notes') and was determined to break down the "lies [which are] designed to make people feel un-free" (Notes). Indeed, by critiquing and transforming traditional tales and motifs, The Bloody Chamber forces us to interrogate conventional narratives and decolonise our ideas surrounding sexual freedom and the depictions of women within the fairy tale genre.

A fully referenced version of this article appears at www.jessamybaldwin.co.uk

About the author of this essay

Jessamy Baldwin is an avid globetrotter and Bristol based freelance writer. She has a BA in English Literature, an MA in International Journalism and writes about travel, food, history, literature and current affairs among other topics. She has worked in New Zealand as a communications advisor within government relations and as a newspaper columnist, in Malawi as an English teacher, in the Channel Islands as a news reporter and in the UK as a deputy editor in chief and freelance journalist. Always on the look-out for her next adventure and the perfect 'cosmo', Jessamy's dream is to run her own content agency and keep exploring the world, pen, paper and camera in hand.

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Rewriting fairytales: the bloody chamber

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"I am all for putting new wine in old bottles, especially if the pressure of the new wine makes the old bottles explode" -Angela Carter Reading Angela Carter's collection of opulent short stories, The Bloody Chamber (1979), is like riding an exhilarating roller coaster. You think you can predict the twists and turns of the...

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Although widely recognized as children's stories, rooted in a distant world of magical realism, folk and fairy tales form a significant layer of both literary history and cultural consciousness. The realm of fairy tale, which was historically a tradition belonging to the matriarch in her role as storyteller, is in modern times dominated by the versions made popular by writers such as Charles Perrault and the Brothers Grimm. The archetypal role of women in these versions of the tales - as the vulnerable victim, damsel in distress, or the pretty prize for the male hero - is one that through the techniques of both Gothic subversion and postmodern carnivalesque, has been exposed, rewritten and ultimately reclaimed for women by Angela Carter, who herself explained that her intention was to 'extract the latent content from the traditional stories'. The fairy tale form not only provides Carter with this radical and repressive source material, but also, as Patricia Brooke notes, allows her to "contest the authorial position, rejecting the romantic and modern authoritative voice in favour of the multiplicity of voices, often female, that have been repressed by the 'official' tellings of Perrault, Grimm, or Disney". Carter's feminist intention for her gothic reinventions is not so limited or distorted as to craft wholly heroic, virtuous and triumphant female characters, for to do so would be to break free femininity from one set of social confinements, only to trap it within another. The women of The Bloody Chamber are not simple or idealized feminist restorations. Instead, each is crafted from a dark and intricate human framework (the same from which Carter creates her male characters) that allows them to transcend conventional gender roles. Across the collection, both female and male characters have been depicted as cruel or kind, passive or possessive, victimized or villainous. With a focus on 'The Bloody Chamber' and 'The Tiger's Bride', this essay aims to explore and critically examine the techniques by which Carter subverts the traditional fairy tale stock characters, employing the excesses of the Gothic form in order to dissect, dismantle and parody various aspects of the original tales: exposing their repressive absurdities and forming revised narratives within a framework of deconstructed gender identities.

Significantly, however, the young man is powerless to save the female narrator. It is instead the role of a 'crazy, magnificent horsewoman' (p.38), her mother, acting on 'maternal telepathy' (p.41) that told her that her daughter needed rescuing. Carter's matriarch is depicted as a bold and brilliant hero: 'one hand on the reins of the rearing horse while the other clasped my father's service revolver and, behind her, the breakers of the savage, indifferent sea, like the witnesses of a furious justice' (p.40). This subversive reworking of the typical scene in which a male hero rescues the damsel in distress is incredibly significant to the entire collection and to Carter's feminist intention. As Robin Ann Sheets comments, Carter's narrative 'restores to prominence a figure who is strikingly, ominously, absent from fairy tales, from pornographic fiction, and from the Freudian theory of female development: the strong, loving, and courageous mother'. This reflects the ways in which Carter constructs new cultural and literary realities - this being one in which, as Botting concludes, 'the fairy-tale form is undone when the visor is lifted and the face of the mother revealed', because, he goes on to reiterate, 'a feminine figure replaces the father or his heroic male substitute'. The narrator is saved by her own mother, her role model (which is perhaps indicative of the type of heroine a victim can become), who represents the potential for strength and courage in women.

Word Count: 1,534

Botting, Fred, 'Aftergothic: Consumption, Machines and Black Holes', in The Cambridge Companion to Gothic Fiction, ed. By Jerrold E. Hogle (Cambridge: Cambridge University Press, 2002)

Bristow, Joseph, and Trev Lynn Broughton, Angela Carter's Infernal Desires: Fiction, Femininity, Feminism (Oxon: Routledge, 2014)

Brooke, Patricia, 'Lyons and Tigers and Wolves - Oh My! Revisionary Fairy Tales in the Work of Angela Carter', Critical Survey, 16.1, (2004)

Carter, Angela, The Bloody Chamber (London: Vintage Books, 2006)

Haffenden, John, 'Angela Carter', Novelists in Interview (New York: Methuen Press, 1985)

Melinda G. Fowl, 'Angela Carter's "The Bloody Chamber" Revisited', Critical Survey, 3.1, (1991)

Roderiguez, Corlina Fernandez, 'The Deconstruction of the Male-Rescuer Archetype in Contemporary Feminist Revisions', Marvels & Tales, 16.1, (2002)

Sheets, Robin Ann, 'Pornography, Fairy Tales and Feminism: Angela Carter's "The Bloody Chamber"', Journal of the History of Sexuality, 1.4, (1991)

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How Does Angela Carter Deconstruct Conventional and Repressive Gender Identities in The Bloody Chamber? - folio

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Although widely recognized as children's stories, rooted in a distant world of magical realism, folk and fairy tales form a significant layer of both literary history and cultural consciousness. The realm of fairy tale, which was historically a tradition belonging to the matriarch in her role as storyteller, is in modern times dominated by the versions made popular by writers such as Charles Perrault and the Brothers Grimm.

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2015 - Past & Present -Exemplar Reponse - Pgs 32 & 33

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2015 - Past & Present -Exemplar Reponse - Pgs 32 & 33

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Socialist Politics/Mother-Daughter Relationships/Women and Nuturing Perception

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The British Library

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The last three stories in Angela Carter's The Bloody Chamber all feature wolves. Bidisha considers how these tales use wolves to explore sexual and gender politics, social violence and the possibility of liberation.

Angela Carter's 1979 collection of original fairy tales, The Bloody Chamber, is rightly held up as a masterpiece of 20th-century fiction. Dazzlingly varied in tone and register, the collection is cavalier, lushly romantic, chilling and ferociously entertaining. It combines postmodern self-awareness with the other-worldly glamour and unashamed intensity of classic horror and fantasy fiction.

The individual stories glance bullet-like off stock fairy tales from Bluebeard (in the title story), Beauty and the Beast (in the stories 'The Courtship of Mr Lyon' and 'The Tiger's Bride') and Little Red Riding Hood (in the two penultimate stories 'The Werewolf' and 'The Company of Wolves'), and shoot away in new directions which are highly inventive and intensely unnerving. Others, like 'The Lady of the House of Love' and the last story, 'Wolf-Alice', explore vampire, zombie and other occult mythology.

In this essay I look at the last three stories in The Bloody Chamber: 'The Werewolf', 'The Company of Wolves' and 'Wolf-Alice'.

Photographs from The Company of Wolves, a film by Neil Jordan and Angela Carter

Sarah Patterson as Rosaleen in the film adaptation of The Company of Wolves, 1984. The film layers several stories from The Bloody Chamber collection, including 'The Werewolf'.

Usage terms © ITV / Rex Shutterstock. Except as otherwise permitted by your national copyright laws this material may not be copied or distributed further.

'The Werewolf'

The first story, 'The Werewolf', is told with abrupt, brittle relish, sketching out a familiar Gothic pastoral scene in frighteningly flippant shorthand. We are in a 'Northern country' of 'cold weather' and 'wild beasts in the forest'. Life is 'harsh, brief, poor', flowers don't grow and the ghastly supernatural intermingles, unquestioned, with the bleak natural: vampires are warded off with garlic, children are born with second sight. Interaction with the uncanny offers no thrill of contact. Instead, it compounds local paranoia and misery. Human society is punitive, suspicious and credulous, its puritanical patriarchy shot through with a hypocritical sexualisation: women suspected of being witches are stripped before being stoned to death.

Survival, if not peace, is maintained through mutual preying and destruction: the Little Red Riding Hood-like character of the young protagonist who walks through the forest to visit her grandmother is the daughter of a hunter. Like her father, she knows how to use a knife and, like all the town's inhabitants, is on guard both against animal predators like wolves but also against naked men who are feared not because they might be sexual attackers but because they are werewolves. Teasingly, the child is dressed as wolf-prey, in victim drag: a 'scabby coat of sheepskin'.

Angela Carter's translation of The Fairy Tales of Charles Perrault

'Little Red Riding Hood' translated by Angela Carter with illustrations by Martin Ware. As she drafted The Bloody Chamber collection, Carter simultaneously worked on this translation of Charles Perrault fairy tales, which were published in 1977.

Usage terms Charles Perrault: This material is in the Public Domain. Angela Carter: © Displayed with the permission of the Estate of Angela Carter c/o Rogers, Coleridge & White Ltd., 20 Powis Mews, London W11 1JN. Angela Carter's work is published in the UK by Vintage, Virago, Penguin Classics. You may not reuse the material for commercial purposes. Martin Ware: © Estate of Martin Ware. Published under a Creative Commons Non-Commercial Licence.

When a wolf does indeed attack the girl, it has red eyes like the devil. However, in keeping with the sympathetic way wolves are described throughout these stories, it flees when the girl cuts off its paw and it gives a 'gulp, almost a sob'. The girl arrives at her grandmother's home, and the grandmother is 'like a thing possessed' - indeed, she is a werewolf, the same one who attacked the girl. In an unpleasant yet aptly misanthropic twist, the neighbours come in, see a wart on the grandmother's severed hand, have her for a witch and stone her to death. The moral: being a werewolf won't save you from sexism.

'The Werewolf' is not a story about werewolves but about human meanness of spirit - the uniquely human appetite for judging others and then collectively enjoying seeing their punishment through to the death. This is not a world in which natural justice prevails but one in which whoever is left standing is the winner. Society allows no place for debating moral rights and wrongs; the story satisfies its characters while leaving the reader morally unmoored. It ends with a grim if (to us) unjust settling of the situation: the girl, apparently happy with the cancelling out of both witch and werewolf threats, happily replaces her murdered grandmother and 'prospered' in her house.

'The Company of Wolves'

The next story, 'The Company of Wolves', is a macabre, luxuriantly disturbing work recounted in a cheesy B-movie voice-over where every blood-curdling, spine-chilling adjective progressively makes the audience less afraid of the 'carnivore incarnate', 'as cunning as he is ferocious', who is shortly to stalk the pages like a vaudeville pirate. The story is soaked in panstick, limelight and plastic sequins, and told as if accompanied by a church organ playing a tune of hysterical extremity. Yet its hammy trappings conceal true horror.

Wolves are described with seductive, mesmerisingly shifting descriptions that borrow from theatre and amateur dramatics: their eyes are yellowish, reddish, unnatural green, likened to 'candle flames' and 'sequins'. Their howling is, again taking from stage and performance, an 'aria of fear', entertaining and beautiful even when expressing dread.

Winter strikes and, like a long Halloween night, produces a bubbling-over of all the delicious horrors of the folkloric population: 'all the teeming perils of the night...ghosts, hobgoblins, ogres ... witches [like the one in Hansel and Gretel] that fatten their captives in cages'. This village, in which common fairy tale characters and magical abilities manifest, is not a place of creativity and delight but one of isolation and vengeance. It is a place of loners like a 'mad old man' religious maniac and a jilted bride who turns her wedding party into wolves like the bad fairy in Sleeping Beauty cursing the king's court.

Manuscript notes and drafts of stories from The Bloody Chamber by Angela Carter

'At night, the eyes of wolves shine like candle-flames, yellowish, reddish': the opening from Angela Carter's revised typescript draft of 'The Company of Wolves'.

Usage terms © Displayed with the permission of the Estate of Angela Carter c/o Rogers, Coleridge & White Ltd., 20 Powis Mews, London W11 1JN. Angela Carter's work is published in the UK by Vintage, Virago, Penguin Classics. You may not reuse the material for commercial purposes.

As ever in Carter's work, the worst beasts a girl could encounter in the forest are men, not animals. 'The Company of Wolves' features an anecdote thrown in almost as an aside, in which a woman marries a young man who flees to the forest and turns into a wolf. The woman remarries and has a son. The first husband returns, sees that his wife has slept with another man, calls her a 'whore' and attacks her son. He turns back into a wolf, is murdered by the second husband whereupon he turns back into a man. When the woman sees his corpse and cries over it, the second husband beats her. Wolf-man or full-man, these husbands are exactly the same in their abuse of women. Just as in 'The Werewolf', in an environment in which all things are apparently possible, a woman still cannot escape patriarchal judgement and male violence.

The second part of the story looks at the set-up of Little Red Riding Hood again. Once again a 'strong-minded child' sets off to visit her grandmother. Unlike the hard and wary girl in the previous story, this one is blithe and confident, 'quite sure the wild beasts cannot harm her'. Whereas in the previous story the child's competence is a product of a tough life in which survival skills have been learnt by necessity, the child in this story has very different roots. Her confidence comes from the inner strength provided by happiness and emotional security: 'she has been too much loved ever to feel scared'. The forest is 'like a pair of jaws', yet such is her sense of being cared for by a benign world that these jaws do not eat her up but hold her protectively like Jonah inside the whale.

The girl is on her way to visit her grandmother, but meets a man in the woods. He is not a wolf, nor is he a naked man-wolf. He is, instead, ordinarily human, clothed, charming and jovial. He does not look like a monster and his manner is 'comic yet flattering'. The girl immediately and unquestioningly takes the bait, giving him her basket with its weapon inside it. She also falls for his trick - a wager that he can get to her grandmother's house first, and if she loses she has to kiss him - because she wants to lose to him and have a kiss. She overlooks the signs of his violence: his rifle, his flashing wet teeth, the dead birds he's carrying.

Like all abusive men who get away with it, the man's first skill is one of impersonation: he is adept at pretending to be good. He tricks his way into the grandmother's house by pretending to be the granddaughter, murders her, then tricks the girl into coming in by pretending to be the grandmother. There is a horrible murder scene that is redolent of rape: the man strips naked to attack the elderly woman on the bed. The blatantly sexualised violence is only completed 'when he had finished with her' and she is obliterated, utterly objectified and stripped of every human identifier. She is not even referred to as 'she' - only 'the inedible hair' and 'the bones'. Like the other human hunters in the collection, he keeps a trophy of his kill to gloat over it - the grandmother's nightcap - and sits 'patiently, deceitfully' for his next victim, concealing the 'tell-tale stained' sheets, again a grotesque image of a sexual attack.

As in all patriarchal societies a young woman is considered more attractive than an older woman, and while the man can murder and consume an old woman if he chooses to, only 'immaculate flesh [really] appeases him'. In a sharply sick twist - so common in this collection and part of its unnerving genius - the young girl on her way is a willing martyr to his abuse.

Or is she? Angela Carter skilfully and devastatingly presses hard on the disturbing line between fear and submission, choice and force, humiliation and annihilation, self-sacrifice and self-preservation. When the young woman sees a 'tuft of white hair' belonging to her murdered grandmother she realises that 'she was in danger of death'. She then gives herself to him apparently 'freely' 'to save her own life' because she 'knows she was nobody's meat' - overlooking the obvious riposte that if one offers oneself to save one's own life, it is hardly a free choice. At the heart of this story is the hideous coercion that needs no violence, as the girl already knows what the 'tender wolf' is capable of.

The story presents an image of a young woman who rewrites her entrapment and sexual assault as a glorious rite in which she 'never flinched'. The now-phlegmatic narrator describes her with pity and irony as a 'wise child' who sleeps 'sweet and sound' between a wolf's paws. Being locked in a room with her grandmother's murderer becomes an opportunity for masochistic sexual self-realisation, in which victim and perpetrator apparently share the same misogyny and sexist ageism and get off on it - 'the old bones under the bed set up a terrible clattering but she did not pay them any heed'.

'The Company of Wolves' is a horror tale about a trapped, abused girl who goes to her fate with a resignation she rewrites as acceptance. 'Since her fear did her no good, she ceased to be afraid' and is then able to behave with the nihilistic bravado of the damned.

'Wolf-Alice'

The final story, 'Wolf-Alice', is a sorrowful and sweet story about a young woman who has genuinely grown up with wolves, rather than incorrectly claiming some affinity with them as a way to justify personal abusiveness, as the murderer in 'The Company of Wolves'does. Alice has been raised tenderly by wolves after being abandoned by her mother. Just like the previous story, her confidence and certainty are the result of having been loved when she was growing up. Her encounter with the world of human values and practices is humiliating and limiting.

'Wolf-Alice' celebrates nature's innocence, earthiness and tenderness. Its central character is simple but not stupid, and the narrative tone is one of terrible bathos and sympathy for this human foundling who, not being a wolf herself and not having been socialised around humans, is mute, with no language of her own. She is described as a 'pup', 'lonely' and adorable, making a 'bubbling, delicious' sound. Wolves are not enemies to be feared but her 'foster kindred' - an adoptive family, related to her through love, not blood. When she is apart from them they howl across 'an irreparable gulf of absence', the word 'irreparable' hinting at a wholeness that has been permanently broken.

'Wolf-Alice' presents a new and liberated female physical standard, one which is very different from the delicate human martyr-beauties in all the other stories. Alice's skin is calloused because of her enhanced speed which is 'not our pace', she 'trots or gallops' on 'long, lean and muscular limbs', her nose is long and sensitive - a 'useful tool' which makes her enviably competent. Alice's wolf upbringing enables her to flout the rules of human femininity, in particular the standard fairy tale warning that young girls should not venture into the forest alone. In fact, the forest is Alice's domain, the safe space in which to 'wander when she can', where nothing is off limits. She is 'wild, impatient of restraint, capricious' - all the things a nice young lady is not supposed to be.

Humans bring pain, persecution and misery. It was 'peasants' shotguns' that killed her adoptive wolf-mother, and the nuns she is taken in by poke her with sticks 'to rouse her'. Her stay there is a 'mutilation' of her real nature - a wounding of it. While in the natural world her howls are 'a language as authentic as any language of nature', in the human world her voice is only 'a rustle of sound', a 'whisper' that is 'obscure'. Literally and socially, Alice has no voice; she is a nobody. In the human world this makes her subject to the power of others, and ensures her captivity, loneliness and exploitation.

Manuscript notes and drafts of stories from The Bloody Chamber by Angela Carter

Notes and ideas for 'Wolf-Alice' (estimated 1975-79), one of Angela Carter's variations on the Red Riding Hood tale that she published in The Bloody Chamber.

Usage terms © Displayed with the permission of the Estate of Angela Carter c/o Rogers, Coleridge & White Ltd., 20 Powis Mews, London W11 1JN. Angela Carter's work is published in the UK by Vintage, Virago, Penguin Classics. You may not reuse the material for commercial purposes.

As in many of the other stories in this collection - 'The Bloody Chamber', 'The Courtship of Mr Lyon', 'The Erl King', 'Puss-in-Boots' and 'The Tiger's Bride' - an innocent young woman finds herself isolated in a rich man's home. Yet unlike the 'ladies' in the other stories, who do not realise until it's too late, Alice knows that 'beds [particularly marital beds] are traps'.

Alice is parcelled off to a duke's castle, where she is used as a servant, yet here Carter eschews the sexual chemistry and predictably genre-faithful sado-masochistic emotional pull of previous stories. The Duke is not a love interest, a tormentor, a counterpart or a nemesis. He is strange, and Alice is strange, but they're strange in different ways which do not impinge upon each other. Alice does not become the lady of the house but instead behaves with a refreshing lack of human narcissism and taught femininity. Like a stray dog, she sleeps on the hearth, using ball gowns as sheets and sanitary pads. Unlike ladies taught to narcissistically watch themselves in the mirror at all times, she does not recognise her own reflection. Indeed the mirror is, as it is for all women, an 'invisible cage'.

Meanwhile, just like the cavorting supernatural creatures in 'The Werewolf', the Duke is cast as an ancient Nosferatu figure, undead but alive, jaded, 'damned', arrogant, shrivelled, 'meagre' and unhappy. He haunts graveyards like a zombie, casts no reflection and goes about only at night like a vampire, and eats corpses like a cannibal. Like an animal, his skin is described as a 'pelt', and like a werewolf he responds to the full moon as if it compels him: a ray of moonlight is like 'an imperative finger' from a 'governess'. Like a ghost he makes animals nervous, and like any predator humans' doors are 'barred [to him] for miles'.

Manuscript notes and drafts of stories from The Bloody Chamber by Angela Carter

Revised typescript draft of 'Wolf-Alice', which begins by describing the girl's origins and her physical characteristics.

Usage terms © Displayed with the permission of the Estate of Angela Carter c/o Rogers, Coleridge & White Ltd., 20 Powis Mews, London W11 1JN. Angela Carter's work is published in the UK by Vintage, Virago, Penguin Classics. You may not reuse the material for commercial purposes.

'Wolf-Alice' charts women's evolution writ small. Left to her own devices in the castle, Alice learns about time through matching her menstrual cycle to the moon's cycle; from the mirror she becomes self-conscious and individualistic; she becomes the centre of her own narrative and sees herself standing out from nature rather than merging with it. She discovers vanity when she puts on the white dress of a young bride the Duke has devoured and notices that she 'shines' in it. To book readers and film watchers she resembles the classic female martyr of horror films. Out in the graveyard one night she similarly resembles a figure from supernatural mythology to the townspeople within the story: they think she is the ghost of the dead bride fulfilling another generic narrative - that of posthumous revenge - against the vampire-zombie-cannibal-werewolf Duke.

'Wolf-Alice' turns into a sweet, non-carnal, non-romantic story of animal comfort, in which the wolverine tenderness Alice has known enables her to 'save' the Duke, who is lying injured in bed. In an echo of the ending of 'The Tiger's Bride', Alice licks the Duke's face like a dog consoling its master. As she does so, the Duke's reflection slowly appears in the mirror. Carter's masterpiece of fiction closes with a celebration of sensuality, tenderness and warmth which comes from the innocent natural world, far from the perverse eroticism, gender politics and scheming sexual power-plays of humans.

Bidisha is a writer, a BBC radio and TV broadcaster and a Trustee of the Booker Prize Foundation. She is the author of two novels, two bestselling works of travel and reportage, Venetian Masters: Under the Skin of the City of Love and Beyond the Wall: Writing a Path Through Palestine, and most recently her fifth book Asylum and Exile: Hidden Voices, based on her outreach work with asylum seekers and refugees.

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angela carter’s wolf tales (‘the werewolf’

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‘the company of wolves’ and ‘wolf-alice’) in her short story collection the bloody chamber

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Angela Carter's wolf tales ('The Werewolf', 'The Company of Wolves' and 'Wolf-Alice')

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The last three stories in Angela Carter's The Bloody Chamber all feature wolves. Bidisha considers how these tales use wolves to explore sexual and gender politics, social violence and the possibility of liberation. Angela Carter's 1979 collection of original fairy tales, The Bloody Chamber , is rightly held up as a masterpiece of 20th-century fiction.

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The Monk - Gregory Lewis

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Great Expectations - Miss Havisham

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AS 2017 - Full Story of Extract

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Awesome Insight into Carter and The Bloody Chamber

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Awesome Insight into Carter and The Bloody Chamber

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DEFINITELY READ!

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Link to Bloody Chamber