Mostrando entradas con la etiqueta chock full of allusions.... Mostrar todas las entradas
Mostrando entradas con la etiqueta chock full of allusions.... Mostrar todas las entradas

viernes, 30 de noviembre de 2018

ANNA DRESSED IN BLOOD - SNIPPET

I tiptoe into the bathroom and pull my knife out of my leather backpack. After I finished off the hitchhiker I wrapped it up in a black velvet cloth, but not neatly. I was in a hurry. I didn’t want to be on the road anymore, or anywhere near the bridge. Seeing the hitchhiker disintegrate didn’t scare me. I’ve seen worse. But it isn’t the kind of thing you get used to.
“Cass?”
I look up into the mirror and see the sleepy reflection of my mum, holding the black cat in her arms. I put the athame down on the counter.
“Hey, Mom. Sorry to wake you.”
“You know I like to be up when you come in anyway. You should always wake me, so I can sleep.”
I don’t tell her how dumb that sounds; I just turn on the faucet and start to run the blade under the cold water.
“I’ll do it,” she says, and touches my arm. Then of course she grabs my wrist, because she can see the bruises that are starting to purple up all along my forearm.
I expect her to say something motherly; I expect her to quack around like a worried duck for a few minutes and go to the kitchen to get ice and a wet towel, even though the bruises are by no means the worst mark I’ve ever gotten. But this time she doesn’t. Maybe because it’s late, and she’s tired. Or maybe because after three years she’s finally starting to figure out that I’m not going to quit.
“Give it to me,” she says, and I do, because I’ve gotten the worst of the black stuff off already. She takes it and leaves. I know that she’s off to do what she does every time, which is to boil the blade and then stab it into a big jar of salt, where it will sit under the light of the moon for three days. When she takes it out she’ll wipe it down with cinnamon oil and call it good as new.
She used to do the same thing for my dad. He’d come home from killing something that was already dead and she’d kiss him on the cheek and take away the athame, as casually as any wife might carry in a briefcase. He and I used to stare at the thing while it sat in its jar of salt, our arms crossed over our chests, conveying to each other that we both thought it was ridiculous. It always seemed to me like an exercise in make-believe. Like it was Excalibur in the rock.
But my dad let her do it. He knew what he was getting into when he met and married her, a pretty, auburn-haired Wiccan girl with a strand of white flowers braided around her neck. He’d lied back then and called himself Wiccan too, for lack of a better word. But really, Dad wasn’t much of anything.
He just loved the legends. He loved a good story, tales about the world that made it seem cooler than it really was. He went crazy over Greek mythology, which is where I got my name.
They compromised on it, because my mum loved Shakespeare, and I ended up called Theseus Cassio. Theseus for the slayer of the Minotaur, and Cassio for Othello’s doomed lieutenant. I think it sounds straight-up stupid. Theseus Cassio Lowood. Everyone just calls me Cas. I suppose I should be glad—my dad also loved Norse mythology, so I might have wound up being called Thor, which would have been basically unbearable.
I exhale and look in the mirror. There are no marks on my face, or on my gray dress button-up, just like there were no marks on the Rally Sport’s upholstery (thank god). I look ridiculous. I’m in slacks and sleeves like I’m out on a big date, because that’s what I told Mr. Dean I needed the car for. When I left the house tonight my hair was combed back, and there was a little bit of gel in it, but after that fucking kerfuffle it’s hanging across my forehead in dark streaks.
“You should hurry up and get to bed, sweetheart. It’s late and we’ve got more packing to do.”
My mum is done with the knife. She’s floated back up against the doorjamb and her black cat is twisting around her ankles like a bored fish around a plastic castle.
“I just want to jump in the shower,” I say. She sighs and turns away.
“You did get him, didn’t you?” she says over her shoulder, almost like an afterthought.
“Yeah. I got him.”
She smiles at me. Her mouth looks sad and wistful. “It was close this time. You thought you’d have him finished before the end of July. Now it’s August.”
“He was a tougher hunt,” I say, pulling a towel down off the shelf. I don’t think she’s going to say anything else, but she stops and turns back.
“Would you have stayed here, if you hadn’t gotten him? Would you have pushed her back?”
I only think for a few seconds, just a natural pause in the conversation, because I knew the answer before she finished asking the question.
“No.”
As my mum leaves, I drop the bomb. “Hey, can I borrow some cash for a new set of tires?”
“Theseus Cassio,” she moans, and I grimace, but her exhausted sigh tells me that I’m good to go in the morning.

Thunder Bay, Ontario, is our destination. I’m going there to kill her. Anna. Anna Korlov. Anna Dressed in Blood.
“This one has you worried, doesn’t it, Cas,” my mum says from behind the wheel of the U-Haul van. I keep telling her we should just buy our own moving truck, instead of renting. God knows we move often enough, following the ghosts.
“Why would you say that?” I ask, and she nods at my hand. I hadn’t realized it was tapping against my leather bag, which is where Dad’s athame is. With a focused effort, I don’t take it away. I just keep tapping like it doesn’t matter, like she’s overanalyzing and reading into things.
“I killed Peter Carver when I was fourteen, Mom,” I say. “I’ve been doing it ever since. Nothing much surprises me anymore.”
There’s a tightening in her face. “You shouldn’t say it like that. You didn’t ‘kill’ Peter Carver. You were attacked by Peter Carver and he was already dead.”
It amazes me sometimes how she can change a thing just by using the right words. If her occult supply shop ever goes under, she’s got a good future in branding.
I was attacked by Peter Carver, she says. Yeah. I was attacked. But only after I broke into the Carver family’s abandoned house. It had been my first job. I did it without my mum’s permission, which is actually an understatement. I did it against my mom’s screaming protests and had to pick the lock on my bedroom window to get out of the house. But I did it. I took my father’s knife and broke in. I waited until two a.m. in the room where Peter Carver shot his wife with a .44 caliber pistol and then hung himself with his own belt in the closet. I waited in the same room where his ghost had murdered a real estate agent trying to sell the house two years later, and then a property surveyor a year after that.
Thinking about it now, I remember my shaking hands and a stomach close to heaving. I remember the desperation to do it, to do what I was supposed to do, like my father had. When the ghosts finally showed up (yes, ghosts plural—turns out that Peter and his wife had reconciled, found a common interest in killing) I think I almost passed out. One came out of the closet with his neck so purple and bent it looked like it was on sideways, and the other bled up through the floor like a paper towel commercial in reverse. She hardly made it out of the boards, I’m proud to say. Instinct took over and I tacked her back down before she could make a move. Mr. Carver tackled me though, while I was trying to pull my knife out of the wood that was coated with the stain that used to be his wife. He almost threw me out the window before I scrambled back to the athame, mewling like a kitten. Stabbing him was almost an accident. The knife just sort of ran into him when he wrapped the end of his rope around my throat and spun me around. I never told my mom that part.
“You know better than that, Mum,” I say. “It’s only other people who think you can’t kill what’s already dead.” I want to say that Dad knew too, but I don’t. She doesn’t like to talk about him, and I know that she hasn’t been the same since he died. She’s not quite here anymore; there’s something missing in all of her smiles, like a blurry spot or a camera lens out of focus. Part of her followed him, wherever it was that he went. I know it’s not that she doesn’t love me. But I don’t think she ever figured on raising a son by herself. Her family was supposed to form a circle. Now we walk around like a photograph that my dad’s been cut out of.
“I’ll be in and out like that,” I say, snapping my fingers and redirecting the subject. “I might not even spend the whole school year in Thunder Bay.”
She leans forward over the steering wheel and shakes her head. “You should think about staying longer. I’ve heard it’s a nice place.”
I roll my eyes. She knows better. Our life isn’t quiet. It isn’t like other lives, where there are roots and routines. We’re a traveling circus. And she can’t even blame it on my dad being killed, because we traveled with him too, though admittedly not as much. It’s the reason that she works the way she does, doing tarot card readings and aura cleansing over the phone, and selling occult supplies online. My mother the mobile witch. She makes a surprisingly good living at it. Even without my dad’s trust accounts, we’d probably be just fine.

sábado, 28 de noviembre de 2015

ADA GOTH 3: THE WUTHERING FRIGHT

ADA IS BACK IN SPAIN THIS WINTER!!!


Look up to the entourage of Lord Goth.
THE HALL IS VAST AND FULL OF AUTHORS...

It's Christmas in the Regency countryside in which Ghastlygorm Hall is situated. Sleigh bells ring in the crisp winter air, snowflakes twirl around, and Lord Goth hosts a Literary Show which fills his estate with renowned authors of the historical period. Though ominous howls echo throughout the Hall, and thus, Ada and friends, with their newfound club members the Brontë... er... Vicarage siblings, find themselves entangled in another sinister, addictive, and thrilling Regency mystery...
Inventor Charles Cabbage is now finished with his difference engine (a device that will surely make a difference!), but he also has time to invent a new remarkably simple toy he calls hooligan hoop (we now call it hula hoop), as his children William and Em return from their respective boarding schools for winter break having made the acquaintance of the Vicarage siblings: wannabe writers Charlotte, Emily, and Anne in their sonnet bonnets, and their awkward, shy brother Bramble (Spoiler alert: Bramble is a werewolf, since he was wounded in a gorse bush and injected with some drool from werewolf typographer the Hound of the Baskervilles.), aside from Rugby School bully/jock Harry Flushman (the scourge of Bramble Vicarage and William Cabbage!), eldest son and heir to water-closet tycoon Josiah Flushman...
The authors who visit Ghastlygorm include historical novel writer Sir Walter Scott... er... Splott (not in a kilt, but tartan trousers will do); romance novelist (Ada's handmaid's favourite) Jane... er... Plain Austen; balletic wordsmith (female in men's clothing) George... er... Georgie Eliot; sharply dressed society satirist William Makepeace... er... Timepiece Thackeray... Foreign authors are present as well: representing the former Thirteen Colonies, poetess Emily... er... Homily Dickinson; and, straight from Scandinavia, Danish fairytaler Hans Christian... Hands Christmas Andersen and Swedish Countess (slender though super strong, able to lift two horses, sporting twin braids but blond and freckle-less... an ancestor?) Pippi Shortstocking (it would be Kortstrump in Swedish). 
What's more, renowned British illustrator Sir Christopher Riddle-of-the-Sphinx R.A., founder of the Arts and Crufts Movement, also makes a stellar appearance (yes, the author has placed himself, drawn in his own style and Regency clothes, in his own novel!!). Just like Velázquez in Las Meninas, Sir Christopher crosses the fourth wall to literally live among his characters.
After all, Zacharias Topelius opens his Surgeon's Stories (Fältskärns berättelser) with a preface, adscribed to the titular Surgeon, the third-person narrator of the epic historical saga, from which I stress the following quote:
"Därför - har du förmågan att lida eller jubla med släkten som varit, att hata med dem, att älska med dem, att hänryckas, att beundra, att förakta, att förbanna, såsom de gjort, med ett ord, att leva bland dem med hela ditt hjärta och icke blott med ditt kalla betraktande förstånd, välan så följ mig! Jag leder dig ned i dälderna; min hand är svag och mina tavlor ringa, men ditt hjärta skall leda dig bättre än jag, på det förtröstar jag - och begynner. "
"Therefore, if you have the capacity to suffer or rejoice with the generations that have been—to hate with them—to love with them—to be transported—to admire, to despise, to curse as they have done—in a word, to live among them with your whole heart and not alone with your cold, reflecting judgement, then follow me. I will lead you down into the veil. My hand is weak and my sketch humble, but your heart will guide you better than I. Upon that I rely - and begin."
These words, a real creed for readers of historical fiction and fantasy, make me reflect upon what Riddell has done here in this book. Literally lived among his creations with his whole heart and soul, for who knows Ada and her friends better, or who would take the plunge head first into their Regency estate and take to its ways like a fish takes to water? Which is what makes his appearance far more interesting than any other simple author's cameo, comparable to Velázquez is Riddle's endeavour.
There are more references scattered all over the pages of The Wuthering Fright:
The inventor Cabbage has got three monkey assistants, dressed in Oz-style fezes and waistcoats, but without any wings, called William, Heath, and Robinson.
What's more, Marianne Delacroix (who still covers her tits under a blouse) is revealed to have a little son called Eugène, with a remarkable artistic talent.
And also that she taught Ada needlework (think Mme. Defarge...)
Hebe Poppins, married to her chimney-sweep Bert, has also become a mother, but of a daughter (Eugène's age), called... Mary, of course!
Nanny Darling guards a kindergarten in Kensington Gardens.
Jane Ear once overheard a pupil of hers, one Charlie Dodgson, as he drew a comic strip in his Maths textbook, say: "And what is the use of a book without pictures or conversations?" Jane Ear liked to repeat those words as if they were her own, and she passed the sentence on to Ada Goth.
And the ghosts of Tudor queens Anne Bowl-in and Anne of Peeves, both of them killed during a cricket match, also make a cameo...
Charles Cabbage's hooligan hoop was inspired by two unruly child workers, Noel and Liam (read: Gallagher), who, fortunately, when they came of age, became musicians instead
Lord Goth keeps busts of Trajan, Domitian, Vespasian, Julius Caesar, Hadrian, and Augustus on a shelf. And he's also writing a narrative poem titled The Pilgrimage of Harolde the Kid!
The local roadhouse has got a room full of Pickwicks (all of them bald, beer-quaffing, bespectacled, jolly, and overweight) reading newspapers. The Pickwick Snug.
Andersen, who here wrote a story about a mermaid barmaid called "The Little Barmaid", has got a flying trunk which came all the way from Turkey in a hot-air balloon, decorates the Ghastlygorm Christmas tree topping it with a (rather Elsa-like) Snow Queen figurine, and a snowman is made in his likeness by Ada and friends.
Furthermore, here's an excerpt of the opening of a Plain Austen novel, Miss Ambridge's/Fancyday's (Ambridge is the Spanish translation surname, Fancyday the original one) (Ada's new handmaid's) favourite read: "It is a truth universally acknowledged that a talented singer in possession of a good voice must be in want of a musical production." The novel, Prompt and Prejudice, is all about Elizabeth Bonnett, a simple country girl with a song in her heart who meets a dashing dancing master, Mr Darcy-Bussell.
Plus, like every other Ada Goth book, this one has a little tie-in booklet for an Easter egg: here it is an illustrated summary of Bramble Vicarage's stage career, featuring portraits of him in costumes and also portraits of the authors of the plays, operas, and musicals he has starred in: works of Mozart (The Barber of Seville, The Marriage of Figaro), Jack London (Call of the Wild), Shakespeare (A Midsummer Night's Dream), Wilde (The Importance of Being Earnest), Lady Baa-Baa (101 Dalmatians, done by a Lady Gaga parody), and the Lieder of my soulmate Franz Schubert.

The first Ada delighted me with one historical or literary allusion at every turn. So did the second. The third surpasses both of them exceedingly (the Scandinavian characters [I LUV both Andersen stories and Pippi Lângstrump], the Brontë... er... Vicarage siblings, all of the authors at the literary show, the mystery of the ominous howls that echo round the Hall, Harry Flushman already a jock and a bad boy in his teenage years at Rugby School [foreshadowing his expulsion!], the children of Hebe Poppins and Marianne Delacroix...) Here, Riddell really ups the ante, tripling the allusions and the British humour, and even featuring himself in the third installment of this richly-illustrated and highly intertextual Regency fantasy series. Addictive and intoxicating, even more than its predecessors, this third Ada Goth book is truly the jewel in the Snow Queen's icy crown!
And thus...
LET US POP A CORK OF MOËT CHAMPAGNE AND DRINK IT ON ICE! TO THE HEALTH OF ADA GOTH AND TO THAT OF SIR CHRISTOPHER RIDDLE-OF-THE-SPHINX, R.A.!




COMMENTARY:
Even richer layers of allusion are reached when it comes to the referees of the ‘literary show," Hands Christmas Andersen, and especially Countess Pippi Shortstocking, who appears to be a complex melange between the title character from the beloved children’s series Pippi Longstocking by Astrid Lindgren and Princess Anna of Frozen fame. Riddell’s humorous metafictionality is taken even farther in Wuthering Fright by the introduction of the episodic character of ‘Sir Christopher Riddle-of-the-Sphinx R.A., ‘a founder of the Arts and Crufts movement’. This seems like a very ‘meta-meta-‘ gesture, but it actually leads back to a whole tradition of painters more or less subtly inserting self-portraits into their paintings, like Sandro Botticelli in Adoration of the Magi, or Diego Velázquez in Las Meninas, a gesture of auto-mimesis that acts not only as a signature, but also as a meditation upon authorship. This all sounds terribly academic, and whilst it may convince an adult readership that Chris Riddell’s book is full of intellectual goodies, why would a child be willing to read it?


PS. AND THE PIRATE QUEEN?
Ada Goth book 2.5, The Pirate Queen, was only released in the UK because it was a special event book (don't blame me, blame the publisher!)