Carmilla, Joseph Sheridan Le Fanu.
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Carmilla, Joseph Sheridan Le Fanu.
Carmilla, Joseph Sheridan Le Fanu.
YOU - "What does it look like? The pale?"
PALEDRIVER - "Like looking into the ocean at night. In the dark."
YOU - "And..."
PALEDRIVER - "You cannot see it but you know it's there. And it's big -- bigger than anything. Bigger than all the other things combined."
YOU - "What does it feel like?"
PALEDRIVER - "Nothing. Until it starts. When you're deep enough -- then, for me... it's like autumn. Dark grey and orange, the orange of streetlights and the colour of trees in the electric light. It smells like autumn too. It smells terrible."
EMPATHY - Nostalgia. Cooped up in the cabin, shaking... Terrible nostalgia. For yourself. For humans. It's too much to bear. She loves it.
CONCEPTUALIZATION - This is how a sea monster sees the world. You've become a sea monster, Harry -- giant, hidden and... strangely tender at heart. All is blue.
SHIVERS - It is harder and harder to reach you... I am not sure how well you'll hear me...
YOU - GET OUT OF MY HEAD!
SHIVERS - Forgive me... I only want reunion... I am struggling to know where... Listen within the flower of home… Please...
YOU - "What routes?"
PALEDRIVER - "Lomonossov's Land. Udachnaya Zemlya. The Western Plain..." She nods and closes her eyes again, letting her mind submerge...
SHIVERS - A terrible cold comes over her. Rattling her teeth, as she stares inward.
PALEDRIVER - "The Trans-Katla Magistral. U41-A. As Estradas do Mirador. All the good ones. The deep trenches. Where the bluebirds fly." She opens her eyes again and shudders.
YOU - "Cool. Ride until you're dust, sister."
PALEDRIVER - "Irmão..." she breathes out. "I already *am* dust."
SHIVERS - Your shirt sticks to your chest. The shoulders of your disco blazer grow heavy. The cold finds its way in under your skin. You shiver, and the city shivers with you.
musk is going to die in a Tesla explosion in 6 months after sticking his nose where it doesn't belong and we will never get a conclusive answer on whether it was a CIA car bomb or just a normal Tesla malfunction
Like to charge, reblog to cast
Spoilers: Eggers' Nosferatu
There's a lot of debate right now on if Count Orlok represents Ellen's shame/trauma/abuse, or if he represents her repressed erotic desires, and in turn there's debate on whether or not viewers who find the Ellen/Orlok dynamic alluring are "missing the point." Eggers and Lily-Rose Depp have both said in interviews that there's a mutual pull between Ellen and Orlok, and even that there's a love triangle element, but obviously the experience is terrifying for Ellen. How can we reconcile the sexual tension and the horror?
I think the broader theme is that Orlok represents everything in a woman's inner world that men refuse to acknowledge and accept - fear and shame and trauma, yes, but also our appetites . After the prologue, the story starts with Ellen begging Thomas to stay in bed with her; she says "the honeymoon was yet too short" and tries to pull him in and kiss him (obviously trying to start some nuptial bliss). But Thomas is anxious to meet with his boss and get his promotion, because he has a narrative he's going to fulfill: he's going to pay Friedrich back, buy a house, and then start having kids (he and Friedrich touch on this a bit later. Notably, Friedrich discloses Anna's pregnancy to Thomas before Anna has made it public.)
It's the start of Ellen and Thomas' married life and she just wants him to prioritize her sexual desire, but he chooses to focus on his ideal of success, which sets him on this path to confronting Orlok. We know Ellen doesn't care about having a house or fine things and she begs him not to go, but Thomas listens to Herr Knock and Friedrich, who tell him that as a husband he has to provide materially. He ignores Ellen's stated desires, and so fails to provide sexually and emotionally. When Thomas gaslights her about her nightmares and calls them childish fancies, he shuts down her vulnerability, which kills the intimacy she was enjoying in the literal honeymoon phase.
On a related note, there's a defence in here for Aaron Taylor Johnson's performance, which I've seen a few male critics call "over acting." In this story Friedrich represents the masculine ideal of the time, he's a rich business owner with a beautiful wife and kids. Thomas clearly looks up to him and wants to emulate him - he wants to give Ellen the life "she deserves." But Friedrich's elevated masculine status is why he refuses to listen to Ellen's "hysterical, sentimental" worries, he's too rational for all that of course. And his stubborn "rationality" leads to the death of his entire family. Friedrich IS the patriarchal ideal that crumbles when confronted with nuance and uncertainty. Some people see Friedrich and assume that a character like him is meant to come across as dignified, and that Aaron Taylor Johnson is messing up by making him look annoying, but really he is giving a great portrayal of a really common, annoying kind of guy. The kind of guy who melts down and has childish tantrums whenever they lose control of a situation, or their manly skills and values are shown to be irrelevant.
The men in the movie (excluding Professor von Franz) frame Ellen as childish for speaking about her dreams candidly, but their own childishness is revealed when her dreams manifest in the form of Orlok and become unavoidable. Ellen (partially? possessed in the moment by Orlok) tells Thomas how "foolish and like a child" he was in Orlok's castle. In the literal context that's cruel, and obviously that shit was scary as hell, but it hits on Thomas' failure in the metaphorical reading. He was a child playing house: 'I'll be the husband and make money, you be the wife and make babies.' When it came time to confront his wife's inner world and all the scary, traumatized, lustful complexity of it, he was completely inept. The message isn't that Orlok is what Ellen really needs, or that Thomas is a wimp, but he's not a perfect husband either. I think "the point" is that a real healthy marriage with sexual, emotional, and spiritual mutuality is impossible in that society with Thomas/Friedrich's ideals. In that kind of society, a spiritually and sexually potent woman like Ellen ("in heathen times you might have been a Priestess of Isis") will always be caught in a "love triangle" with her husband and her own inner world.
"I feel pleasure in dwelling on the recollections of childhood, before misfortune had tainted my mind, and changed its bright visions of extensive usefulness into gloomy and narrow reflections upon self."
- Victor Frankenstein, Frankenstein by Mary Shelley
Worlds of Ursula K. Le Guin (2018), dir. Arwen Curry
The next line of her speech is also great: “Any human power can be resisted and changed by human beings.”
Margarita Karapanou, tr. by Karen Emmerich, from Rien ne va plus
Sheridan Le Fanu writing Carmilla & me reading it 152 years later