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VERONIKA DIVOKOVÁ
CHARACTERISTICS OF TRADITIONAL GOTHIC NOVEL
AND ITS POSTMODERN FORM
Demons, vampires, lycantrophes or other hair-rising creatures slowly sneaking in fog accompanied
by frightening music. Is this substance of the Gothic fiction or is it only a presentation offered by contemporary media exploiting sensational character of death? Is really the Gothic only low form genre
designed for women and deserves disdain as many critics have claimed since the first Gothic novel
Castle of Otranto came into the light?
Frequently, the Gothic is associated with black colour, terrifying gloomy setting or supernatural
elements. But in reality, the Gothic, which originated as reaction to Enlightenment (preferring ancient
Greek and Roman values) and rather celebrates emotionality instead of rationality, is intertwined with
contrasts since good cannot exist without evil same as rationality without superstition (Botting, 2005,
p. 6, 14). Oscillation and crossing boundaries of order and normality emphasize both antitheses. Excesses, passions and deeds of villain in comparison to a virtuous and innocent virgin give impression
of being more hideous, flourishing vales more comforting when bleak reefs tower above it and sunrays are more impressive after darkness. Transgression of limits inducts anxiety and therefore serve as
deterrent assisting in their reconstruction (Botting, 2005, p. 4-5).
Exceeding the boundaries of reality the Gothic fiction unlocks the door to supernatural realm of
various abjects located in distance from ordinariness in which readers perceive enchantment of the
Gothic ambivalence, even in perception of death. We all, regardless of age, gender, race or class, succumb to the irreversible law of nature. Depiction of the Lord of all fears in the Gothic novel confronts
readers with their own mortality but at the same time is attractive for us since in reality we have not
experienced it personally (Bronfen, 2009, p. 113). Medieval castles, ruins, dark forests or cemeteries
chanelled with murders, motionless corpses, bloody quarrels or rape themselves remind merciless
ravages of time and underline significance of setting and atmosphere in the Gothic novels.
1. Setting and atmosphere
Ann Radcliffe, one of mothers of the Female Gothic novel, locates her novel Mysteries of Udolpho
under influence of Romance into countries distant in time and space but at the same time interconnects them with present dealing with issues or events of her era. Location of main protagonist‘s misery and villain´s excesses into the medieval castle Udolpho surrounded by horrifying Apennines in
Catholic Italy evoking sublime (“dreadful pleasure“ proceeding from exposal of an individual with
own vulnerability and mortality; a main source of terror) as well as depiction of a magnificient vale
La Vallée symbolizing beauty, order, rationality, domestic security and im/material wealth into France
associated with great philosophers of Enlightenment (e.g. Voltaire or Diderot) is not coincidental
(Botting, 2005, p. 26, Bristow, 2011). Predominantly, in the period in which this country was tormented by the Revolution it was necessary to stress importance of both order and Sensibility (a cult
obtaining its popularity in the eighteenth century). Significant influence of the Evangelical revival as
well as her inspiration by Edmund Burke´s essay Philosophical Enquiry into the Origin of Our Ideas
of the Sublime and the Beautiful is evident (Milbank, 2009, p. 236). Even numerous enigmas and the
supernatural creating thrilling atmosphere full of horror and playing with readers are finally explained
under influence of Enlightenment as products of protagonist´s imagination.
Even though the novels Mary and The Wrongs of Woman and Mysteries of Udolpho were written
in the same period Mary Wollstonecraft‘s one rather resembles the Urban and Sensational Gothic
fiction of the nineteenth century. The previous tradition of distancing setting is substituted by a lunatic asylum and sordid recesses of contemporary London concealing human wrecks and prostitutes
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whose only independence “consisted in choosing the street in which they should wander“ (Wollstonecraft, 2009, p. 98). Absence of the supernatural and explicit presentation of social, political and
cultural issues only underline Wollstonecraft’s intention to realistically depict wrongs of the ruling
system since according to the author sources of horror situated in the ancient castles occcupied by
“spectres and chimeras“ are only a poor imitation of the real ones (Wollstonecraft, 2009, p. 69). Tradition of primogeniture, arranged marriages for financial reasons, absence of education and opportunity to earn honorable living, women as victims of rape or seduction, deprived of any right to administer
their own property but with duty to obey unscrupulous and unfaithful husband, alcoholic and gambler
in one person, who mentally and physically tyrannizes them – these are horrors which women had to
experience personally. Whilst Radcliffe intentionally alters the atmosphere to stress differences between good and evil (the Englightenment and the Gothic) to highlight necessity of reason mingled
with restrained sensitivity Mary Wollstonecraft predominantly depicts her pessimistic vision. No sublimity of the grandiose ravines, mountains or wide seas is celebrated, the only sublime offered to
readers is the sublimity of human psyche whose own vivid memories drown not its masters but slaves
into the deep of grief and despair.
Setting in the Gothic novel not only assists in portrayal of atmosphere but frequently reflects psychological state of character’s mind. Especially, in the novel Mysteries of Udolpho we detect certain
parallel between the chilling castle with its chaotic and convulted structure perplexing and inducing
desperation of the female characters and insensate character of Montoni, who represents fossilized
and insensitive patriarchy. This traditional division of gender roles is similarly indomitable as walls of
Udolpho and has as firm foundations as a rock on which the fortress stands. Whilst situation at
Udolpho is absolutely unfavourable to the females it is expedient for the unscrupulous masculine
characters. On the other hand the author emphasizes its obsolence by ruinous bulwarks and by overall
dilapidated state of the castle and villain‘s residence in Venice. Although capture of the castle surrounded by firm ramparts in a tangled terrain is demanding, it is not impossible.
Interweaving of the characters with setting is not only a feature of the eighteenth century Gothic
novel but may be detected in the most contemporary Gothic fiction. In the novel Her Fearful Symmetry by Audrey Niffenegger one of the male character‘s flat is overcrowded with boxes creating a
type of labyrinth (frequently occuring in the Female Gothic fiction) which serves also as metaphor on
Martin‘s mental blocks piling up as the cartons in his flat. He does not open or sort them out and
yields to the pile as well as does not confront his obtrusive thoughts and obsesses but rather submits
and allows them to manipulate with him. Fabulously depicted “full-length mirrors in which twins,
Valentina and Julia, reflected eighteen times in as many mirrors, and their reflections were reflected,
and so on and on“ emphasize mutual mirroring of the characters (Niffenegger, 2009, p. 115).
On the other hand as far as setting of both contemporary novels is concerned blending of the
previous traditions is realized since the country in Heroes and Villains, inhabitated by communities
of the Barbarians, Professors, Out People and wild and mutated animals, is not identified. Probability
that the plot and a main source of evil are set into future readers‘ native country is as equal as that it
concerns the distant one. Although it may be situated in our homelands it is not the world we are accustomed to – radio, television, tap water or surplus of goods is not taken for granted, but it is a certain priviledge.
Audrey Niffenegger, an American author, does not depict the outlandish and divergent realms but
locates the plot into London, predominantly to the Highgate cemetery and a neighbouring flat. On one
hand setting is situated to the country distant from author‘s homeland and the above-standard flat,
inherited by Julia and Valentina is portrayed in a manner of the medieval castle evoking the tradition
employed by Ann Radcliffe but in more modern and fairy-tale like version:
“As Edie had predicted, all of the furniture was heavy, ornate and old. The sofas were pale pink velvet,
beast-footed, many buttoned. There was a baby grand piano and a vast Persian rug which was chrysanthemum-patterned, soft to touch, and had at one time been deep red, now faded in most places to dull
pink. Everything in the room seemed to have been drained of colour.” (Niffenegger, 2009, p. 104)
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Simultaneously, a main source of evil originates in human inside (internalization of evil) and appears in the London flat, twins´new home, what was characteristic to the Urban Gothic fiction of the
19th century (González, 2009, p. 119). This link to the Victorian period, in which the Gothic fiction
was in all its glory, is not rare since the Highgate cemetery was constructed in this period and burial
of Elspeth‘s and Valentina‘s corpses above ground, idea of being buried alive, picnic at the memorial
of casualties as well as resurrection are closely related to the traditions and habits of the Victorians.
Even focus on life of ghosts and their communication with living individuals highlights spiritualism
gaining its popularity in the 19th century.
In addition, same as early Gothic novels analyzed novels of 20th and 21st century contain conventional oscillation between good/evil, chaos/tranquility, oppression/liberation etc., interconnection
with past by means of ruins, antique furniture or faded tapestry, where centre of irrationality and
gloomy atmosphere or supernatural are situated. Both contemporary novels deal with issues and
events of that particular era, especially crisis in relationships, alienation and anonymity in cities, isolation, global diseases (e.g. cancer, mental disorders), demoralization and problems of identity. In the
era of the Cold War when permanent armament and fear of the nuclear threat composed daily routine
Angela Carter depicted its potential consequences in her novel Heroes and Villains presenting her
vision of the dystopian world after the nuclear war.
It is not possible to forget that during the last century several generations of the citizens were
bombarded by social decay and chaos not only enduring horrors of the World Wars or contemporary
terrorism but also with them interconnected crisis of human values, moral decline and overall instability and uncertainty. Distortion of the basic social unit - family - more fortified wave of scepticism and
even dread from future (Botting, 2005, p. 104). Rapid scientific discoveries and technologies even
supported dehumanizing effect. Incapability to provide stability in the society by the conventional
social and moral principles has caused their non-acceptance (Botting, 2005, p. 111). Verity of grand
narratives started to be questioned and challenged by juxtaposition and ironical tone of narratives
(Smith, 2007, p. 141). Denial of uniform truth and reality has diminished boundaries between various parallelly coexisting worlds and dimensions which are detected also in the contemporary Gothic fiction.
Community of the Professors in Heroes and Villains functions on the basis of knowledge and
technologies of the contemporary world. Their neighbour is splendorous and boisterous nature inhabitated by the Barbarians and various deformations and hybrids caused by the nuclear catastrophe.
These abnormalities flourishing in nature serve as a forceful source of horror resulting from uncanny
effect (based on Freud‘s definition of “unheimlich“ applied on fiction the uncanny is elucidated as
a specific space or transition between familiar and definite entities e.g. antropomorphism or burying
alive) (Punter, 2007, p. 131, Cavallaro, 2002, p. 4). The most horrifying are depictions of Out People,
whose “arms lack elbows, nose is omitted and canine teeths had grown into fangs“ since alternation of
expected appearance of a man violate human identity and strike readers to their weak point (Carter,
2011, p. 119). Apart from them the community of the Barbarians exists in contact with nature and its
laws. The tribe, occupying dilapidated and musty houses, ruins portraying decay, manifests the reign
of the Mother Earth. These image of primitiveness without manners reminds the Dark Ages of our
own history closely contrasting with sophistication of the Professors.
Even though its members lead comparatively primitive life in the community maintain cohesive
relationships. Athough the Professors are well-educated only the Barbarians are able to aid themselves
in life threatening situations without medical preparations. Time at the Professors‘ is only artificially
invented by people but Barbarians‘one is natural for biorhytm of a man. Rectangular houses and sterile-like environment of the Professors, enclosed by a wire fence, highlights their artificial way of living, separation from wild nature and instincts. Therefore, the author emphasizes a fact that negative
evaluation of the Barbarians is relative since they should not be degraded only due to their difference.
It is possible only to conclude that both communities have own culture operating via different laws
and orders (whilst the Barbarians are superstitious and instinctively based, the Professors prefer reason and technology) having advantages and defects but it is difficult to assess which one is worse.
Simultaneously reader’s evaluation of normality/abnormality, pretty/disgusting, primitive/advance is
only the relative one - violation of uniformity in truth and reality.
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It is necessary to stress that the mentioned exposition of contrasts between the primitive Barbarians
with dark hairs and the sophisticated and reserved Professors and invented myths may be perceived as
parallel to the contemporary society reigned by prejudices against immigrants, predominantly of black
race, different culture and habits contrasting with British white population and its cultural identity.
The author points out to senselessness of these myths on both communities by their ironic depiction:
“they slit the bellies of the women after they have raped them and sew up cats inside” (Carter, 2011,
p. 12).
In the novel the mentioned gloomy atmosphere is not mingled with the peaceful one as in the novel by Ann Radcliffe but with grotesque interconnected with the myths or invalid clichés emerging in
our society: “I think, therefore I exist, but if I take time off from thinking, what then?” (Carter, 2011,
p. 107). Even the governing rule is questioned since it is only an invention of individuals (e.g. Donally) endeavouring to preserve order turning it their advantage.
Like in Heroes and Villains Audrey Niffenegger juxtaposes two different realms - of live and
dead. Stereotypically, world of dead is associated with a cemetery and a flat with living creatures but
in this particular novel we are witness of its irrational reversal. The cemetery should be a tranquil
destination of eternal rest but the Highgate cemetery is as a living organism not only during day visited by tourists and at night by foxes, tormented Robert, and sensationalists but also luxuriance of trees
or plants (e.g. ever green holly) indicates its vivacity. Simultaneously, it is not possible to detect expected horror, quite contrary, sunrays penetrating through treetops falling on grey gravestones in
combination with disorganization and expanse of the cemetery produce the sublime effect.
On the other hand the flat, Valentina’s and Julia’s new home, does not provide its metaphorical
and material warmth. It is overcrowded with antique furniture covered by dust and irrationality, supernatural and coldness reign there. It is the place still portraying identity of a person who no longer
physically exists. These two coexisting dimensions are not separated but same as dead persons intervene into lives of the living characters as the noted worlds are connected with “green wooden door in
the brick wall” and “the ivy around the door was tidily clipped back” implying its frequent use and
their interconnection (Niffenegger, 2009, p. 108). Admittance of human existence after death, although transformed to different form, not only as mystic instrument for scaring of the characters as in
the Mysteries of Udolpho, but with desires, needs, memories and sexuality, denies fundamental religious beliefs in withdrawal of soul into hell/heaven. Simultaneously, the author stresses that an individual does not comprise of one constituent but distinguishes a physical body unable to exist itself and
spirit acquiring its consciousness and ability to logically think certain time after death. On the basis of
it we remark that like in the previous novel in Her Fearful Symmetry invalidity of ideologies and refused unity in one truth are pointed out, although, without Carter’s characteristic irony and grotesque
tone. Advance in technology and media has caused that apart from not uniform truth homogeneous
reality is not recognized any more since individual may actually exist and has different identity in
virtual reality in comparison to the space of his/her physical existence. On one hand it enables contact
between people at thousand kilometers distance but simultaneously may lead to disruption of relations
in the real world.
Like in the novel Heroes and Villains, certain type of hybridity occurs serving as a significant
source of horror based on the above mentioned uncanny effect. Since Elspeth is neither dead nor alive
and although invisible still capable to move with material objects readers are exposed to certain
shapelessness. Confronting them with own mortality the effect also occurs in contact with a product
of resurrection (neither Elspeth nor Valentina) or personal objects of deceased but is predominantly
experienced by means of deja vú at cemetery, idea of being buried alive, feeling of being permanently
watched or by the element of doubling itself (doppelgänger) due to idea that an individual is not the
unique being but only copy of own sister.
Deformations and variations, characteristic to Postmodernism, do not occur only in content but
also in text itself which displays signs of disintegration and experimentation confusing readers and
luring them to this new type of labyrinth (Spooner, 2007, p. 45). In contrast to the traditional Gothic
novels in the analyzed novels produced in Postmodernism are detected mingled features of distinct
genres or pastiche (science fiction, dystopia, western and fairytale) or in Her Fearful Symmetry of the
cognate ones - the Gothic and ghost story dealing with contact of immaterial entity and living beings.
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For instance, blood-mixing of Marianne and Jewel in Heroes and Villains copies elements of the
Western genre. Intertextuality and allusions are nothing unique in the Postmodern fiction and the
analyzed contemporary Gothic novels are not the exception, especially in the novel Heroes and Villains symbols or figures from the Bible (e.g. snake, Garden of Eden, Adam and Eve, Cain and Abel
etc.) are numerous. Even shaman Donally may be perceived as a parodied version of the God making
efforts to direct world. However, he is not symbol of purity and justice but a drunkard oedipally
bound to Jewel (Adam). On the other hand in the novel Her Fearful Symmetry the author experiments
with text by means of employment of different typeface to highlight processes in characters´ mind.
2. Masculinity and Femininity in the Gothic fiction
An inseparable constituent of the traditional Gothic novels are undoubtedly archetypes of an oppressed female protagoinst and a male villain, who reflect unfavourable position of women in patriarchal society. During the 20th century significant changes affected also this area. Desire to obtain equal
rights and independence resulted into first and second wave of Feminism. But how such significant
shifts as womens‘ emancipation influenced the conventional characters of the Gothic novel? Have
Postmodernism, celebrating experimentations and lack of boundaries, influenced the schema of the
Gothic novel?
Femininity in the traditional Female Gothic novel is represented by sensitive and gentle heroine
inclining to nobility and virtues. Her beauty does not reside only in her external appearance but it is
also a reflection of her perceptive core. Although both protagonists have origin in gentry and cultivate
avocations characteristic to higher social classes they prefer modesty and do not look down on peasants and servants but rather make effort to aid by any means available.
But same as each coin has two sides as main protagonists have their defects. Emily is frequently
overpowered by superstition or excessive emotions and sinks into melancholy and depressive
moods. Since Emily herself has uncorrupted character she does not expect wickedness from others.
Herewith, the authors demonstrate protagonists’ inexperience since Emily is enchanted by glitz of
signora Livoni while naive Mary repeatedly succumbs to male charm and own illusions on George’s
character. Therefore, regardless of positive traits inexperience, naivety and oversensitivity are identified in characters of the female protagonists. After parent’s death, voluntarily or involuntarily, the
unprotected female protagonists get to oppression and usurpation. Frequently are humiliated, ignored
and otherwise verbally and physically attacked by representatives of insensitive patriarchy
(Montoni in Mysteries of Udolpho and Mary’s husband). Emily decides to defend her rights and to
struggle for her property same as Mary who rejects to tolerate husband’s alcoholism, gamble and
“fondness for woman of any taste” and plucks up the courage “to be mistress of her own actions”
(Wollstonecraft, 2009, p. 129, 132). Even though affection to beau serves as their escapism both are
too weak to resist usurpers’ manipulation. With assistance of others the characters escape their prison.
While Ann Radcliffe punishes evil represented by insensitive masculinity and presents an optimistic vision believing that oppression may be vanquished by promotion of sensibility and mutual equality of minds and harmony in marriage (Emily and Valancourt) may be achieved by self-restraint and
moderateness in both emotions and reason, Mary Wollstonecraft even criticizes female hypersensitiveness and naivety, does not present prospects for shifts in the fossilized system still oppressing
women, since financial independence and official divorce are inaccessible to them. Although the novel is unfinished potential negative ends prevail displaying no hope for a love affair with Darnford in
the corrupted society. Even this ideal of sensitivity disappoints her and Mary bitterly realizes that is
again deceived by own illusions.
In comparison of the novel Heroes and Villains to the identified schema occurring in the conventional female Gothic novel a main female protagonist is depicted differently to a considerable extent.
Instead of delicate and empathic heroine with patience of a saint the author offers impulsive and rebellious Marianne with “sharp cold eyes” who since her early childhood has not been obedient child
sitting in the corner of mother’s kitchen (Carter, 2011, p. 3). It is prohibited to exceed boundaries of
the community but forbidden fruit tastes the sweetest and Marianne is glad to ramble. In contrast to
the protagonists of the conventional Gothic novels Marianne differs, particularly temperamentally and
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physically, since she even cuts her hair short after father’s death. A certain degree of insensitivity is
detected in her character whereas she does not express any emotions observing murder of her brother,
rather “recalls with visionary clarity the face of the murdering boy although the memory of her brother’s face is totally blurred” (Carter, 2011, p. 12). Even the scene is presented as theatre performed
only for Marianne standing on a balcony. In addition, Marianne has never felt solidarity with her
community whereas her lifestyle does not correspond with her nature but rather perceives it as a prison. Overwhelmed by her internal desires she uses opportunity and frees a Barbarian boy to escape.
Therefore, readers cannot absolutely define who saves whom what indicates relativity of roles of femininity and masculinity in this contemporary Gothic novel.
Marianne withdraws from one type of oppression but unprotected by an amiable father is actually
caught into another patriarchal usurpation but in contrast to Emily or Mary she does not faint from
horror. Although Marianne is incapable to escape from oppression she is not a paralyzed puppet in
Jewel’s hands but rather we perceive certain rivalry between the male and female protagonist not corresponding with the stereotypical depiction of gender roles in the traditional Gothic novel. Tyrannized
by the patriarchal system, raped and forced to marry against her will, Marianne accepts her new identity and in contrast to the conventional female protagonists recognizes her sexuality. Since their wedding they have shared not only blood and their memory but blending simultaneously affects their
characters and readers are witness of their transformation, with emphasis on change of the main
female protagonist from oppressed being incapable to liberate to dominant person with ambitions of
being “Tiger Lady” even ruining her oppressor (Carter, 2011, p. 163). Instead of Jewel Marianne kills
the hybrid and saves his life several times. Marianne expresses her refusal of subordinate position emancipates herself - what results in Jewels’ internal suffering and subsequent attempt to commit
suicide. Requesting his jewels Marianne totally absorbs his identity. Therefore, obvious archetypes
and boundaries between roles of tyrant and his victim are violated since the relativity of usurpation
and tyranny is detected.
On the other hand, a main female protagonist of Her Fear Fearful Symmetry, which was not written in the second wave of Feminism but in the post-Feministic period, rather corresponds with the
conventional archetype. Similarly, Valentina is virtuous and incarnated delicateness. Total paleness of
her external appearance, even white clothed, underlines Valentina´s virginity. Combined with her
uncorrupted core it creates image of purity and innocence, attractive for male characters and collective
for the female protagonists in the conventional Gothic novel. On the other hand she is also easily manipulated, inexperienced and naive. Because of lack of self-confidence she is forced to abandon university, potential career and her home. Out of domestic security and without ability to dispose with
property Valentina is entrapped and tyrannized by her twin and ghost in the inherited flat - place of
her oppression. Although Valentina is dissatisfied with her subordinate status and suppressed identity
she is incapable to enforce her ambitions. In a mirror Valentina sees reflection of Julia not herself and
even people perceive them as one being.
A significant factor in the process of acquisition of her identity and liberation is relationship with
Robert providing Valentina with new kind of experience and serving as her escapism. Explicit
presentation of females’ sexuality contrasts with depiction of women as objects of masculine desires
in the traditional Gothic novel. Wearing Elpseth’s shoes and clothes Valentina simultaneously dresses
part of Elspeth’s identity and finally plucks up courage to express own opinions and resist. But in
contrast to Marianne her quest for self-knowledge and sexual identity is not completed since Valentina is too weak to confront problems, succumbs to manipulation by non-material entity and escapes to
another dimension, where she finally liberates herself with assistance of Julia. Such unconventional
liberation underlines experimentation typical for Postmodernism.
Although the main focus of the authors is concentrated on the female protagonists and their emotional experience and processes in mind, concept of oppression and entrapment occupies significant
post in the Gothic novel. The characters as Valancourt (Mysteries of Udolpho), Darnford (Mary and
the Wrongs of Woman) or Robert (Her Fearful Symmetry) serve as counterparts to the females since
they are equally sensitive, empathic but also naive and easily manipulated. These ideals of Sensibilism, fathers and Mary´s uncle represent reformed masculinity which comprises antithesis to the archetype of villain. Both villains of the analyzed early Gothic novels exploit their charisma and by
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flattering phrases make efforts to marry but only for financial reasons. After wedding their guileful
and treacherous character is revealed. Both representatives of fossilized patriarchy insult females’
credit and honour, disregard any kind of virtues and sensitivity and rather coerce their authority by
brute force. Capable of anything to achieve their intentions, calculating despot, Montoni, makes efforts to arrange Emily’s marriage to reimburse his debts. Although his forlorn wife suffers casino,
alcohol and ladies of easy virtues absorb his time. Like Montoni, George prefers immoral revelries
and exploits the system to obtain property of his wife. Whilst Radcliffe depicts punishment of the
villain Wollstonecraft’s representative continues in his plundering still protected by the laws by
means of whom she presents her pessimistic opinions on potential shifts in the position of women.
In comparison to the conventional Gothic villain Jewel, a main male character of the novel Heroes
and Villains, also occupies superior post in the Barbarian hierarchy due to his dynasty, knowledge and
beauty which charms not only Marianne but also the shaman. As well as Montoni and George Jewel
pretends certain role but not for profit-seeking motives but to conceal his sensitivity, fulfil expectations and preserve position in the hierarchy. He rapes Marianne but “holds the rag between her thighs
to sop up the bleeding” (Carter, 2011, p. 62). Jewel brutally beats Precious but it is not his choice
since he is only puppet in Donally’s hands, only his invention:
“Would you have punished Precious of your own free will?”
“No.”
“Would you have married her of your own free will?”
“No.”
“Would you create a power structure of your own free will?”
“No.” (Carter, 2011, p. 134)
Even his name reveals that Jewel cannot be evaluated as the stereotypical villain. Embellished by
rings, necklaces and other ornaments and renowned by his dark long hair the analyzed character rather
resembles stereotypical depiction of the females highly contrasting not only with Montoni or George
but simultaneously with Marianne’s appearance and fearless nature. Even he can be regarded as a
victim since Marianne humiliates him and is a living reminder of his defects and weaknesses. In contrast to stereotypical masculinity Jewel obeys her. As well as the traditional female characters makes
efforts to resist Jewel expels his former oppressor Donally but is incapable to absolutely liberate from
Marianne’s usurpation. As a result “Looking as insubstantial as if cut from paper” Jewel realizes he is
incapable neither to preserve his identity in the community nor protects Marianne, even “he is no
longer a perfect savage” (Carter, 2011, p. 118, 159). Therefore, the traditional boundaries between
masculinity and femininity and roles in the male villain - female victim - sensible lover triangle are
blurred since on one hand the main masculine character tyrannizes Marianne but on the other himself
is oppressed by Donally and Marianne who ruins his former identity.
Even though in the novel Her Fearful Symmetry boundaries between the individual archetypes are
not violated a certain form of variation and formulation of hybrid in the conventional schema are
detected. The author employs an accentuated element of doubling to highlight overall horror in the
novel and oppression of the female protagonist who is tyrannized by the abnormal relationship with
her sister but also by Elspeth, her dead mother. During her life Elspeth was not a maternal type
providing her companions with unselfish love, even abandons her own children. After death her egoism and craving to be at spotlight persist. Offended by her abrupt non-existence and still usurping all
objects in the flat she interferes into relationships of living characters. As well as her body is decaying
also her cold substance underlines her insensitive character. Elspeth becomes more and more unscrupulous resulting in murder of own daughter to liberate herself from the flat.
On the other hand Elspeth is not the absolute villainous character but rather falls into category of a
villain-victim. Imprisoned by external forces and without her hairs, fingerprints or reflection in a mirror Elspeth practically does not exist in our reality. Only her doorplate reveals that she remains stuck
in the flat where nobody registers her but still containing her memories, needs, emotions and desires
including sexual ones: “Enjoy it, at least. For both of us” (Niffenegger, 2009, p. 93). During the plot
readers are witness of Elpeth’s internal struggle since on one hand she does not want to reveal her
existence or approves Robert’s love affair with Valentina but subsequently is overwhelmed by own
desires and childishly perceives own daughter as her rival.
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Simultaneously, the character of Elspeth persuades us about influence of Postmodernism promoting no uniform truth and existence of several possible explanations. Is death of kitten mischance as
she presents or did she kill it intentionally? As a result it is not absolutely definite whether Elspeth’s
substance is corrupted or is only incapable to control her desires, whether she exploits Valentina’s and
Robert’s sensitive character or not, whether she had planned body usurpation earlier or only abused
circumstances or decided immediately before the act. Even certain moral relativity is identified since
communication is a fundamental human need and incarcerated Elspeth yearns for liberation and existence since the instinct of self-preservation comprises basis of living beings.
Like the other main characters of the contemporary Gothic novel in the analysis of the novel Her
Fearful Symmetry we ascertain it is not possible to unequivocally characterize Julia as the completely
negative heroine-villain. On one hand Julia behaves possessively, immaturely, egoistically, advances
her own interests and ignores Valentina’s opinions and desires (like the conventional villain) but on
the other hand her audacious and flexible nature is only apparent. As well as specularly reversed internal organs twins’ characters are also mirrored. Even though Valentina is explicitly depicted as timid and delicate protagonist Julia conceals her fear and anxiety but compensates her own complexes by
degradation of Valentina’s abilities and talent. In contrast to her sister Julia has no clear ambitions or
goals into future and therefore fearing to be abandoned and not at the centre of attention Julia obstructs Valentina to mature and obtain own identity. It should not be omitted that not only Valentina
but also her mirror twin is a virgin with white-blond hair indicating her innocence. Both “bit their
fingernails” and give impression of being girls (Niffenegger, 2009, p. 41). Non-functioning relationship, subsequent tension between the twins and Valentina’s aloofness also torment Julia. The abnormal bond does not devastate only Valentina but also Julia postponing her self-reliance and acquisition
of own place in life. Even though Valentina’s resolution is radical it simultaneously liberates Julia. On
the basis of it we assess in the novel by Audrey Niffenegger the role of villain is assigned to the female character and simultaneously the villains-victims who were unconventional for the early Female
Gothic fiction but were frequently employed in the Gothic novels written by males or in the later centuries. Simultaneously, a significant variation is presented since one of the usurpers is neither male
nor female but the non-material entity.
Conclusion
Even though the selected contemporary novels contain traditional features (e.g. oscillation or interconnection with past) the unconventional elements as juxtaposition of various coexisting realms, dimensions and realities, invalidity of embedded ideologies and myths prevailing in society, emphasis
on non-existence of uniform truth, grotesque and ironic tone are identified. Numerous experimentation with different typefaces, intertextuality and violation of boundaries between various genres forming hybrids, characteristic to Postmodernism, disrupt structure of the analyzed Gothic novels. More
frequent blending of various familiar entitites leads to the deformations serving as significant source
of the uncanny effect. As far as the characters is concerned the most distinct deviations are detected in
the novel Heroes and Villains, which was influenced by womens‘emancipation and the second wave
of Feminism, whereas boundaries between the particular constituents of the traditonal Gothic schema
consisting of virtuous and emotionally based heroine, oppressed by unscrupulous villain and sensitive
lover are violated. On the other hand archetypes in Her Fearful Symmetry, written in the postFeministic period, rather correspond with the conventional ones but the pattern is deformed by experimentation, especially by underlined element of doubling and employment of the non-material entity
as villain-victim which is regarded in the Gothic fiction as unconventional. On the other hand it is
typical for the ghost story what repeatedly signals blending of genres and influence of Postmodernism.
Presented facts highlights that the Gothic is more complex genre including the stereotypically repeating patterns and schemas and reflecting not only our hidden fears or desires but also dealing with
issues (e.g. gender roles in society) and significant cultural, political and social shifts of that particular
era and therefore does not deserve depreciation. Although we mention sensational or high cultural,
early or contemporary novels, the truth is that the Gothic has its magic attracting readers over the
world as magnet.
SEKCIA LITERÁRNEJ VEDY
531
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