‘Sister Sorceress,’ an Erotic Short Story

Mary MacDillon, 22, thought nothing of her being moved to a new convent in a new city. She assumed most of the nuns here, just as they were in the one she’d just left, would be almost all plain-looking or much older than she.

As soon as she came in, however, she noted a peculiar thing about the place. Not only were there, as she first started looking around at all the nuns, more…and more…young, slim nuns with pretty faces, but all of them were young, slim, and pretty…without exception!

What a strangely fortuitous occurrence, she thought…with a bit of a shudder. It was paradoxically good and bad luck for her. Secretly, she had lesbian desires that her strict Catholic upbringing would never accept, so being surrounded by unattractive women would keep her safe from temptation. But now,…

The bad luck was precisely that this was also good luck.

She whispered a “Hail, Mary” prayer over and over again as she approached the cell where she was to sleep. As she looked over the sea of faces of nuns walking by, hoping to see at least one wrinkled face or one obese body, yet being disappointed (and secretly thrilled) to see only beauties, she noticed one nun from a distance who lifted up her tunic to reveal a creamy-smooth white leg with a…tattoo?…up towards her left thigh.

No, it couldn’t be a tattoo! Mary thought. What self-respecting nun would have one of those on her body? My eyes must have been deceiving me! It was a large birthmark of some kind, surely.

Finally, she reached her cell. “Here you are, Sister Mary,” said Father Funn, the only male (also young and handsome, not that she was interested) who lived in this convent…alone in his own cell, surely! He put down her two bags of luggage by the door. “In you go now, and meet your cellmate. If you need anything, you know where to find my cell.”

“Thank you, Father,” she said as he turned around to leave. “Goodbye.” She faced the door. Before opening it, she took a deep breath and said another “Hail, Mary.” Lord, don’t put me to the test, she thought as she slowly turned the doorknob. Please, cellmate, be fat, old, and ugly.

She opened the door wide. Not only was her cellmate not fat, old, or ugly, she was also…not…dressed.

Mary stared at the naked loveliness of her new cellmate with her eyes and mouth at their widest. The young woman had her back to Mary, who in a daze was admiring her coffee-coloured skin, her curves, and her round buttocks. Her hair was a wavy cascade of brown that draped down to just below her shoulders.

She turned her head around to see Mary. She grinned from ear to ear. “Oh!” she said in high-pitched delight. “You must be Sister Mary MacDillon, my new cellmate. So nice to meet you finally. I’m Sister Jessica Bell, but everyone calls me Jessie.”

She turned around and walked towards Mary to shake her hand, displaying her frontal nudity–firm, medium-sized breasts with erect, brown nipples, and all her pubic hair removed!–in all insouciance.

Mary, in her amazement, had forgotten that the door was still open.

“Mary,” Jessie asked with a smirk, “do you want to display my body to all passersby, or do you want to close the door?”

“Oh! I’m sorry,” Mary said, snapping out of it and immediately turning around to close the door.

As the door clicked shut, Jessie began to say, “Father Funn just passed by before I reminded you of the door. I’m sure he just got the best thrill he’s had in a long time.” She giggled lewdly at this.

“I’m sorry,” Mary said again, trying to look Jessie straight in the eyes and not look any lower. Why does she have to be so immodest?

“That’s alright,” Jessie said. “It’s my fault. I just returned from the shower and took off my bathrobe. It’s been such a hot day that I didn’t want to put anything on at the moment. Instead, I was making some tea, which just heated up the cell even more. Would you like some? It’s really tasty.”

“Oh, yes, please, Jessie, I’d love some.” Why won’t she put some clothes on? God, why are you putting me to the test?

“Have you eaten dinner? They just finished serving it, and we all just ate in the dining hall, so I think you’ll be too late to have some.”

“Oh, I’ve eaten already. I’m quite tired actually, and ready for bed.”

“Oh, good,” Jessie said, handing Mary a fresh cup of hot tea.

Mary brought it up to her nose. “That’s quite a unique aroma.”

“Yes, I combine a lot of special ingredients–herbs, spices, mushrooms, and other things–to get a unique flavour. Try it. It’s also very healthy.”

“Yes, of course,” Mary said, then took a sip. “Mmm. As you said, it’s really tasty.” She turned away from Jessie for obvious reasons, put the cup on the bedside table, and looked with alarm at the one bed she was to share with Jessie every night, Jessie who was as unashamed as Eve was before eating the forbidden fruit. Trying to take her mind off her temptation, Mary reached down to her bags to begin unpacking, and said, “I always thought cells were supposed to be lived in by only one person at a time. In my previous convent, we all slept together in a dormitory, but I thought I’d be alone in my cell here.”

“Well, there are budget constraints in our convent, so we nuns are paired up in our cells,” Jessie explained, still not bothering to put anything on. “Often, new nuns like you are paired up with nuns like me, who have been here for quite a while, to show the new girls the ropes. Only Father Funn sleeps alone in his own cell, and I hardly need to explain to you why that is.” She giggled lewdly again.

“I see,” Mary said with a sigh of annoyance at Jessie’s flippant attitude. Mary took some clothes out of her bag and put them in a drawer by the bedside table.

“Drink your tea,” Jessie said. “Don’t let it get cold.”

“Oh, I won’t.” Mary picked up the cup and had another, larger sip, then went back to unpacking. She looked out the window for a moment: the sun was setting. She noticed, while still trying to resist the temptation to look at Jessie’s body, that her nude companion wasn’t having any tea for herself. “Aren’t you going to drink some?”

“Oh, I’ll have some a little later. You just enjoy yours for now.” After that, Mary noticed that Jessie was whispering something to herself…was it in Latin?

Once Mary finished unpacking, she began taking off her habit. It would feel good to take it off, for as Jessie had observed, it was a really hot day; though Mary had her own reasons for sweating so profusely–her nervousness, for the eyes of ever-naked Jessie had lit up to note her undressing. Mary had another gulp of her tea and tried not to think about that naughty nun.

She made sure that she had her nightgown ready to throw on as soon as she was stripped down to her bra and panties, for Jessie was still looking at her. Jessie also hadn’t drunk any of the tea she’d made, though Mary finished her cup and gave it back to Jessie with a “Thank you,” naïvely not even considering the possibility–with all of her worries of her naked cellmate watching her undress–that there might have been something…unusual…in that tea.

Mary got into bed and closed her eyes, now feeling remarkably relaxed. “Good night, Sister Jessie,” she said, then let out a big sigh and let herself go.

After turning off the light, ever-nude Jessie climbed into bed beside Mary, using the dim night light from the opened window to watch her silhouette drift into…what Mary would assume to be…unconsciousness.

Jessie continued chanting in Latin, but no longer in whispers. Mary was able to make out fragments of what Jessie was saying, the first fragment being, “Blessed art thou among women…” Was Jessie chanting the ‘Hail, Mary’ prayer? Mary wondered. Whatever she was chanting, it suggested that Jessie was a good nun after all, if a little eccentric.

Next, Mary heard, in Latin, “He who loveth not knoweth not God, for God is love,” emphasizing the word love. Again, Mary felt reassured of Jessie’s commitment to her faith. Her nudity must have been an anomalous occurrence, nothing more. Mary was able to relax even more, though something in her was making relaxing surprisingly easy.

Then she felt a light, brief kiss on her lips.

Instead of rising from her bed in wide-eyed shock, though, Mary just enjoyed the sensuous touch of Jessie’s lips. She opened her eyes slowly and saw…her young mother’s face? No, that couldn’t have been: her mother was now fifty-five and living in a city on the other side of the country. Mary must have been having a dream.

The dark room was moving left to right in slow waves, as Mary saw it. A spot of moonlight from outside, coming in the window from Mary’s far right, was trailing in a wavy line when her eyes moved to the left, away from it. She felt her body undulating with the waves in the air all around her. She felt as if she were merging with her surroundings.

She felt another kiss on her lips. Her eyes, having adjusted to the dark, met those of her kisser, and she could make out Jessie’s face this time. Again, though, instead of being shocked, she welcomed the kiss. Something in her body was telling her there was nothing sinful about what she and Jessie were doing.

She felt more soft kisses on her lips, cheeks, nose, and forehead. She fell Jessie’s hands stroking her hair and caressing her cheeks. Jessie said in Latin, “These three last forever: faith, hope, and love; and the greatest of these is love,” this last word being stressed, as before.

Now Mary felt Jessie moving up on the bed to bring her breasts level with Mary’s face. She felt the raspberry nipples of those sugary breasts brushing gently against her face. Mary opened her mouth and took Jessie’s left nipple inside. She sucked on it for several seconds, then looked up at the face of her naked lover.

The face shifted back and forth between being Jessie’s and being her mother’s. Still, Mary wasn’t shocked: she just enjoyed her ‘dream.’

Jessie moved back down to bring her face level with Mary’s again; as she moved down, she brushed her breasts against Mary’s chin, neck, and chest.

They resumed kissing, but this time with Jessie sliding her tongue deep inside Mary’s mouth. Jessie put Mary’s right hand between her legs, soaking her fingers. She also put her hand under Mary’s nightgown and slid her fingers under her panties to touch her in the same, wet place. As she stroked Mary’s vaginal opening and hymen, Jessie did more Latin chanting, but this time it was nothing from the Vulgate Bible or anything Mary recognized as being even remotely Catholic. In fact, Mary felt herself to be in such a dream-state that she couldn’t make out the meaning of this Latin at all; she only knew that it was Latin.

She didn’t want to listen to or interpret any Latin, anyway. These were the best sensations she’d ever felt in her entire life! After another minute or so of this delectable touching, she let out a high-pitched sigh with Jessie, and they both climaxed. In Mary’s dream-state, she had a vision of a river flowing from between her legs.

**********

She woke up just as the sun was beginning to peek through the window. She saw Jessie in an almost unrecognizable form: she was fully dressed, in a nun habit!

Jessie looked over at her with an unexpectedly innocent smile. “Oh, you’re awake!” she said. “Good morning, Sister Mary. You must be hungry. Hurry up and get dressed if you don’t want to miss breakfast in the dining hall.”

“Oh, yes,” Mary said as she got out of bed. Nowhere on her body did she feel any traces of the sensations she’d felt the night before, though she remembered them all vividly. It was just a dream, she thought.

As she changed into her habit, Mary found herself always wanting to look at Jessie’s pretty face. Oddly, now that her cellmate was finally decent, this was when Mary found she couldn’t stop staring at her.

Jessie didn’t exactly look like Mary’s pretty mother, though her eyes and voice bore an uncanny resemblance to those of her mother. The humble, pious attitude that Jessie was demonstrating now, in radical contrast to her vampish ways the night before, also reminded Mary of her beloved, almost saintlike mother.

The fact that Mary had…dreamed?…of receiving such sensual pleasure from naked Jessie only cemented her feelings for her cellmate all the more.

Was she falling in love with Jessie?

Oh, nonsense!

That couldn’t be!

Mary was wedded to Christ!

Jessie took Mary to the dining hall, where they sat across from each other and ate breakfast together. As they talked about the daily routine of the convent, Mary couldn’t stop looking deep in Jessie’s eyes, sighing at the sound of her voice, and grinning at her beauty, knowing what anatomical delicacies were hiding underneath her habit.

She imagined the bread she was biting into was Jessie’s flesh.

“After breakfast, I’ll need to take a shower,” Mary said.

“Be quick about it,” Jessie said. “We have to go to deliver crates of food to an orphanage on the other side of town.”

“Oh, yes, of course,” Mary said, then drank from a glass of milk while looking down at Jessie’s chest, and remembering the relevant part of her…dream?

**********

She hurried over to the shower, went in, got naked, and ran the water over her body as she lathered the soap in her hands. As she rubbed the lather on her upper body, she looked at herself in a tall mirror on the other side of the room. She frowned at what she saw.

Small breasts, pale skin, a bit of flab on my belly, and an excess of pubic hair, she thought. I wish my body could be as attractive as Jessie’s is. I’m sure that would please her more.

After rinsing off her upper body, she rubbed some lather between her legs. She yelped in shock at what she felt down there…or rather, what she didn’t feel down there.

My hymen is gone! she thought with a gasp. My virtue! My virginity…is gone? That can’t be!

How could she have lost it? How could it have disappeared? Nothing happened the night before. She’d only had an erotic dream…didn’t she?

And even if Jessie had really seduced her, if she had punctured her hymen, why wasn’t Mary at all sore?

**********

After her shower, she quickly rejoined Jessie to help with delivering the food to the orphanage, always trying to stop herself from staring at her beautiful cellmate…but rarely succeeding. The bright, hot sun reminded Mary of God looking down on her from heaven. At least the act of charity to the orphans had a somewhat mitigating effect on her guilt.

She was touched by the devotion she saw in Jessie as she gave to the orphans, working so hard to be of help to them in all ways possible. Jessie’s actions so reminded Mary of her mother’s charity. The love was swelling in Mary’s heart.

When they returned to the convent, Mary went into the church to pray at a pew.

When she bowed and did the Sign of the Cross before the altar, she looked over at an icon of the Virgin Mary. On the face of the Blessed Virgin, she imagined she saw the face of her mother, what seemed a disapproving face, and Mary felt a pang of shame.

She hurried over to a pew, knelt there, and put her hands together. She remembered St. Paul’s words in his Epistle to the Romans: “God gave them up unto vile affections: for even their women did change the natural use into that which is against nature.” She shuddered at the memory of that verse, one she’d always successfully used before to control herself.

God, help me, she prayed in her thoughts. Deliver me from the Evil One. Help me to love Jessie in an honourable, decent, Christian way. A tear ran down her cheek.

She looked up from hearing the sound of shoes tapping on the floor of the aisle to her immediate right. Father Funn was walking by. She got up and went over to him.

“Father?” she said from just behind his left shoulder.

He looked behind himself. “Yes, Sister Mary?”

“I know this is abrupt, but do you have time to receive my confession?”

“Why, yes, I have a few minutes,” he said. “Come this way.” He gestured to an exit leading to the confessional booths.

They went over and got in.

“Bless me, Father, for I have sinned,” Mary said with a trembling voice.

“Be at peace, Mary,” he said soothingly. “The Lord is always willing to take back any lost sheep who have strayed from the flock.”

“I have had…,” she began, “…impure thoughts.”

“What kind of impure thoughts?” he asked with…a smirk on his face?

“Lewd ones. Lustful ones. Unnatural ones. Shameful ones.” She began sobbing. “And I don’t think I’ll be able to stop myself from thinking them again.”

“With God, all things are possible,” he reassured her. “Remember that the Lord helps those who help themselves.”

“Yes, Father! Thank you!”

“I absolve you from your sins in the name of the Father, and of the Son, and of the Holy Spirit,” he said, doing the Sign of the Cross with her.

She left the confessional so determined not to have sexual feelings about Jessie, that she would prove it every time she was around her, as a test of that determination. She went back to the pews to pray.

***********

That evening, after hours of prayer at the pew, she returned to her cell.

I will not have romantic thoughts about Jessie, she insisted in her thoughts as she approached Jessie, who was outside, tending a garden just beside the cell. Among the flowers and herbs she grew there to make her tea were a number of rather large mushrooms. The sun was sinking low, leaving darkness all over the convent.

Mary came up beside her cellmate. “Good evening, Sister Jessie.”

Jessie looked over at her and gave her such a disarming smile that Mary, shivering with pleasure, already lost half of her resolve not to think of Jessie in a sexual way. “Good evening, Sister Mary. I’m about to make us some tea. Would you like to watch how I make it?”

“Oh, yes, very much!” Mary sighed, then thought, Now, I can see if she is drugging the tea…which, surely, she isn’t! “You said last night that you mix mushrooms in the tea. What kind of mushrooms are they? I had such a wild dream last night, not the kind of thing I would ever describe, for modestly’s sake!” She tittered a little. “Those aren’t those ‘magic mushrooms,’ are they?”

Jessie let out a loud laugh. “Oh, no! Of course not! That must have been a wild dream that you had! No, these mushrooms only have a medicinal effect on the consumer. Whatever ‘wildness’ you experienced in your dream was something already inside you, I assure you.”

Though Mary felt reassured that there was nothing psychedelic about those mushrooms (and, surely, Jessie was telling her the truth about that!), she found it disturbing to think that that whole dream’s contents were just ‘something already inside her.’ Mary had always hated the unbridled sin of her unconscious mind, something she could never control.

Jessie finished collecting the ingredients for the tea, and she took them into the cell, Mary following closely behind her.

“Oh, I’m so glad it isn’t as hot today as it was yesterday,” Jessie said as she stood in front of the kettle, getting the tea ready. “These summer days have been killer. But I can tolerate keeping this habit on, at least for the moment.”

Mary let out a sigh of relief…yet of disappointment, too.

“I must say, Sister Jessie, that I admire how loving and caring you were to the orphans today,” she said. “The smiles you put on all the kids’ faces as you talked to them. Your charity is truly an inspiration.”

“Oh, it’s nothing,” Jessie said. “I’m just doing the Lord’s work. It isn’t me; it’s the Holy Spirit working through me.”

“Your humility and charity remind me of those of my mother, as I saw in her when I was a child,” Mary said, looking over at Jessie with such yearning.

“Your mother must be a remarkable woman. I’m flattered to be thought so similar to her.”

“You are, Sister Jessie, in so many ways,” Mary sighed.

“That’s very sweet of you to say–thank you.” Jessie, having finished making the tea, brought two small cups over. “Here you are, honey.” She handed Mary a pink china cup, while keeping a yellow one for herself.

“Thank you.” Mary was relieved to see that yellow cup this time, to see Jessie sipping from it. Mary thus felt encouraged to drink from hers.

(What she didn’t realize was that Jessie had made mushrooms for Mary’s tea, and no mushrooms–and different herbs–for her own.)

“OK, I’m getting little too hot now,” Jessie said, and she undid her guimpe and tunic, which for her, unusually, had front zippers. When unzipping and pulling them wide apart, she revealed a black, lace brassiere holding those creamy breasts in shape, the sight of which made Mary salivate and pant audibly. Jessie looked over at Mary, whose eyes immediately looked away. Jessie smirked.

Mary drank a gulp of tea. She looked out the window to see the growing darkness and the sun almost fully set. She yawned. “I don’t know why I feel so sleepy. Apart from moving the crates of food, I didn’t do much–just a lot of praying.”

“That’s fine,” Jessie said, continuing to undress and now just in her bra and panties. “Let’s just go to bed.”

Mary took no more than split-second, furtive looks at Jessie, who was now removing her bra. “Yes,” she yawned, “I suppose I should…take this…hot thing…off, too.”

Smiling Jessie removed her panties, turned off the light, and got into bed. Mary, too tired to reach for her nightgown, just stripped down to her underwear and got into bed. She lay on her back, closed her eyes, and let out a long sigh.

“Good night, Sister Jessie.”

“Good night, honey.”

Mama used to call me ‘honey,’ Mary thought.

That soothing, undulating feeling was beginning to flow all through Mary’s body again. She could hear Jessie whispering something in Latin again, though again, she felt too drowsy to make out the meaning of the words; she could only distinguish the pronunciation as distinctly Latin.

She felt Jessie’s hand on her right thigh.

A shiver of pleasure…and fear…rode up and down all those waves she felt permeating her body.

Still, Mary felt too much in a stupor to resist.

Jessie’s hand was playing with the elastic on Mary’s panties.

“Jessie,” Mary said in a slurred voice. “When I…showered today, I noticed…that my hymen…was missing.”

“Really?” Jessie whispered, then kissed Mary on her right cheek.

“Did you have…anything to do…with that?”

Jessie’s finger slid under the panties and began playing with Mary’s pubic hair. “I’m liberating you…from your theological prison cell.” She gave Mary a peck on the lips.

“Are you?” Mary sighed. “Ooh!”

“Purity and innocence…are lies…Not even Adam and Eve…were innocent…in the beginning.” Jessie was giving Mary kisses on her lips, cheeks, and neck as she continued whispering.

“That can’t…be true. Ah!

“Oh, it must have been. If they were truly, utterly good, neither would have…given in…to temptation…and eaten…the forbidden fruit…There was never…a Fall, so Christ’s death…as redemption…was meaningless. There was never…primordial grace, and so there’s no grace…for us to return to…through Christ’s death. Let’s sin bravely.”

Mary opened her eyes and, her eyes adjusted to the dark and with plenty of moonlight and starlight shining through the open window, she could make out the silhouette of Jessie standing up on the bed, with her back and ass to her, her legs spread apart on either side of Mary. She wasn’t nude, though: Mary looked up and saw Jessie wearing a white coif and black veil on her head, but a tight-fitting, shiny black leather outfit was covering her from her neck to her feet, which were in black high heels. The outfit showed off Jessie’s curvy figure and round buttocks most flatteringly.

Jessie looked down at Mary over her left shoulder and asked, “Do you like it, Mary?”

“Sister Jessie,” Mary said in sighs, trying to regain at least some self-control, in spite of how stoned and turned on she was, “dressing like that…is so disrespectful…to your vows…as a nun. Remove the coif…and veil…at least.”

“Mary, what coif? What veil? I’m naked, head to toe.”

“But,…that skin-tight…black outfit…you have on.”

“I’m not wearing any outfit, Mary. I’m displaying my body, for your viewing pleasure. I know your secret desires, Mary. Don’t be afraid to express them.”

“How do you know them?”

“I have my ways. Let me help you liberate yourself, Mary.” Jessie bent down, bending her knees and lowering her back, so Mary could see what she had hiding between her legs and buttocks. Now Mary no longer saw the black clothing or the nun’s headdress. She saw naked Jessie’s delectable secrets, which were coming closer and closer to her face.

Jessie, on all fours now and facing Mary’s feet, pulled off her panties and spread her legs out wide. Both of them began tasting each other. Though Jessie was pure of any urinary or fecal smell–in fact, her vulva and anus smelled fragrant from a fresh shower–Mary was worried, after having used the toilet just before returning to their cell, that her own body odour would be most unflattering.

Yet Jessie was licking, kissing, and sucking without complaint.

(Actually, her magical, Latin incantations, herbs, and mushrooms all served to obliterate any and all unpleasant smells. Mary would learn the next day that Jessie’s magic would make even more, shocking changes to her body.)

In any case, Mary soon forgot her worries about her body odour, for she was too busy enjoying giving and receiving physical love. She no longer regretted the loss of her hymen, for Jessie’s long tongue was now free to probe deep, deep inside, tickling Mary’s vaginal walls with its tireless flickering.

It felt so good, so physically good, that she realized something.

This is no dream! she thought. This is really happening!

Both women’s sighs were rising in pitch and volume as they approached climax. Mary had a vision of two dams bursting, with rushing water coursing out between two pairs of legs. Mary’s was a river; Jessie’s, a waterfall.

…and Father Funn just happened to be passing by their cell window at that very moment.

***********

The next morning, Mary woke up with her panties back on, as if never taken off. There were no vaginal secretions as she had felt the night before, which she found inexplicable. With the sun peeking through the window, Jessie was fully dressed in her habit.

Mary saw her smiling face…O, that lovely face!

The two exchanged good morning wishes.

“Sister Jessie,” Mary asked. “What…did we…do last night?”

“We’ll discuss it tonight, Sister Mary,” Jessie said, moving about the cell in a hurry to get ready to go. “Get dressed. We have a busy morning. There’s a soup kitchen downtown where we volunteer every week on this day, serving breakfast, lunch, and dinner to the homeless. We’ll be leaving about a half hour after breakfast. You’ll want to hurry if you hope to squeeze in a shower before we go.”

************

Though they ate facing each other in the dining hall, they said little to each other, Mary fearing that the other nuns would overhear their conversation and pick up hints as to what they were doing every night. She saw Father Funn walk by their table with a smirk that made her even more paranoid.

************

After breakfast, she hurried over to the shower with a change of underwear. She had put on her habit so quickly after getting out of bed that she didn’t take a minute to notice anything different about her body. But now that she was naked and in the shower, she saw herself in that mirror; the changes couldn’t be ignored.

Larger, firmer breasts.

No flab.

No pubic hair.

No paleness of her skin.

Perfect curves.

There was no other way to explain these changes.

Jessie was a witch.

Her tea and incantations were part of her spells.

Any pleasure Mary took in the changes in her body were overridden by the horror she felt in knowing what Jessie really was.

She’d bewitched Mary.

She’d defiled her.

She’d debauched her.

She’d led her astray.

She’d made her break her vows of chastity.

Mary remembered, with a shudder, Exodus 22:18.

************

After her shower, she joined Jessie and the other nuns to go to the soup kitchen to serve meals to the homeless there. Again, these acts of charity helped to soothe and ease her guilt…to an extent. That blazing, blindingly bright, hot sun outside reminded her of God’s judgement.

As she served the homeless with a smile, she saw the same loving smile on Jessie’s mesmerizingly pretty face. Mary saw no trace of phoniness in the sorceress’s smile: it looked perfectly sincere, like that of a genuine servant of Christ.

She recalled Paul’s words: “Satan himself is transformed into an angel of light.”

Still, Mary couldn’t understand how Jessie could fake being a Christian so skillfully. Her charity looked so authentic, and it made Mary feel all the more in love with her.

It was also challenging her faith in God; for how could He allow this to happen?

Inwardly, she shook with shame at her sinful love. She remembered Paul’s words: “For what I am doing, I do not understand. For what I will to do, that I do not practice; but what I hate, that I do.”

Speaking of doing what she hated, she slipped a knife under the sleeve of her habit just before the nuns all finished and left the soup kitchen to return to the convent.

*************

That evening, as the sun was setting and darkness was about the envelope the convent, as soon as they’d returned, she went to Father Funn to give her confession again. In the booth, she was weeping; he had that enigmatic smirk on his face again.

“Bless me, Father, for I have sinned,” she sobbed.

“Be at peace, Mary,” he said calmly. “The Lord is always willing to take back any sheep who have strayed from the flock.”

Mary remembered that these had been his exact words from last time: they sounded like a meaningless formula now!

“I have had…more impure thoughts,” she sobbed.

She couldn’t bring herself to complete her confession and admit to the sexual contact with Jessie…not only out of her personal shame, but also because she didn’t want to expose the shame of the woman she loved.

“Have you any more confessions to make?” he asked after noting her awkward several seconds of silence.

“N-no,” she said, bowing her head in shame over her cowardice in not fully confessing.

“Very well,” he said in a voice that sounded almost bored. “I absolve you from your sins in the name of the Father, and of the Son, and of the Holy Spirit.” Both of them did the Sign of the Cross–so formulaic.

She stepped out of the booth and slowly walked back to her cell, frowning. I feel no peace from that at all, she thought. Surely Father Funn suspected that my confession wasn’t complete. God wouldn’t have…couldn’t have allowed such absolution…if He truly existed.

It was getting darker and darker outside.

She fondled that knife in her sleeve.

**************

She walked into her cell and saw Jessie standing naked by the window, outside of which was the black of night. Jessie was facing Mary, with her usual insouciant display.

Mary began shaking, and clasped the knife, keeping it hidden in her sleeve. “Are you making more tea?” she asked with a frown.

“I don’t think I need to,” Jessie said with a smile. “Not the kind I was making for you before, to free your mind.”

“Those mushrooms really are magic mushrooms, aren’t they? You literally do magic with them, don’t you?”

“They, as well as my other herbs and my incantations, don’t do anything more than bring out what’s already inside you, Mary.”

“You’re a witch masquerading as a nun.” Her eyes tearing up, Mary let the knife slip down so Jessie could see the blade pointing at her chest.

“You aren’t going to stab me, Mary.” Jessie took a step toward Mary.

“‘Thou shalt not suffer a witch to live,’ from Exodus.”

“‘Thou shalt not kill,’ also from Exodus.”

“‘The devil can cite scripture for his purpose,’ from The Merchant of Venice,” Mary said with a shaky voice, the hand holding the knife shaking even more.

“I’m not a witch, Mary,” Jessie said, taking another step closer to Mary. “I’m a sorceress.”

“What’s the difference? the Bible makes no distinction.”

“A witch uses her magic to harm. A sorceress uses it for good.” Jessie came closer to Mary. “My spells are liberating you.”

“Liberating me from what? I love my religion.”

“You didn’t become a nun out of love for Christ or the Virgin Mary. You became one to please your mother.”

“Your witchcraft makes you read people’s minds,” Mary said, weeping.

“So, you admit it’s true?” Jessie asked, stepping forward and now with Mary’s knife mere millimetres from her breast.

“You read my mind…when I saw myself…in the bathroom mirror yesterday,…and you know…that I didn’t like…how my body looked,…and you used your magic…to change my appearance,” Mary said in sobs.

“Don’t you like how it looks now? You wanted your body to please me more. It didn’t have to be changed. I liked your body as it was, with all of its supposed imperfections. I can change it back, if you wish.”

“N-no.” Mary kept sobbing. “But you seduced me…made me fornicate with you. You robbed me…of my faith in God.”

“Is that a bad thing?”

Her face contorting with rage, Mary brought up the knife, ready to stab Jessie in the chest.

“You won’t kill me, Mary. You’re in love with me.”

Mary stood dazed for several seconds.

“Y-yes, I am.” Mary lowered her head, brought her arm down, and let the knife fall to the floor. Now she was sobbing loudly. Jessie put her arms around her.

“No!” Mary said. “Let me take this off first. If I’m going to sin with you, at least let me not dishonour the habit.”

Jessie helped her remove the tunic and guimpe, revealing–to Mary’s shock–a black corset with red lacing, and knee-high black boots with high heels, with red crosses on the knees.

“How did these get here?” Mary asked with a gasp, then she looked at Jessie, realizing how foolish her question was.

Jessie smirked lewdly as she looked at Mary. “I like it.”

“Well, I don’t. It’s tasteless. Help me take it all off. I’d rather be as nude as you; it would feel less indecent.”

“Very well; as you wish,” Jessie said, still smiling at the sight.

Mary, now nude, turned off the light, and they got into bed.

Jessie lay on her back, and Mary got on top of her. They exchanged kisses on each other’s lips, cheeks, and necks. Mary cupped Jessie’s breasts in her hands, giving them slight, gentle squeezes. Jessie fondled Mary’s bottom, giving the cheeks stronger squeezes.

They were rubbing their crotches against each other, then they put their legs in a scissor-position, rubbing their vulvas against each other and feeling their clits getting harder, and their labia swelling, moistening all over.

They were so focused on their pleasure that they paid no attention to how voices can carry. Their sighs, moans, and squeals were getting higher and higher-pitched, and louder and louder. The squeaking of the bed was getting louder and faster in rhythm, too. The wide-open window was no help in keeping the crescendo of their sin a secret.

A few members of the convent passed by their cell and heard the approaching climax. One nun peeked in the window, but saw only grinding silhouettes in the dark. The other passers-by were on the other side, listening at the door.

Finally, Father Funn rammed into the door, breaking it open. The other nuns came in after, one of them turning on the light and exposing the nakedness of the lovers, who never bothered pulling the blankets on themselves, it being such a hot summer night.

Their viewers were in bathrobes and slippers. Mary tried to pull the blanket over her body, but Funn stopped her.

“Oh, no, you don’t,” he said. “Both of you will come with us as you are. There will be no hiding of the truth.”

Mary walked out of the cell in tears, her hands covering her breasts and crotch. Jessie, walking beside her with her arms at her sides, made no attempt to cover her nakedness; she kept a lewd smirk on her face that Mary couldn’t understand. Funn walked behind both of them, his eyes never straying away from the sight of their tasty buttocks.

Mary and Jessie were taken to the open-air court area in the middle of the convent. All the other nuns were assembled there, in their bathrobes and slippers. All were looking at the naked duo with expressionless faces that weeping Mary could barely make out in the dark, with only moonlight and starlight to keep the black from being absolute. Not knowing what they were thinking, while imagining they could only be judging and condemning her sin with Jessie, was torturing Mary. Jessie, on the other hand, just kept smirking.

A bench was in the middle of the large courtyard, with two paddles lying at its sides. Mary and Jessie were taken there.

“Kneel before the bench,” Funn said. “Put your heads on the seat. Don’t move.” He picked up the paddles and gave one to one of the nuns. “Cooperate, you two, and this will be over with in a few minutes.”

He and the nun called out numbers with every whack they gave Mary’s and Jessie’s buttocks. Both girls screamed with each strike: Mary, bawling; Jessie, grinning.

“Jesus, help me!” Mary wept between screams. “Beat the sin…Oww!…out of me!…Oww!

Oww!” Jessie screamed. “You’re making my…Oww!…bum all red!…Oww!

Out of the corner of Mary’s teary eye, she saw something odd.

The nuns all removed their bathrobes and kicked off their slippers. They were now as naked as she and Jessie were.

“Twenty!” Funn and the other paddler called out.

“We’re finished,” he said. He and the nun put down their paddles, then removed their bathrobes and slippers, too.

Mary and Jessie looked behind them, and all around the courtyard. Mary’s eyes and mouth were agape. Jessie was still grinning lewdly.

Everyone there was naked.

Funn was fully erect. Mary looked away with a blush, and back at Jessie.

“They’re all the same as you, Jessie?” Mary asked.

“…and you, now, Mary,” Jessie answered.

“Nuns by day, nudists by night?” Mary asked.

“Think of it as a dialectic of asceticism and eroticism,” Jessie explained. “We worship the Lord by day, and the Lady by night.”

Lady? This indecency is worshipping the Blessed Virgin?”

“Look up in the night sky and see the Lady in her half-moon phase,” Jessie explained. “Half lit up, half dark. There is the Goddess, known by many names: Luna, Selena, Mary, Nut, Ishtar, Inanna, and so on. And in the daytime, there is the Lord, also known by many names: Sol Invictus, Helios, Jesus, Tammuz, Osiris, Dionysus, etc.”

“You’re all pagans? This is blasphemy!”

“Is the largely unpunished sexual abuse of children by priests, of nuns, any less blasphemous to the Church?” Jessie challenged. “At least we’re honest with our sexuality here.”

“As for your question of paganism, I think I can explain, Mary,” Father Funn said. “We here are a dialectical mix of pagan and Christian, to be exact. When we do our daily charity, we are sincerely Christian, but also because the world–being as prejudiced as it is against paganism–would only accept charity from the Church. But enough of this! Let’s get on with tonight’s ritual! Our weekly orgy must be done, to raise power and spread the energy of real love, grounded in the body, throughout the world, to save it from war, greed, and hate!”

“But people outside will hear, and suspect us,” Mary said.

“Not with our magic, which has, if you will, soundproofed the area,” said the nun next to the priest (Mary noticed a genuine tattoo on her upper leg; it said…Motorhead? She must have been the nun Mary saw on her first day here!). “Nobody outside will hear a thing; don’t worry.”

“But an orgy?” Mary said. “I don’t want to be involved in an orgy.” She looked over at Jessie. “I love you, and you alone. I don’t want to make love with anyone else. What I’m doing with you is fornication enough!”

“Very well,” Jessie said with a smile as she got on top of Mary. “You and I will have only each other.”

They resumed their tribadism there on the grass. Funn entered the tattooed nun. Though Mary and Jessie looked only in each other’s eyes, they heard a surrounding sea of moans and sighs. All the other nuns paired up, engaging in the licking, kissing, and fingering of vulvas, or with lips wrapped around nipples.

The group sex had a ritualized rhythm, with synchronized grinding and groaning. Everyone’s sighs and squeals rose together in pitch and volume, getting faster and faster, and resulting in a collective orgasmic scream.

As everyone lay back on the grass, panting with satisfaction, Mary looked up at the stars with a grin.

Whether the Queen of Heaven was Mary or the moon-goddess no longer mattered to her.

Jessie was right.

Mary was now free.

*************

The next morning, the nuns arrived in a van at a homeless shelter near downtown, delivering used clothes there. As they all cheerfully took the boxes of clothes off the van and gave them to the volunteer workers at the shelter, Mary found herself looking at Jessie’s pretty face as often as she could.

That mix of the sensual and the saintly that she saw in Jessie, knowing what delights her habit was hiding, made Mary all the more in love with her. She looked up at the shining, hot sun–the Lord, the Son, Helios, Tammuz, whichever–and smiled, waiting for the glowing Lady to peek out of the darkness that night.

She licked her lips, wanting more of that tea.

Analysis of ‘Videodrome’

Videodrome is a 1983 science fiction/body horror film written and directed by David Cronenberg (who just two years earlier wrote and directed Scanners). It stars James Woods, Debbie Harry of Blondie, and Sonja Smits; it costars Peter Dvorsky, Les Carlson (who also played a man tracing telephone calls from the killer in Black Christmas), and Jack Creley (whom we may recall as the teacher from that old Glosettes TV ad from two years before this film).

Videodrome was Canadian Cronenberg’s first film to get backing from a major Hollywood studio. Though it had the highest budget of any of his films at the time, it was a box office bomb. It did, however, receive praise for its special makeup effects, for Cronenberg’s direction, and for the performances of Woods and Harry. It’s now a cult classic, and is regarded as one of Cronenberg’s best films.

Here is a link to quotes from the film.

Since Videodrome (“video arena,” or “video circus”) is about a broadcast signal, “Videodrome,” showing snuff films, a signal that lures its viewers into a hallucinatory world of mind control and paranoia that ultimately kills them, the film can be seen as an allegory of how the media in general is used to manipulate us, the people, into believing anything the media’s corporate owners want us to believe, and to act on those beliefs, no matter how harmful they may be. Such manipulation includes manufacturing consent for wars, which can be seen as symbolized by the violence of the snuff films seen in the movie.

What’s so alluring about Videodrome is precisely this video aspect, for the TV screen can be seen as a metaphorical mirror reflection of the viewer, analogous to the mirroring back and forth between one person and another to whom he or she may be talking at one time. We see an example of such an analogy at the beginning of the film, when Bridey James (played by Julie Khaner) wakes up her boss, Max Renn (Woods) through the use of a TV to remind him of a meeting he is to have that very day with Japanese pornographers about a film to be shown on his Toronto UHF TV station, CIVIC TV, which specializes in showing extreme erotic content.

Her talking to him on a TV screen, rousing him from his sleep is meant to look almost like one side of a conversation. As Professor O’Blivion (Creley) will tell us later, “The television screen has become the retina of the mind’s eye.” Seeing Bridey on the screen is like seeing her eye to eye; the worlds of fantasy and reality are blurred and fusing.

If looking at someone on a TV is hardly to be distinguished from looking at someone in real life, in front of oneself, then we can extend this idea to what I’ve discussed before of the dialectical relationship between the self and the other, of how there’s a bit of the self in the other, and vice versa. One could relate this idea to how Ian Anderson once introduced the Jethro Tull song, “The Minstrel in the Gallery,” as being about the performer not just being watched in his performance, but also him watching the ‘performance’ of his audience, for “he saw his face in everyone” after “he threw away his looking glass.” As I said above, the TV in Videodrome is a metaphorical mirror, or looking glass, in which the viewer sees his face in everyone on the screen, and narcissistically identifies with each of them.

The point is that Max projects his own unconscious desires onto the screen when he watches Videodrome, and the violence of his resulting hallucinations is a reflection of what’s inside of him. Then Videodrome in turn projects its violence back onto him, making him consciously act out his unconscious violent urges.

He watches the TV…and the TV watches him, so to speak, at least in his hallucinations. There are, or seem to be, two-way conversations going on between him and whoever is on the TV screen. This sense becomes more explicit when Max sees the Marshall McLuhan-like O’Blivion address him on the video he watches, the video when we see O’Blivion killed.

One establishes one’s sense of ego, as a distinct self, by seeing oneself for the first time as an infant in front of a mirror. One sees oneself, but the self is ‘over there,’ as if another person. One establishes oneself, yet is alienated from that self, hence conversely, there’s the sense of the self in the other, and vice versa.

Metaphorical mirrors exist in people we face in two-way, dyadic relationships, as with the infant held by his mother, them looking into each other’s eyes. An analogous two-way relationship is felt between the viewer and the person being viewed on TV.

When the media successfully manipulates our emotions, making us feel what its corporate owners want us to feel, this manipulation is the TV watching us back, like those two-way telescreens in Orwell’s Nineteen Eighty-Four. It’s significant that O’Blivion is meant to represent McLuhan in Videodrome, for recall what McLuhan said about the modern media: “The medium is the message,” or “the massage,” or the “mass age,” or the “mess age”; how the message is presented is, if anything, more important than its content.

Yes, the medium also massages us–that is, how the content is presented, in the case of Videodrome, via TV videotapes, is a visual form that charms us as a mother does her baby, she being one of those metaphorical mirrors; and through this charming, this massaging, the media gets us to do its bidding. It is the mass age because we’re in an age in which the media does this charming and manipulating of the world’s masses, interconnecting us all to the point of creating a global village. The medium is also, by making a mess of our age, a mess age.

Such manipulating is why some are concerned about CIVIC TV. Max appears on a TV show to defend his channel by rationalizing that, by giving his viewers an outlet to release their dark fantasies onto, they won’t feel the need to vent them on non-consenting people in real life. It is at this TV show where he meets Nicki Brand (Harry), and he immediately finds her attractive in that red dress.

That the two quickly begin a sexual relationship, all while Max has been watching his first samples of Videodrome, is significant, for she in her seductive beauty personifies the allure of Videodrome. The show presents plotless, realistic scenes of sadism, while Nicki is a masochist, enjoying being pricked with pins and burned with cigarettes.

That a masochist should personify a show featuring sadism, the dialectical opposite of her desires, is reconciled with a quote from Freud: “A sadist is always at the same time a masochist.”

Nicki is so taken with Videodrome that she decides to go and “audition” for the show. That she so quickly becomes part of Max’s hallucinations on his TV screen shows us how much she is, and has always been, at one with Videodrome.

Another character, one closely associated with Nicki as I’ll point out soon, is Masha (played by Lynne Gorman). She, in about her mid-fifties, is old enough to be 34-year-old Max’s mother (“Masha” could be heard as a pun on “Mama”), which is significant, because he occasionally flirts with her, indicating a transference of the Oedipus complex.

That Masha is associated with Nicki is made clear in the scene when Max hallucinates first whipping tied-up Nicki, who masochistically enjoys it, then realizes he’s whipping Masha, tied up and in Nicki’s place, even wearing red, as Nicki was. Max wakes up and hallucinates seeing Masha lying next to him in bed, still tied up and gagged, and dead from the beating; this indicates further his Oedipal transference onto her, as well as her association with Nicki (i.e., her involvement in the erotic fantasy).

If ‘Mama’ Masha is associated with Nicki, then Nicki is also a kind of displaced Oedipal transference, which can be seen in the earlier scene when Max hallucinates seeing her on his TV screen, and she says to him, “Come to Nicki,” which almost sounds like, “Come to Mommy.”

Therefore, Masha represents his good mother, and Nicki represents his bad mother, to use concepts from Melanie Klein. Masha is the good one because, apart from submitting ‘nice’ porn to CIVIC TV, she also warns him against looking further into Videodrome. Nicki is the bad mother because, of course, she lures him more and more into Videodrome.

This splitting of Max’s mother transferences into good and bad objects reflects what Klein called the paranoid-schizoid position: paranoid because of his fear of the bad internal object possibly persecuting him (which Nicki does, of course); and schizoid because of the splitting of his world into absolute good and bad, black and white. Trying to reject the bad, through projection, will result in bizarre objects, Wilfred Bion‘s term for hallucinated projections of the bad objects. Such projective identification is why Max is hallucinating.

One crucial thing to understand about his Oedipal transferences is that they are narcissistic in origin. Seeing that mirrored other face in front of oneself, be it the mother’s, a maternal transference, or a face on the TV screen, is a participating in a dyadic relationship with the other (only one other person), as opposed to Lacan‘s Other, meaning the many other people of society in general. The one other is a mirrored reflection, or an extension, of the narcissistic self, and that other is selfishly hogged, never to be shared with other people.

In his being sucked further and further into the dangerous world of Videodrome, Max is isolating himself and regressing to an infantile state where fantasy and reality have a blurred boundary. The removal of the societal Other, as represented by a father figure (here in turn represented by O’Blivion, whom we see killed, reduced to oblivion, on the videotape), is what Lacan called foreclosure, which leads to psychosis, Max’s break with reality, leading to more hallucinations and more delusions.

The media’s manipulation of us, beguiling us with those seductive images on the TV screen (or, in today’s world, our computer screens or smartphone screens; and incidentally, McLuhan predicted the internet) and twisting our minds with propaganda, is doing basically the same thing to us as Videodrome is doing to Max. In mindlessly supporting imperialist war after imperialist war, we’ve become as narcissistic, violent, delusional, and paranoid/schizoid as he is.

Max asks Masha to find out more about Videodrome for him, and as I said above, she tries to warn him to stay away from it. She insists that these snuff films show real murders, not faked ones. Of course, any producer of snuff films, in his right mind, would never risk being charged with murder when he could just fake the killings, as is done in mainstream films. Videodrome, however, doesn’t fake the killings because, as Masha tells Max, it has a philosophy.

When Max asks for a name behind this philosophy, she tells him that it’s Professor Brian O’Blivion. I would say, however, that the name behind this philosophy is that of the Marquis de Sade, who in his erotic writings merged pornography with philosophy, anti-religion, a glorification of cruelty and crime, and an ironic commentary on the oppressive power structures of our world–the Church, the state, and class antagonisms.

Right after learning about O’Blivion, Max goes to find him, and it’s significant that the building he goes to is a place where the homeless are made to watch marathon sessions of TV. Here we see a parallel of the relationship this film makes between sex and violence: the pleasure of watching TV, of being seduced by images on the screen and being put in that infantile, dyadic, almost Oedipal relationship, is associated with the structural violence of being reduced to poverty.

The rich and powerful, like Sade’s wealthy characters, his politically influential sex criminals, are torturing and killing the weak and poor. The people behind Videodrome represent these powerful people, at least the corporate media faction, indulging in transgressive, pleasure/pain jouissance and getting the surplus value of what Lacan called plus-de-jouir. Sadomasochism in the film represents the pleasure the ruling class gets from oppressing the working class.

Just as there are competing capitalist, imperialist interests, so are there competing factions for the control of Videodrome: there’s the agenda of O’Blivion and his daughter, Bianca (Smits), and there’s the agenda of Barry Convex (Carlson) of the Spectacular Optics Corporation, and of Harlan (Dvorsky), the operator of the CIVIC TV satellite dish who, though feigning subservience to Max, his “patrón,” nonetheless has lured his boss into his obsession with Videodrome by getting him to watch a broadcast of it at the beginning of the film.

Before meeting with Convex, Max has had a particularly disturbing hallucination in which he sees a yonic slit appear on his belly. He has a handgun with obvious phallic symbolism, for he puts it in the slit, along with his fist. This scene reinforces the thematic link of sex and violence in the film. It also suggests an internalizing of the combined parent figure, an infantile phantasy based on a child’s witnessing of the primal scene, of his parents having sex, which looks painful to the child and arouses Oedipal jealousy, a feeling of being left out.

Connected with this unconscious phantasy (recall Max’s maternal transferences onto Masha and Nicki) is his feeling of lack, as symbolized by that yonic slit, in turn a symbolic wound from castration. A lack of being able to be, or to have, the phallus for the mother (Masha or Nicki) gives rise to desire, which is the desire of the Other, to be what Masha or Nicki desires, these two being manifestations of Max’s objet petit a.

Consider in this connection a scene not filmed, but in the novelization by “Jack Martin,” pseudonym of Dennis Etchison, in which Max sees a TV rise out of his bathtub like Botticelli‘s Birth of Venus. If you recall the myth behind the painting, Venus, or Aphrodite, appeared from the foam after Uranus‘ severed genitals were thrown into the sea. As I discussed in this post, the castration of Uranus leading to the birth of Venus can be allegorized as Lacan’s notion of lack giving rise to desire.

Max’s desire, fueling his growing obsession with Videodrome, puts him in such a vulnerable state that he can now be easily manipulated and exploited by Convex, who comes in right on cue and has Max driven over to a branch of Spectacular Optical, a seller of eyeglasses. Since, as O’Blivion informed us, “the television screen is the retina of the mind’s eye,” then these glasses, through the association of TV with one’s eyes, are a metaphorical television in themselves. And since Convex is Videodrome’s producer, as a member of the eyeglasses company, we see a stronger link between the glasses and TV.

In his self-introduction to Max in the car on the way to the Spectacular Optics branch, which is done fittingly on a small TV screen in the car, Convex explains that the eyeglasses company makes cheap glasses for the Third World, paralleling Bianca’s having homeless people watch TV. Convex’s company also provides missile guidance systems for NATO, so we can see a sinister link between his use of media manipulation via Videodrome, his eyeglasses (as I suspect) controlling and shaping what the poor of the Third World see, and imperialist capitalism.

It is at the back of the eyeglasses store that Convex has Max wear a device on his head to record his hallucinations of whipping Nicki, then seeing himself whip Masha. His inner fantasies of dominance and control, over the two representing his objet petit a, are being manipulated and exploited (and therefore in turn dominated and controlled) by Convex.

When Max later learns of Harlan’s involvement in luring him into Videodrome, and of Harlan’s association with Convex, Harlan tells him of the need for the West to toughen up against its toughening Eastern enemies, who I suspect were the communists. We’ve seen this Western toughening up since the time Videodrome was made, suggesting how prophetic the film was in linking media manipulation of the masses with the neoliberal counterrevolution starting in the 1980s with Reagan and Thatcher.

Another surreal moment comes when Convex puts a videocassette into that slit in Max’s belly. Since, as I said above, that slit is yonic, Convex is putting the cassette in Max against his will, and the insertion is done to control Max, it can be seen as a symbolic rape, another fisting.

Convex wants Max to give CIVIC TV to Videodrome, and to kill his two business partners. Here we have a pun already seen in American Psycho: murders and executions for the sake of mergers and acquisitions. Videodrome is an example of big capitalism swallowing up small capitalism–CIVIC TV. Once again, I must give that quote from Marx: “One capitalist always strikes down many others.” (Marx, page 929)

Max holds his handgun, which merges with his body and becomes an extension of his fist, a phallic fist, like those hands that put organic videocassettes into his vaginal belly.

He does as commanded. He goes into the CIVIC TV building and finds his two business partners, Raphael (played by David Bolt) and Moses (played by Reiner Schwarz; since Videodrome was filmed and set in Toronto, I wonder if this second business partner was named after Moses Znaimer, head of Citytv at the time). Max kills both of them, then flees the building, having pretended also to be wounded and therefore supposedly not guilty of the attack.

Here we see Max no longer just unconsciously getting his kicks from snuff films. And no longer is he just being manipulated by and hooked on Videodrome, as if it were a drug. Now he is an assassin for Convex. Just like those of us who start off enjoying transgressive, taboo pleasures (jouissance) brought about by Lacan’s lack and a narcissistic wish to be mirrored by a mother substitute (objet petit a), then are manipulated by the media to channel our aggressive, violent urges on specific, political targets, so is Max being used to wipe out Videodrome’s enemies.

Next, he is to find Bianca and kill her. She, however, has been expecting him, and she shows him a video recording of Nicki being murdered by the people in Videodrome, Bianca’s purpose being to sway Max over to the O’Blivion side. (But has Nicki really been killed, or is the recording yet another of Max’s hallucinations, an attempt to manipulate him into working for Bianca? Indeed, for that matter, was even her father really killed, or was his assassination, apparently done by Nicki, yet another hallucination?)

In any case, just as the killing of Professor O’Blivion represents the Oedipal wish to annihilate the father figure so as to have the mother transference (Masha/Nicki), so is the killing of mother figure Nicki a reflection of an unconscious Electra complex in Bianca (her “father’s screen”), a wish to protect her father…or at least to protect his legacy. With Max under her control now, him having seen a hand/pistol emerge from a TV, and having been shot by it (projective identification from the TV back to him, and we furthermore see bullet wounds in the ‘chest’ of the TV screen, indicating once again the mirrored, two-way relationship of the viewer and his TV), he is now to destroy Videodrome.

He recovers from being shot like a resurrected Christ, the bullet wounds being his stigmata. Accordingly, he is now “the video word made flesh,” and so, “Death to Videodrome! Long live the new flesh!” As a brainwashed, quasi-religious zealot for the manipulative media, narcissistically flattered to be associated with Christ, he will go off to kill Harlan and Convex.

His switching to the O’Blivion side mustn’t be seen as him being any better than before. The Videodrome/O’Blivion conflict is just symbolic of controlled opposition, as far as it represents media manipulation of the public. The two sides just represent competing capitalists.

Harlan puts another videotape–this time, a surreal, fleshly one–into that vaginal slit in Max’s belly; but now that Max is working for Bianca, the symbolic wound of castration that that slit has been is now a kind of castrating vagina dentata that closes up on Harlan’s hand, his fisting, symbolic phallus, and bites it off, leaving the remainder of his arm vaguely resembling a mixer’s beater. Max has gone from feeling powerless, like a eunuch, to powerful. His Lacanian lack feels fulfilled.

After killing Harlan, Max finds Convex at a Spectacular Optics convention on the theme of Lorenzo de’ Medici, to whom the following two quotes are (erroneously) attributed: “Love comes in at the eye” (actually from WB Yeats‘s poem, “A Drinking Song“), and “The eye is the window of the soul” (not definitively attributable to any one source).

Apart from being, as it seems, a mere error on Cronenberg’s (or Convex’s) part, could there be any deeper meaning behind associating these quotes with the Italian Renaissance statesman, banker, and patron of the arts? Perhaps the point of linking Lorenzo de’ Medici to Videodrome is to say that he was, on the one hand, the McLuhan/O’Blivion of his day, and the art of men like Botticelli and Michelangelo (whom he sponsored) was the TV of the time; and on the other hand, his political power was like that of Convex, Bianca, et al.

In any case, Nicki’s love surely has gone into Max’s eye, which is the window of the soul that he’s lost to Videodrome.

We see Convex come on a stage after a dance performance, and he says to the audience, “Well, you know me, and I sure know you.” We also hear a member of the audience say, “Yeah, we know you.” This exchange reinforces the theme I discussed earlier of the reciprocity between performer (e.g., Jethro Tull), or person on TV, and audience, or TV viewer.

With his hand-flesh-gun, Max shoots Convex, who falls to the stage floor with his body tearing to pieces in a manner reminding us a bit of the climactic scene in The Evil Dead. This over-the-top death is explained in the novelization as being the result of Max not shooting Convex with normal bullets, but rather with “new flesh” ones.

Max’s ever-increasing madness is, of course, resulting in his ever-increasing isolation. He escapes to a derelict boat in the Port Lands. He has a hallucination of Nicki on a television set there. Recall how I’ve characterized that mirror-like reciprocity between TV image and viewer as a narcissistic one, how the ego is established in what Lacan called the Imaginary. Alongside this experience has been Max’s traumatizing, maddening experience of the Real, these surreal, hallucinatory states that cannot be symbolized through language (how the novelization managed such verbalizing is anyone’s guess); in other words, the psychologically therapeutic realm of the Symbolic is absent here. Max can only get madder and madder; he cannot return to the social world.

Accordingly, Nicki tells him that he must “leave the old flesh” to destroy Videodrome once and for all. This means he has to kill himself. In his narcissistic imagination, Max thinks that doing so will raise him up to a higher level of existence (“the new flesh”), rather like Christ’s death and resurrection giving Him a ‘spiritual body.’ Since Max, in his insanity brought on by media manipulation, is bordering on psychological fragmentation, such narcissistic imaginings can feel like a shield against said fragmentation.

He sees himself on the TV screen putting a bullet in his head, then he immediately does the same to himself. He and the TV are one, a mirror of each other, because the media, in controlling him, have made him destroy himself…just as today’s media, in manufacturing our consent for war with Russia and China, are making us all destroy ourselves through escalation and raising the threat of nuclear war.

Like Max Renn, we are all mesmerized by the images we see on our screens, be they TV, tablet, computer, or smartphone. Neoliberalism has caused us to feel a particularly gaping lack, a hole in our lives like that slit in Max’s gut. We’ve been propagandized to see things in a split-up, black and white world, with ourselves narcissistically as the white, Christ-like good, and other nations as the black, absolutely evil enemy. Political parties, like Videodrome vs. O’Blivion, pretend to be at odds with each other, when actually they push for essentially the same agenda. And we are driven to support aggressive, violent policies that could end up killing us all, like Max the flesh-gunned assassin.

Media manipulation is making us see a world so divorced from reality, so distorted a version of the truth, so surreal, that we could be understood to be hallucinating. If we’re not careful, we’re all going to “leave the old flesh.”

‘The Targeter,’ a Surreal Novel, Chapter Eight

I turn my stoned, half-closed eyes to my left and see, over on the wall by my kitchen area, a poster of Mira Asule in a string bikini. She’s a pornographic model whose pictures I’ve worshipped and enjoyed looking at online over the years.

Recently, I’ve tried to resist looking at such pictures and video, not so much out of a wish to strengthen myself morally as out of a wish to avoid getting yet another virus on my laptop. The last thing I am is a saint.

Since the Indian music has ended, I get up and put on some electronic dance music. I sit back down at my coffee table. I look down on it, with its lines of ketamine not yet snorted, my glass of bourbon, my ecstasy pills (including the half-pill I haven’t taken yet), and my marijuana. My ecstasy high is wearing off, so I swallow that other half-pill with a gulp of Jim Beam.

“The last thing I am is a saint,” I whisper.

A loud bomb blows up not so far away outside. I feel the room shake. The gunfire outside is louder, nearer. Thankfully, my ketamine high is still strong enough to give me that illusory feeling of protection, so I don’t need to take another snort just yet.

We’re all going to die in that war outside, anyway; I’d might as well die happy.

After all, I’m no saint.

I close my eyes and continue my reverie.

I’m inside that mansion, in a room where a party is going on. I’m with male friends, including my cousin David, and loud electronic music is playing. Half-naked strippers are dancing around us. David has one in front of him with only a red thong on, while the one in front of me–Mira Asule–is gloriously naked from head to toe and grinning at me as if hoping I’ll choose her to be my wife…instead of the woman my parents–the king and queen–want me to marry.

“Enjoy this while you can,” I hear the voice of my father say as if it were the voice of a god from up in the heavens. “For tomorrow, you will marry Jessie Dara, the pretty daughter of one of my business partners.”

Now the room of the mansion looks like one in an Oriental palace. Mira, instead of being naked, is in an Indian getup, with darker skin and a red dot on her forehead. She’s dancing to Indian, rather than electronic, music now.

I pick up some gold coins and jewels and toss them her way. Then I pick up a large goblet of wine and drink a big gulp from it.

I look back up at Mira and see her lovely, skinny nakedness again, as she originally was, with peach-white skin, wavy brown hair, and those hypnotic brown eyes of hers. She’s bent over, legs spread out wide and exposing all of her anatomical secrets to me; she’s grinning at me upside-down from between her legs. I take an indulgent look at all of her, then look down at my glass of Jim Beam and Coke, and the lines of ketamine.

The Indian music has switched back to electronic music, the Oriental palace is the mansion again, and instead of gold and jewels, I have plain old paper money. I pick up a few hundred dollar bills and give them to her.

“Thank you, Sid,” she says with a giggle when taking the money, and then she rubs her sugary breasts against my face. I look down at the table, and instead of seeing ketamine, I see lines of cocaine. I’m tempted to snort a line, but I resist.

I look up. Instead of seeing Mira’s pretty, smiling face, I see that of my bride, Jessie. We kiss, and I hear, instead of pounding electronic music (or Indian music, for that matter), the applause of wedding guests out in the grassy backyard of the mansion. I also hear Mendelssohn’s Wedding March: I’d rather hear the electronica again.

Among the guests I can see my father grinning from ear to ear; he’s obviously so glad he’s kept me from going outside our home and seeing the world, but I still have an itch to know how the less fortunate out there live. My stepmother, the queen, is standing beside my father, smirking at me with what looks as if she has suspicious thoughts in her head. Is she reinforcing his wish to keep me locked up in our prison of a palace?

Yes, instead of the mansion and its backyard of green grass, I see the inside of our regal palace again. The whole family is in our royal finery again, including Jessie, who is no longer wearing a modern bridal gown and veil–she’s in colourful, resplendent, luxurious clothing. She also has a baby in her arms–our son, Raoul.

“Are you ready to take on the crown, my son?” Father asks me. Instead of answering, I look out the window to my right and at the outer castle wall, wondering what is beyond it.

“Sid?” Jessie asks me.

“Sidney Arthur Gordimer!” my stepmother shouts at me. “Your father, the king, just asked you a question!”

“What?” I say, looking back at him.

“Answer him!” the queen shouts.

I open my eyes and see my humble living room again, with the drugs and my drink on the coffee table, the poster of Mira on the wall, and the electronic music pounding away on my CD player.

I’m no saint, I think. I’m no king, either.

I hear the bombs and gunfire outside.

“And I’m sure as shit no prince,” I say. “I’m a goner.”

‘Germ,’ a Horror Short Story

[SEXUAL CONTENT]

Vera crouched in the shower stall, trembling in fear as the water sprayed down on her bruised body. In her mind, she replayed the beating she’d got from Bob, her pimp.

“Only two hundred bucks?” he’d said after thumbing through the bills in her bedroom.

“Business was slow tonight,” she’d said in a shaky voice.

“You had at least four men in here today, probably five or six,” he’d said, scowling at her. “You may not be all that great-looking anymore, but you’re good for more customers than this. You’re holding out on me again, aren’t you? Empty your purse!”

She’d done so. There were at least one thousand dollars from that day alone. Now she was really shaking.

“Bitch, you never learn!” he’d said, followed immediately by the first punch, to her jaw on the lower left side.

As she shook remembering each punch to her face, shoulders, and chest, she never noticed a tiny green splat, no bigger than the tip of her index finger, go from a tile next to the shower drain, up her right foot, then her ankle, calf, knee, upper leg, and finally deep inside her vagina.

It never tickled or anything; it felt no different than the water soaking her body.

She did notice, however, and about ten seconds later, a strange, warm, vibrating feeling all over her body. It was surprising, but it felt good, soothing. The pain from her beating faded away.

She looked down at where the bruises had been on her chest, two of them, each just above a breast.

They were gone.

Her breasts were bigger, rounder, and firmer, too. Her hairy pubes were replaced by a landing strip.

“Holy shit,” she whispered.

Now with a new energy, she got up on her feet and quickly began running a lather all over herself. As she’d been soaping up her face, she felt no cut just below her lip on the left.

Once she was clean and rinsed off, she got out of the shower stall, towelled herself off, and ran out of the bathroom to find her bedroom mirror, a tall one giving her a full view of her body, from her head to her toes.

She examined her entire body, turning around and eyeing every inch of her skin. No cuts, no bruises…

…and no imperfections from ageing.

“What…the…hell?” she gasped, with agape eyes.

This 38-year-old woman now had the body of a 22-year-old porn star.

She couldn’t explain it.

She couldn’t stop grinning, either.

*********

All tarted up in a tight-fitting red dress to show off her new figure, Vera was out on the streets again, hoping to make a huge ton of cash all at once, to speed up her savings so she could leave this town and Bob forever.

Maybe she’d even find a good man and never have to hook again.

Someone like Derek.

Over the next several hours, she’d had two johns, a nice one and a bad one, this second one having worn a tacky pink paisley shirt. His attitude towards women was as bad as his taste in clothes, for he’d aggressively fucked her so it hurt inside; he also enjoyed slapping her around as he fucked her.

He left her apartment in a hurry, having never taken off his clothes for the sex. He’d unzipped himself, whipped it out, slipped on a condom, done her, pulled off the condom, zipped himself up, paid her, then ran off.

“Bastard,” she hissed after he’d slammed the door behind him.

All the pain from each of his slaps went away seconds after she got them; her vaginal pain disappeared by the time he’d left, too.

Wow, she thought. What is this super-power I’ve got? Is there an angel above who’s pitying me?

Ten minutes later, she was back on the street and, about twenty minutes after that, she found another john.

“Lookin’ for some action?” she asked him.

“Sure do,” he said, smiling and approaching. “How much for…?”

He was interrupted by a grunting sound coming at them from the side, a shuffling and scraping sound on the sidewalk.

They turned their heads and looked over to where the sounds were coming from…and their eyes and mouths widened.

A man without legs or a right arm was crawling towards Vera, his empty pants legs and pink shirt sleeve sliding behind his ass.

“You…bitch,” he hissed, then a few of his teeth fell out. “What did…you…ungh…” His tongue came off and got stuck in his throat. He coughed it out, then it lay on the pavement beside his cheek.

She screamed, then she and her new john ran away from the crawling man.

“Who was that guy?” the john asked her as they reached her apartment.

“I don’t know,” she lied, for she’d recognized the crawler’s paisley shirt.

*********

In her bedroom again, she danced and stripped for her new customer, proudly displaying her new and improved body.

He gazed in awe at her nakedness.

“Wow, you’re hot,” he panted, unzipping his jeans.

“Thanks,” she said with a grin.

“How much for anal?” he asked.

Her smile vanished. “I…d-don’t do anal.”

“I want anal!” he shouted, then punched her hard in the gut.

She buckled and fell on the bed. He pulled off his T-shirt, jeans, and underwear, then got on the bed with her.

The pain from the punch was gone within seconds, but he got her in position for anal rape too quickly for her to resist him.

He shoved it in raw. She screamed in pain, and though the pain of each ramming went away quickly enough, the relief didn’t amount to anything, for the old pain got replaced by that of a new ramming in each time. After a few minutes of the ordeal, he pulled out and came all over her buttocks.

She lay there on the bed, sobbing.

My daddy did that to me when I was a teen, she thought. “You bastard.”

“That’s what you get for choosing to be a whore, bitch,” he panted, and reached down for his pants and underwear…but, “Ungh!

His dick fell off.

He screamed at the sight of it between his shoes. Then his balls fell off.

“What the fuck?!” he screamed in a soprano voice. “What…germ…did you pass onto me?”

His nose fell off.

Oddly, there was never any blood.

He screamed again. A few teeth fell out.

Her pain was all gone. She wiped his come off her ass with a tissue, sat facing him, and smiled.

His left arm fell off. Now, he was the one sobbing.

She got back into position for anal and spread her buttocks wide open. She looked back at him with a mock-seductive look. “Wanna fuck my ass, baby?”

He glared at her, but just then, his right eye fell out.

She got off the bed and went for his jeans. She pulled out his wallet. “OK,” she said, “how much have you got in here?”

He tried to reach for his wallet, but his lower jaw fell off. “Umph!” he grunted.

She pushed him to the floor. Now, all of his remaining limbs detached from his torso. His head came off, too, and rolled to the other side of the bedroom. Finally, all was still and quiet.

So, she thought as she continued thumbing through his wallet, I guess I know what happened to Mr. Pink Paisley. Fucker got what he deserved.

“What?!” she yelled. “Only twenty-five bucks? No ATM card, either. You were gonna rape me, and not even pay me?! You fucker!!” She stomped on his left arm. The fingers and thumb detached and rolled away. “I’d better get some garbage bags and clean up this mess.”

********

She was back on the streets later that night. It was past midnight. Now, she was almost hoping for nasty customers, so she could see them come to pieces from her new powers.

As she looked around for men to attract, she thought she saw the first john who’d had her since her transformation–the nice one. Same clothes–a white T-shirt and black pants–same brown hair, same skinny build and height–about the same as hers. Same face, too…she thought.

Wow, she thought. He didn’t come apart. He didn’t die, like those two bastards. Is it because he was gentle with me? Is that even him? Looks a lot like him, but I can’t be sure in the dark.

Then she saw Derek.

Speaking of nice guys, she thought. Here comes my man, or so I’d wish him to be. He’s one of the few johns I actually like having sex with.

He approached her with a smile.

“Hi, Derek,” she said, beaming at him.

“Wow, you’re looking the best you ever have,” he said.

“Thanks,” she said, turning around for him with pride. “I’m glad you like it.”

“Not that you had to change your looks at all, of course,” he said. “I’ve always thought you were beautiful just as you are.”

“You are so sweet to me.”

“My pleasure,” he said, offering her his escorting arm. “Shall we?”

“Uh, OK,” she said, and took his arm.

“Why the hesitation?” he asked as they began walking towards her apartment.

I can’t tell him about the Germ, she said. He’ll dump me. But what if he catches it? “I-I had a few nasty johns today,” she said.

“Well, if you don’t feel up to having sex, why are you out here streetwalking?” he asked.

“Because I have to, silly,” she said. “Bob will beat me up if I don’t. You know that.”

“I’d like to beat Bob up.”

“He’s much too big for you to beat him in a fight. He’d kick your ass. Besides, even if you won the fight, he has all his mafia friends who’d kill you.”

“I’ve gotta take you out of this town, far away from him. If only I had the money,” Derek said.

“You have had the money to pay for sex with me, and that’s been on lots of occasions over the months. Why not save your money instead of blowing it all on me?”

“One, because I’m so hot for you, I’ve got to have you as often as possible. Two, because I want you to experience a gentle, considerate john as often as possible, to offset and take away the time from the nasty johns, and to pay you more than they will.”

“Bob just takes the extra money for himself. You’re giving it all to him, not to me.”

“Bastard. Anyway, how’d you get to be so…well, more than usually beautiful today?”

“I don’t know,” she said. “A good makeup job?”

“Come on, it’s much more than cosmetics, Vera. You’re much more shapely than your usual shapely self, like a girl half your age. What did you do?”

“I really don’t know,” she said as they reached the front door of her apartment building.

“Black magic?”

“I don’t know. Strange things have been happening tonight. I can’t explain it.”

“Really?” he said as they got in the elevator. “Anyway, whatever it is, you look really beautiful. Of course, as I said before, you always did look beautiful, makeover or no makeover.”

“Thanks,” she said with a giggle. I really like him, she thought. I wanna make love with him so badly…but I shouldn’t!

They reached her floor and got out of the elevator. As they walked down the hall to her apartment, he said, “I’m burning to make love to you.”

“So am I,” she said, fitting her key into her door. “I’d do it with you for free, you know that, but Bob–“

“Even without the threat of Bob, I’d pay you, to help you make ends meet. If only I could get you away from that piece-of-shit pimp.”

They went inside. “If he were dead, we wouldn’t need to leave,” she said, thinking, Maybe, with this new power of mine, I could coax Bob into a suicide fuck. They went over to her couch and sat together.

“Don’t do anything foolish to get the cops after you,” he said, then he put his arm around her and kissed her on the cheek.

“Wait,” she said, pushing him away. “Not right now.”

“Those two guys before me really shook you up, didn’t they?”

“Yeah. I just need a few minutes.” Or days…or weeks…or years…

“Well, OK,” he said, taking his arm away. “I don’t wanna pressure you into sex. We can sit and talk for a while.”

“Thanks.” You are so sweet, Derek. I wanna have sex with you so badly…yet because you’re so sweet, I can’t have sex with you. If I saw your body falling to pieces the way those two other guys’ bodies did, I’d fall to pieces!

She sat on his lap, delighted with the feeling of his erection under her buttocks…yet terrified of it, too.

“Cuddling will be fine,” she said. They put their arms around each other. She pecked him on the lips. Cradling her in his arms, he slowly rocked her back and forth as they looked into each other’s eyes. “I think I love you.”

“I know I love you,” he said.

“What do you see in an older woman like me, in such damaged goods?”

“Well, maybe it’s because you’re damaged…not in body, but in how you’ve been hurt so much. I see the pain in your eyes. My mom used to have that look. Your pain arouses my wish to help you, to love you.”

Now I know I love you, she thought while smiling at him.

They started with a few pecks on the lips. Within ten seconds, the pecking phased into French kissing. The pleasure he was giving her made her forget, for the moment, all of her worries, and she let him get her out of her dress.

In pink underwear, black stockings, and black high heels, she was allowing his hands to roam all over her skin. She let him unhook her bra, and it slid off with a proud wiggle of her breasts.

“Do you like them?” she asked with a grin.

He looked down at them. “Whoa!” he said while fondling them. “No silicone. How is this possible?”

“I don’t know. I only know that I like it.”

They resumed French kissing. He pulled off her panties to reveal her new landing strip.

“Did you get a waxing?” he asked breathily.

“No,” she sighed between kisses. “As I said,…I can’t…explain it.”

This is really weird, he thought while unzipping his fly. Still, I guess I can’t complain. He got on the floor and lay on his back.

She hesitated before mounting him. Will he die if we fuck? she wondered. Will his dick fall off?

He furrowed his brow at her hesitating. “Still don’t wanna do it?” he asked.

She was too horny to say no. She rationalized it thus: If he dies, I’ll lose him. But if we never screw, I’ll never enjoy him, which is the same as losing him, because I’ll never have him. Besides, he might dump me for someone else if I hold out too long, and that means losing him, too. I’ll have to take my chances and see if he survives a fuck. “Yes, let’s do it,” she panted.

“You sure?” he asked while putting on a condom.

“Yes!” She took it in, with sighs of rising pitches and loudness.

As she moved up and down on him in the cowgirl position, her mind swung back and forth between fear and desire. Was that brunet in the white T-shirt and black pants really my first john after my beautifying…was he really the nice one? she wondered. Did he survive–if it was him–because he was nice to me, or because this poisonous Germ in me hadn’t taken effect just yet? The answer would seem to be the first one, because the beautifying took effect so much sooner, and because everything about the Germ seems to be working in my favour, like the quick healing. I’m glad those two asshole johns died, and if that guy I saw was the nice john, still alive and healthy, I can be confident that Derek will be OK…but I only think I saw the nice john! I can’t be sure.

Because her pleasure was limited by her worries, she wasn’t as lubricated as she should have been.

In his passion, Derek gave her a hard ram; it felt like a stab against her vaginal walls.

“Oww!” she yelped.

“Sorry,” he panted, then tried to move in more gently.

“It’s OK,” she sighed…or was it? Even if the Germ is benign to me, she thought, would it misinterpret my pain as Derek deliberately hurting me? Is the Germ some kind of alien that doesn’t know the difference between accidentally and intentionally hurting people? If that’s so, I’d better try to enjoy this sex the best I can. It’s too late to stop it, anyway–there’s no turning back. The guy in paisley wore a condom, too, and it didn’t save him from the Germ.

She looked down in his eyes and tried to focus on her love for him. They were getting more and more excited, but he gave her another impassioned, hard ram.

“Oww!” she screamed. Oh please, Germ-alien, or whatever the hell you are, don’t think of Derek as an enemy. Don’t kill him!

“Sorry,” he said again. “I didn’t mean…to do that.”

Did you hear that, Germ-alien? she thought. C’mon, Vera: focus on your desire!

“I’m gonna…blow my load! Oh!” he grunted.

“I’m…almost…there, too. Ah!

They orgasmed at about the same time. He pulled out and removed his condom.

Here it is, she thought, watching him closely. The moment of truth. She got off of him.

He started getting himself off the floor. “Ungh!”

“Oh, my God!” she screamed. “Are you OK?”

“Yeah, sure,” he said, getting to his feet. “I just haven’t put my dick away yet. Silly me. I should’ve done it before.”

As he was putting it in his pants, she watched with a terrible dread. He noted her staring at him.

“I don’t need any help, thank you,” he said with a sneer. “Ooh!”

“What’s wrong?” she fired out in terror.

“Nothing,” he said, zipping himself up. “It’s just really sensitive after a fuck. If I’m not careful with it, I’ll hurt myself.” He saw the look of fear still in her eyes. “Why are you so jumpy tonight? Did my aggressive fucking remind you of those two bastards?”

“Yeah, in a way…not that you’re at all like them, of course.”

“Sorry, I didn’t mean to make you feel that way. I guess I’m just clumsy when I’m horny.”

“Oh, you’re the best lover I’ve ever had,” she said.

“Thanks,” he said while stretching. “Oww!”

“Oh, God! Are you OK?”

“Yeah. I just pulled a muscle in my back, that’s all.” He took his wallet out of his pants pocket.

“Thank God.” So far.

“Why are you so worried about me hurting myself all of a sudden?” He took out a few hundred dollars and paid her.

“N-nothing,” she said, taking his money. “I just…care about you.”

“That’s sweet,” he said, put his wallet back in his pocket, then kissed her on the cheek. As he walked to the door, he said, “I’ll call you tomorrow, late morning or early afternoon.”

“OK.” I sure as fuck hope you do. “Bye.”

“Bye.” He walked out the door and into the hall.

She stood at the open door and watched him approach the elevator. I guess he’s gonna be OK.

“Oomph!” he grunted as his knees buckled.

“Oh, God, no!” she screamed, running out to him.

“I’m fine,” he said with a wincing face. “I just sprained my ankle. What is it? Are you worried you’ve given me a bug or something?”

“Oh, no,” she said with a nervous giggle. “Of course not.”

“Look, two guys sexually assaulted you tonight, so you’re not feeling well. Go to bed and sleep it off. I’d stay and comfort you, but that asshole Bob would charge me for extra hours I cannot afford. Good night–I’ll call you tomorrow.” He kissed her, got in the elevator, and left.

********

Early in the afternoon of the next day, Vera had just about finished with another nasty john, one who’d punched her in the face before receiving a blow job from her.

When he came in her mouth, he noticed the disappearance of the bruise, cut, and blood on her face.

“Wow,” he said. “You heal quickly, bitch. I’ll just have to give you another taste of my fist.” But as soon as he balled up his fist, that arm fell off. He screamed. “What the fuck…?”

He spat a few teeth out.

She got up off her knees, sat on the edge of her bed, and watched him, grinning.

“You bitch!” he screamed, spitting out a few more teeth. “What have you done to m–?”

His lower jaw fell off, then his cock and balls did. She laughed.

He shook his head and groaned.

Then his head fell off.

“I still have the power,” she said, then picked up his body parts and put them in big, black plastic bags, and set them next to those of the night before, which contained the body parts of the man who’d anally raped her. “I was so worried that I’d lost the power after Derek’s survival, which I hope has lasted up to now…wait! He hasn’t called me yet, the way he promised!”

She rushed over to her phone, which was on her coffee table in the living room. She noted the time: already 1:30 in the afternoon. She dialled his number in a near-panic. After an eternity of waiting through six rings of the dial tone, he finally answered it.

“Derek?”

“Yeah?”

“How are you? Are you OK? You said you’d call earlier today, and you didn’t, so I got worried.”

“Yeah, of course I’m OK,” he said. He heard a sigh of relief. “Why wouldn’t I be? I was just too busy with work to call earlier, that’s all. Sorry for making you wait. Anyway, are you gonna tell me why you’re so worried about me getting sick and dying, or whatever your problem is?”

“Yeah, I’ll tell you everything tonight,” she said.

“What about Bob?” Derek asked. “I don’t have any money for another screw tonight. He won’t want me around if I don’t pay.”

“Oh, I’ll take care of Bob, don’t worry.”

“What are you gonna do? Don’t go putting yourself in a situation where he beats you up again.”

“Won’t happen, I promise. See you here tonight.”

She hung up, then texted Bob: I made a lot of money today and last night but Im keeping it all if you have a problem with that come here and tell me CUL8R

When Bob stormed into her apartment, which was no later than ten minutes after receiving her text, he–approaching her wide-open bedroom doorway–found her naked on her bed, on all fours, with her back to him, her ass pointed out at him with both of her holes showing on purpose.

“So, you’re keeping all the money for yourself, are y–? Whoa,” he said once he’d reached her bedroom doorway, and was now checking her out and feeling his jeans’ zipper already straining from his hard-on. “That’s the best you’ve looked in a long time, Vera. If you spent the money on improving your looks, I might forgive you…almost. What did you do to yourself?”

“Oh, I didn’t spend any money on my looks,” she said, looking back at him with an inviting smirk.

“Well, how did you suddenly become so hot-looking? Normally, you look like a dog.”

You bastard, she thought; Derek would never say that to me. “You don’t need to know.”

“Well, I say I do,” he said, approaching the bed. “You’re my product.”

“All you need to know is that you’re not getting your greasy fingers on one penny of my money.”

“Well, in that case,” he said, unzipping his pants and getting on the bed on his knees behind her, “I’ll just have to give you one hell of a hate-fuck.”

Still looking back at him and grinning, she said, “Come and get it, baby.”

‘Succubus,’ a Surreal Erotic Horror Short Story

[SEXUAL CONTENT]

“Oh, no!” Jack Bates said as he looked at an online newspaper article on his phone.

“What?” his friend, Ivy, said while sitting across from him at their table in the food court of a shopping mall.

“Svetlana Sharapova killed herself,” he said, frowning. “She died of a drug overdose, it says, but they think it was suicide, because she’d been depressed for some time.”

“Who’s she?” Ivy asked.

“Who’s Svetlana Sharapova? She’s only my absolute favourite porn star.”

“Oh, you pig,” Ivy said with a sneer.

“I don’t mean to be a perv,” he said. “She just has this…power over me. I can’t describe it. It’s like she compels me to watch her videos. She seems to come right out and touch me. I can’t explain it.”

“What do you need to beat off to internet porn for? With your blond good looks, those baby blue eyes, that manly husky voice of yours, that good-looking plaid dress shirt you have on, your stylish brown leather shoes, and those tight blue jeans, you could get any girl.” I’m right here, she thought, and not bad looking, even if I do say so myself. You never notice me, though. You never pick up on any of my signals, you asshole.

“I’ve done relationships before, and I’m done with them. I don’t want my heart broken again, especially since the last girlfriend I had two months ago. Sometimes a guy just needs the honesty and security of some good porn.”

“‘Honesty? ‘Security’? ‘Good porn’?” She sneered again.

“Well, hey, you’re into ‘Wicca.’ You’re a ‘witch,’ right?” He giggled an annoying falsetto laugh.

“Don’t make fun of my religion, Jack.” Now she was frowning.

“Why don’t you use your ‘magic’ to find me the right girl?” He was smiling at her like a smart-ass.

“Magic doesn’t work that way,” she said. “Besides, I don’t need magic to find you the right girl. All you have to do is open your dumb-ass eyes.”

“OK, well, how does Wiccan magic work?” he asked. “Or, at least, the way you use it?”

She sighed and rolled her eyes. “For me, it involves cycles, like the seasons. One thing rolls into its opposite, then back again.”

“Well, can you roll me from loneliness to its opposite…b-but not back again?”

“I could…but not with magic.”

He just looked stupidly at her, while she frowned in annoyance back at him.

*********

That night, he was in his apartment, half-asleep and sitting in front of his desktop. He wore nothing but a half-opened bathrobe. A box of Kleenex sat to the left of his mouse. He clicked on PornHub, then typed in Svetlana Sharapova in the search engine.

“This meat-beating is in your honour, and in your memory, sweetheart,” he said in yawns. He clicked on a solo video of hers, one he’d enjoyed many times before. “I never get sick of this one, and since I can’t see anything new of hers, I’d might as well enjoy a good classic.”

He yawned again.

“This wank should wake me up.”

She was gloriously naked from her head down to her bare feet, a blonde beauty with eyes even more hypnotically blue than his. Bright makeup painted up her face with purple eye shadow, black mascara and eyeliner, pink blush, and red lipstick. She had her skin tanned a golden brown, and had large, natural breasts, a full Brazilian wax, and a bleached anus. These features, combined with the Photoshopping done to the video, made her body look so fake in its anatomical perfection that what he saw of the real her was so invisible, it was as if she were fully clothed.

She was masturbating with a vibrator. He was playing with himself, too, but his fatigue was making his eyes heavy.

“Oh, your body…is so perfect,” he grunted, halfway between consciousness and unconsciousness. “Oh! Why…did you want…to kill yourself? You don’t know…your power…over men…over me. Unh! You could have…any guy…you wanted. Ah!

At that point, she looked directly at the screen, right into Jack’s barely opened eyes, as if she’d heard his words. He closed his eyes and slumped back into his chair.

“Who’s gonna…free me…from my lust…over you, Svetlana?” he mumbled before nodding off.

“Jack,” she said to him in a sigh.

He was dozing for about half a minute, lightly snoring.

“Jack,” she said louder.

His eyes opened. “Svetlana?” he said. “Did you say my name?”

“Yes,” she sighed. “I want you.”

“Am I dreaming?” he asked with widened eyes. “I thought you were dead. Didn’t you kill yourself by ODing on heroin or something?”

“Yes. I am her spirit, and I want you.” Her Slavic accent alone was getting him hard.

“What are you, some kind of succubus?”

“Something like that. I want us to be together, forever.”

“Why me? I’m nobody special. You could have any guy.”

“I don’t want any guy. I want you.”

“What’s so special about me? You don’t even know me.”

“My spirit scanned the feelings of everyone around the world, just after I died. Nobody cared about my suicide. Not even the abusive family I ran away from in East Europe, when the news came out.” She sobbed a little. “Only you felt anything, not just lust for my body.”

“Really? Only me? That’s awful. I’m sorry, Svetlana.”

“Yes,” she sobbed. “Only you see me as a human being, not just a piece of ass. That’s why I want to be with you.”

“Wow,” he said, then thought, If this were a dream, surely I’d have woken up by now, because I always wake up as soon as I know I’m dreaming. Is Svetlana my Mrs. Right? Did Ivy’s ‘magic’ do this? Oh, come on, Jack! What a ridiculous idea! Why would Ivy want to mate me with Svetlana, even if she could do that? No, this must be a dream…but I’m not waking up.

“Let me climb on top of you,” Svetlana purred. “Then we can make love.”

“How can you come out of my monitor and onto my lap?”

“Spirits have special abilities,” she said, then crawled out of the screen.

“Holy shit!” he said as she, in the bare flesh, crawled onto his lap. “What is this, The Ring? This can’t be real. I must be dreaming. Why am I not waking up?”

His bathrobe fell off of his arms and draped onto the chair. Now he was as naked as she was.

When she sat on his lap, his erection slid into her effortlessly. It was as if both his and her genitalia knew exactly where to be, without needing to aim. The lovers began grinding on that chair, looking into each other’s eyes.

“Oh, the power…you have…over men!” he panted. “Over me.”

“Power?” she sighed with a slight sneer. “What power?”

“Pussy…power,” he grunted. “All men…want you. You control us…you control me. You can have…any man…you want.” He reached up and cupped her breasts.

“All men…wanting me…never made me…feel powerful,” she sighed, fingering his nipples and pinching them. “All men…wanting me…terrifies me.”

“Why?”

“They may…want to rape…me.”

“I’d love…to be…as desirable…as you are. Oh!

“If you think…I get power…from my body,…you have it.”

Suddenly, he felt a strange sensation in his groin area. It didn’t hurt–actually, the sexual pleasure was the same, if not better–but he felt a sudden anatomical loss. Instead of him sliding in and out of her, she was sliding in and out of him…they had traded genitals!

“What?” he said, looking down. His eyes and mouth opened their widest possible. “My dick…is gone! You have it! Unh! And I…have…your pussy? What the fuck?” He was shaking in spasms and jerks.

“What are you…worried about?” she asked as she continued sliding in and out of him. “You have…the ‘power’ now.”

Still with his trembling hands on her chest, he felt her breasts shrinking and flattening. His own chest felt heavier now, jiggling. He looked down: her boobs were on his chest! “Oh, my God!” he gasped. “Why do I have your tits?”

What was more, he felt his body hair disappearing. His fingers, on her torso, felt wisps of hair growing, tickling him. He saw the growing hair on her and recoiled, pulling his hands away.

“Eww!” he groaned with a crack in his voice like that of a pre-teen. “What the fuck is happening to me…and to you?” He looked at her face, which now had his three-day beard.

With her remaining–yet slowly diminishing–feminine features, she looked like a strange merging of his parents…fucking him! It reminded him of a time when he was about four, and he went into their bedroom one night and caught them having sex. His father screamed at him to get out. He could never forget that fright.

Suddenly, all the lights went out. Jack felt his chair disappear; he fell to the floor with a thud. “Oof!” he grunted…in a woman’s voice.

What the hell? he thought. Have I become a she?

Jacqueline, if you will, began running ‘her’ hands all over her skin. All of it was the hairless smoothness of a woman’s curvy, buxom, naked body. Svetlana’s body, or so it felt to ‘Jacqueline.’

Soon, she felt not only her own hands feeling her up, but also the bigger, stronger, and hairier hands of several men, moving all over her naked body. All the men want me, she thought. But I don’t want any of them to want me. ‘Pussy power’ is total bullshit.

Hard phallic objects were being shoved inside her three holes. She whined in pain from the stabbing. Were they cocks or dildos? They certainly weren’t welcome.

The lights came back on with a flashing, blinding brightness. She got the answer to her question: bukkake was raining all over her body. Definitely not dildos. Some of the ejaculation got in her eyes, so she couldn’t see the group of men encircling her. A dozen leather shoes rubbed against her arms, hands, legs, and feet, letting her know how many men were surrounding her.

She wiped her eyes clear, and tried to look around her, but the light was still too bright for her to see easily. Her eyes adjusted to her surroundings in about twenty seconds; she saw a square room with white walls, cameras, and lighting and sound recording equipment.

Six blond men, fully clothed, were operating the equipment. These men, it was safe to assume, were her gang rapists. She couldn’t make out their faces clearly, though she saw lecherous smirks on all of them. They were also dressed identically, wearing plaid dress shirts and blue jeans.

She lay there, as naked as a newborn baby, with only the men’s come for clothing. Suddenly, she was sprayed on with cold water from a hose held by one of the men, all of whom laughed in falsetto giggles at her shocked reaction. After being thoroughly washed clean, she lay there shivering when the hose was turned off.

“I love the way her nipples get erect when she’s cold and wet,” one of the men said in a husky voice.

Still, the men’s faces were all blurry. One of them threw her a towel. She dried herself with it, then hoped to cover her nakedness with it, but the man who’d given it to her snatched it away from her before she could.

“Nope,” he said in that same husky voice, suggesting that all six men had as identical a voice as they had clothing. “No covering yourself. You’re always to be naked. We like seeing every inch of you, all the time.”

All the men giggled another falsetto laugh. Still, she couldn’t get a clear look at their faces.

One hid his behind a camera. “OK, Svetlana,” he said. “Get on all fours, spread your legs, and point your ass at the camera.”

Svetlana? he wondered. I’m Svetlana now?

Trembling, and with the utmost reluctance, she did as she was told. She looked back at the camera in abject terror.

I’m turning these men on, these rapists of mine, she thought. I’m all exposed. They can see everything, and their hunger for another fuck is growing. That hurt like hell the last time; I’m still shaking from it, and they want more, I can feel it. I have no protection, no one to help me. They’re wearing almost identical clothes, all too familiar clothes…what’s that supposed to imply?

One of the men walked up to her with a little bag of white powder. She shuddered at where his eyes were pointed, though his face overall was blurred enough not to be recognized.

Please, don’t stare at my ass like that, she thought. That sodomizing I got was the most painful of all those intrusions. I’d cover my nakedness with my hands, but I’m afraid they’ll beat me or something.

“Hey, Svetlana,” he said, crouching by her face. “Wanna get high? I have some ketamine here. When you do it, your body won’t care what’s happening to it. C’mon, try some. Live a little.”

“Oh, uh, OK,” she said in a tremulous voice while avoiding his eyes, so she never saw his face. I’d like it if it could kill me.

He chopped a line on a nearby table and she snorted it. She waited for the K to kick in. When it did, the lights turned off again. She lay there in a sea of infinite black. All she could hear was her breathing. She couldn’t see anything, certainly not any of those men: could they still see her?

It felt as if they could see her…yet, nothing happened.

She just waited on the floor, on all fours, with her legs spread and her ass pushed out.

The waiting was unbearable.

What were they about to do?

She soon found out. Intrusions in her vagina, anus, and mouth happened as before, but the dissociation she felt from the K kept them from being physically painful. All the same, the sensations triggered the memory of her previous rape, and she felt no less a terror than the last time.

The lights came on again with the same temporarily blinding flash. Now, she was on her back with her spread legs pushed up and her feet above her ears. The man she’d been sucking off pulled out and rained come on her hair and left ear. He got up, zipped up his tight jeans, and walked away.

The man who was pumping her vagina now bent forward and brought his face close to hers. She could see his face clearly now, and all the eerie familiarity about the men was confirmed for her…the man on top of her was Jack!

Jack’s consciousness, trapped in Svetlana’s body–that is, ‘Jacqueline’–was being fucked by a smiling, panting, and almost drooling Jack Bates! She looked over at the man who came on her…she saw Jack’s smirking face on him, too! Then she looked down at the man who was moving in and out of her ass…she saw Jack’s face a third time!

Svetlana wanted me to go fuck myself, ‘Jacqueline’ thought. Literally.

Jack’s own face was close enough to give her a kiss, laughing and panting as he fucked the female form that the soul of the real Jack was trapped in! All the other Jacks were laughing in that annoying falsetto as female Jack was being degraded in Svetlana’s body. Now ‘Jacqueline’ knew which sex had the power, and which one didn’t.

Her other two rapists came all over her body and showered her with the hose as before. After having her shivering, freezing body towelled off (and again being denied the towel to cover her nakedness), one of the Jacks approached her. She lay on the floor, trembling in the fetal position.

“You must be starting to come down from your K high,” he said. “We have other drugs: heroin, cocaine,…”

“Heroin!” she gasped in that Slavic accent, in frantic desperation. “Lots of it!”

“Will do,” the Jack said, then produced a needle.

Now, there’s a prick that’s welcome in my body, anytime, she thought.

He stuck the needle in her.

She blacked out.

***********

The next thing she knew, she was looking out of what seemed to be a window–one of black borders and infinite blackness surrounding it–looking into Jack’s apartment. He was sitting, slouched in his opened bathrobe on the chair in front of his computer, which she was obviously inside.

His eyes were only ever so slightly open. She heard a faint snoring. He was mumbling something.

“Ivy,” he mumbled. “How can we…free Svetlana? How can I…free myself…of her?”

There is no freeing her, ‘Jacqueline’ thought. There’s no freeing yourself from her, or me from her. We’re trapped in her forever. I know that now. This is at least the third time we’ve passed through this loop, this cycle, now that I finally realize–this is no dream I can hope to wake from. Nevertheless, it’s my turn to have the power now, and after what I just went through, I want it.

“Can’t…your magic…rescue Svetlana…from porn, Ivy?” he slurred.

Ivy’s magic doesn’t work that way, Jacqueline thought as she crawled towards the monitor screen, about to slip out and climb onto his lap. It works this way.

“Jack,” she purred, waking him up.

Analysis of ‘The Miraculous Mandarin’

The Miraculous Mandarin (A csodálatos mandarin in Hungarian; Der wunderbare Mandarin in German) is a pantomime/ballet composed for full orchestra by Béla Bartók from 1918 to 1924. It premiered in 1926 at the Cologne Opera, in Germany. The story is based on a libretto by Melchior Lengyel. The violence and sexuality of the story caused a scandal at its premiere.

What also would have caused distaste for the audience, whom I’d presume to have been mostly conservative in their musical tastes, was the extreme dissonance of the music. Indeed, Bartók’s toughest, most dissonant music was written in the 1920s, with such pieces as his third and fourth string quartets, his first piano concerto, Out of Doors for solo piano, and his second sonata for violin and piano. At times, this music would get so dissonant as to border on atonality.

Though he insisted that his music, while using all twelve semitones, was tonal (a reaction to Schoenberg‘s atonal use of all twelve semitones), Bartók essentially abandoned the major/minor system in favour of one based on axes of symmetry. These axes are at the intervals of the diminished seventh chord; this isn’t to say that he made constant use of that particular chord, but that he would do modulations and chord changes–and use such scales at the octatonic (and its alpha chord)–based on the minor third, the tritone, and the major sixth, pivot points, if you will, which are comparable to shifts from the major key to its relative minor, and vice versa.

These–at the time, unusual-sounding–melodic and harmonic experiments, as well as the extensive influence of the folk music of his native Hungary and neighbouring countries (around which he traveled much in his younger adulthood, recording and studying the music), give Bartók’s music its unique sound.

A few YouTube videos of performances of The Miraculous Mandarin can be found here, here, and here. A video with the score, which includes written indications of developments in the plot of the story, can be found here. And here is a link to the concert suite, which removes about a third of the score, mostly the last twelve or thirteen minutes, which musically depicts the tramps’ robbing and attempting to kill the mandarin.

Bartók insisted it was a pantomime rather than a ballet, since the only dancing in the story is supposed to occur when the pretty girl–forced to lure male victims into the tramps’ den to be robbed–seductively dances with the victims (Gillies, page 373); nonetheless, performances tend to have everyone dancing throughout–see the links above, and a few brief excerpts of performances in links given below. The pantomime begins with the chaos of the city. The orchestra assaults our ears with dissonances.

The second violins play a flurry of quick ascending and descending sixteenth notes in septuplets of G-A-B-C-D-E-F#-G#, up and down and up and down, the outer edges making a dissonant minor ninth. This up-and-down cycle I see as symbolic of the boom-and-bust economic cycle, a manifestation of the instability of the capitalist mode of production. Such economic uncertainty leads to an aggravation of crime, which in turn leads to the next issue.

A hectic rhythm in 6/8 time is heard with notes in minor seconds, a motif that will reappear whenever we encounter the violence of the tramps (also referred to sometimes as apaches or vagabonds), three male criminal thugs who find themselves without money and resolve to rob others, using a pretty girl to dance seductively and lure the victims in.

The brass section adds to the dissonance by imitating the honking of car horns. Flutes are now playing waves of shrill, quick chromatic notes in a manner similar to the opening second violin waves. The horns get much harsher. The violent tone of the pantomime has been established. We have in this music a vivid depiction of the neurotic, alienating, and violent modern urban world. The stage has been set for the entry of the three tramps. The curtain rises.

A tense theme is played on the violas (later taken over by the first violins) when we see the tramps; the first checks his pockets for money, and the second tramp checks the desk drawers of their den for money, of which they haven’t any. This lack of theirs gives rise to desire, which is one of the dominant themes of the pantomime, as we’ll see with the old rake, the shy young man, and especially the mandarin, when they behold the beauty of the dancing girl, who now appears on the stage.

The third tramp violently tells her to dance alluringly for any male passer-by, so they can sneak up on him and rob him. She refuses to, of course, but the tramps force her to all the same. Here we see how desire gives rise to suffering, just as lack gave rise to desire–the three go round and round in a cycle–for the tramps, lacking money and desiring it, are now exploiting her for the hopes of gain. Such exploitation is the essence of the relations between the owners of the means of production (the capitalists) and those who have only their labour to sell to survive (the proletariat).

Thus we see how the tramps, in spite of their momentary pennilessness, represent the bourgeoisie. Their den represents the land and means of production owned by the capitalist class. The girl, who can do nothing other than dance and arouse men’s lust, has only her body to sell; thus, she represents the disenfranchised working class. She is being, in essence, a prostitute for the pimp tramps (and pimps, as mafia, are a perfect metaphor for capitalists, as I’ve argued elsewhere); small wonder The Miraculous Mandarin was banned on moral grounds.

There is probably no worse example of worker exploitation than that of pimps exploiting prostitutes, something euphemistically expressed in this pantomime through the girl’s erotic dancing. Thus we can easily see why Lenin, in his agenda to promote equality for women, wanted to end prostitution.

The concert suite version of The Miraculous Mandarin cuts out a brief section of the music at around this point, at a ritardando when the girl refuses to dance for male passers-by. We hear a plaintive melody played on the first violins; then, when the tramps repeat their brutish demand of her and she, however reluctantly, acquiesces, the section cut out from the suite ends, and the discords in the music sadly begin to calm down in a decrescendo. The girl is about to do her first seductive dance.

She begins a lockspiel–a “decoy game”–by a window to attract the first victim. We hear a clarinet solo as she dances. The first victim is an old rake, who sees her and is immediately enticed by her. Musically, he is represented by trombone glissandi spanning a minor third, which is an important interval heard at various points throughout the pantomime.

A minor third is suggestive of sadness. It is significant that we hear so much of it in this piece, for it reflects the universality of suffering as experienced in the world of this story. Hearing the minor thirds in the trombone glissandi, representing the lecherous old rake, is important in how it links lack and suffering with desire, an important combined theme in The Miraculous Mandarin.

As György Kroó explains in his analysis of the pantomime: “The minor third has a special function in The Miraculous Mandarin. Because of the central role of the ‘desire’ motif this interval is the differentia specifica in the work’s score.” (Gillies, page 380)

As the shabby old rake lustfully watches her dance, she asks if he has any money, during which time we hear a flirtatious melody on the cor anglais. He replies, “Never mind money! All that matters is love.” Useless to the tramps, the penniless man is thrown out, at which time we hear the tense 6/8 motif with the minor seconds.

Part of how the capitalist class keeps the poor in control is by dividing them; one common division is made between the sexes. We’ve already seen how women are exploited and injured because of this divisive use of sex roles, in making women into sex objects. Men have their lust exploited through how society addicts them to beautiful women; and if men don’t provide money, they’re deemed useless, as the old rake is, and as the shy boy will be.

The girl returns to the window and resumes her dancing. We hear the clarinet again during this second lockspiel. The shy young man appears, and he is as captivated by her beauty as the old rake was. His shyness makes his seduction more difficult; the clarinet solo is longer and more florid.

Soon, he and the girl dance to a haunting theme on the bassoon, a melody featuring tritones, in 5/4 time, backed up by rising notes on the harp; then the theme is played on the flute, then there are crescendi and decrescendi on the clarinet, suggesting a heating-up of the dancers’ passion. Finally, the haunting theme is heard briefly on two solo violins, and finally, climactically on all the first and second violins. The boy has been successfully drawn into the den, where the hiding tramps are poised to strike.

They attack the boy, and we hear the opening 6/8 motif with the minor seconds again. The tramps learn that the shy young man hasn’t any money either, so he is quickly thrown out, too.

The girl gets ready to do a third lockspiel at the window, and we hear the solo clarinet again. This time, a wealthy mandarin appears at the door. We hear a kind of parody of a stereotypically pentatonic Asian melody here, harmonized in tritones. She is terrified of him; next, we hear three loud brass glissandi (trombones and tuba) in descending minor thirds (recall how the minor third suggests sadness, so in this moment of the tramps’ desire of the mandarin’s money, and the mandarin’s growing desire of the girl, we have desire again as the cause of suffering). The mandarin stands immobile at the doorway, and her dancing only very slowly arouses his desire.

An interesting question needs to be addressed here: why a mandarin, of all male victims, to be the most important one of the story? György Kroó explains: “The chief male figure of the pantomime, the mandarin, is not typical of modern urban society–as are all the other characters–but is a force existing outside society. He is, to some extent, an unreal and symbolic figure. It is this unreality and symbolism which lend him a fearful greatness, enabling him to stand isolated above the world of the vagabonds, and to defy them. But the mandarin’s triumph is only symbolic: he raises the girl to his own level of existence by making her aware of herself as a human being and aware of the existence of true love. For this victory, of course, the mandarin has to die, and the girl is left standing beside his body, shocked and lost in wonder, unable now by herself to progress to a better life, unable alone to oppose the evil surrounding her.” (Gillies, pages 372-373)

This “force existing outside society,” an East Asian in a European city, can be seen to personify the East Asian Third World, just as the girl represents the exploited proletariat of the First World. The tramps, representing the rapacious bourgeoisie, have failed to get any money from the men of their own society, so they must find riches from men of foreign countries.

What we see being expressed here allegorically is the shift into imperialism, the highest stage of capitalism, as Lenin theorized. The tendency of the rate of profit to fall forces capitalists to seek out counteracting factors, one of the chief ones of these in the modern world being the exploitation of foreign markets. The robbing of, and violence against, the mandarin thus represents the invasion and plunder of the Third World.

We often speak of the Third World as poor, as undeveloped or underdeveloped. Actually, these countries are rich, like the mandarin who personifies them in the pantomime. It’s the people of the Third World who are poor, like the mandarin after he’s been robbed and brutalized. The Global South isn’t underdeveloped, it’s overexploited.

The China of the time that The Miraculous Mandarin was composed and premiered was similarly exploited by imperialism; but like the defiant mandarin, Mao Zedong stood up to the imperialists. (More will be said below about how The Miraculous Mandarin can be retroactively allegorized on contemporary China.)

As I said above, the girl is scared of the mandarin and runs off to the other side of the room. Much of her reason for being scared is presumably out of xenophobia and racism against Asians, a common feeling in the West, especially at that time. In the context of the allegory I’m presenting, this xenophobia is significant, for it is a kind of tragic flaw that will ensure that the girl can never escape her exploitation (refer back to the Kroó quote above).

After the loud brass dissonant introduction of the mandarin, the music dies down with the sound of minor thirds in decrescendo in the French horns (F# and A). At this point, the concert suite cuts out another short passage of the music, during which we hear cello, bass, and viola pizzicatos in the background, and the tramps push the girl to get over her fears and dance to lure in the mandarin.

The concert suite resumes with the music at the point in the story when the girl, however reluctantly, begins to dance for the mandarin. We hear flurries of shrill, quick ascending and descending notes in the piccolo and celesta, with a dark back-up in the pizzicato and arco cellos. As I said above, the mandarin’s desire is aroused much slower than that of the previous two men, but when his desire is at its peak, it’s an explosion of lust.

His intensity of passion makes us realize that the mandarin doesn’t merely lust after her. Sexual desire for her is there, to be sure, but for him to survive the lethal assaults of the tramps means that his feelings for her must be more than merely physical. He is touched by her, as I see it: he sees not only her beauty and sex appeal, but also her vulnerability and suffering because of the tramps.

My allegory can explain the transcendent nature of his desire. I say that she represents the Western proletariat; he represents the exploited Third World. Sexual union between the two thus represents the needed solidarity of the global proletariat. He wants her because he empathizes with her.

The relative comforts of living in the First World, even for the working poor amongst us, cause us to have limited revolutionary potential. The desperate poverty of the Third World, on the other hand, gives the people suffering there far greater revolutionary potential (consider that huge general strike in India to see my point).

The girl is repelled by the mandarin, just as the First World poor pay far too little attention to the suffering of those in the Third World. The mandarin’s desire for the girl grows and grows, just as the poor of the Global South, growing ever more desperate, needs the help of the First World (consider the oppression of the Palestinians to see my point).

The girl gets over her inhibitions, and she and the mandarin begin dancing a waltz whose melody is full of minor thirds and tritones. Again, we see lack and sorrow (symbolized by the minor thirds and the diabolus in musica) linked with desire (the soon-to-be lovers’ romantic waltz).

As I said above, his desire isn’t merely lust. It’s more of a Lacanian desire, the desire of the Other, to be what the Other wants, to be recognized by the Other (in this case being, of course, the girl). This wish for recognition from the Other, to be as desired of the Other as one desires the Other, means we’re not dealing with the selfish lust of the old rake or the shy young man. Those two just wanted to get from her; the mandarin wants to get and to give. This wish for desire to be mutual between the mandarin and the girl again, in the context of my allegory, represents the need for solidarity among the oppressed of the world.

The waltz that they dance grows louder, faster, and more impassioned, and the hitherto reticent mandarin suddenly goes wild with desire, terrifying the girl. He chases her all over the tramps’ den. The music gets barbarically dissonant, with pounding drums and a fugue passage representing (fittingly, given the etymology of fugue) his pursuit of the girl. He seizes her, and they struggle.

After this music reaches its most chaotic, brutal point, the concert suite ends with four bars in 2/2, and a tense chord featuring minor thirds is played three times to give the suite a sense of finality. (This three-chord repetition isn’t heard in the full pantomime performance.) It is at this point that the tramps come out of hiding and attack the mandarin. The music isn’t as loud now, but it’s still just as tense.

The tramps strip him of his riches and finery. All he can do is stare longingly at the girl. Having wondered what to do with the mandarin now that they’ve taken all of his valuables, the tramps decide to kill him. This violence against him symbolizes the plunder of the Third World, the taking of its valuable resources and the killing of anyone living there who dares to resist.

The tramps grab pillows and blankets, put them on the mandarin’s head, and try to smother him by sitting on him. After a while, they figure he must be dead and get off of him. The music softens. He’s still alive and looking at the girl. His would-be killers are amazed and horrified.

The tramps make a second attempt to kill him; this time, one of them grabs a sword and stabs him three times with it. Still, he won’t die. Still, he stares at the girl. The tramps cannot believe their eyes.

This miraculous refusal to die may remind us, in a symbolic way, of how the victims of imperialism won’t back down after being invaded. To see what I mean, look not only at the Chinese resistance to Imperial Japan in the 1930s and 40s, not only at the USSR’s successful repelling of the White Army during the civil war of around the years 1918-1921, and of the Nazis during WWII; but also look at the continued resistance to the American empire in Afghanistan and Iraq. China is a miraculous mandarin in its own right these days, surrounded by US military bases, and on the receiving end of hostility from Hong Kong and Taiwan; but China keeps getting stronger and stronger…and richer.

A third attempt is made to kill the mandarin, this time by hanging him from a lamp hook. It falls to the floor, and instead of the hanging killing him, the light of the lamp goes out and seems to be transferred onto him, for now he–always with his eyes on the girl–is glowing with a greenish-blue aura. A wordless chorus (alto and basso at first; later, tenors and sopranos will harmonize) begins singing a melody in mostly minor thirds as he glows, suggesting a superhuman quality in him.

This superhuman quality of the mandarin, with the suffering he’s being put through while cheating death, suggests a Christ symbolism for him. His hanging from the lamp can be associated with the Crucifixion, while his glow–suggesting the spiritual body of the Resurrection–and the almost angelic choral singing lend a kind of mysticism to him.

Now, when I compare the mandarin to Christ, I don’t mean the ecclesiastical Christ whose “kingdom is not of this world” (John 18:36), He who died on the Cross to save us from our sins; rather, I mean the Jewish messianic conception–that of the revolutionary who attempted a defiance of ancient imperial Rome. This was the Jesus of such books as Hyam Maccoby‘s Revolution in Judea, in keeping with the anti-imperialist allegory I’ve been outlining here.

The desire that this messianic mandarin has for the girl can thus be associated with the sexual desire expressed in the Song of Songs, as allegorized as the love of Christ for his Church (i.e., the girl). So this mandarin, in his defiance of the brutality of the exploitative tramps (symbolic of capitalist imperialists), is making revolutionary overtures to the girl (representing the First World proletariat), hoping she’ll join him in solidarity against their oppressors (i.e., through their sexual union).

Finally, she realizes what must be done. She understands the true nature of his desires, and just as he is touched by her vulnerability and suffering under her exploitation, so is she touched by his love for her: this is the only reason she could have for doing what she’s about to do. She has the tramps untie the mandarin. She lets him have her.

Now, she satisfies his desire, but it’s far too late: the injuries that the tramps have inflicted on him can’t be undone. His wounds open, and he finally dies, with lethargic, anticlimactic music playing as he collapses on the floor bleeding, her watching in horror. This ending relates to my allegory in the following way. There is a danger in not responding quickly enough to the call for revolution in today’s late stage capitalism. The global proletariat must unite, and they must do so…fast!

As with sex roles, racism and xenophobia are used by the ruling class to divide the people. Look at Trump’s “Build the wall!” nonsense to see my point. The excessive nationalism of fascism is used to prevent international solidarity.

The girl’s xenophobic prejudice against the mandarin is what makes her take so long to unite with him. Imagine if, instead, not only were she and the mandarin to unite immediately upon meeting each other, but if they, the shy young man, the old rake, and any other men potentially tempted by her dancing, were to combine their strengths against the tramps and end their exploitation and victimization once and for all?

Selfishness and alienation are inimical to the solidarity of the people against their ultimate enemy, the capitalist class. Now that the mandarin is dead, the girl is alone against the now-monied tramps. She is in an evil trap she cannot escape.

In composing The Miraculous Mandarin, Bartók was warning of the growing evils of the world. “Between 1919 and 1924, while working on this work, Bartók was experiencing a great sense of loneliness. He felt quite isolated in his efforts to warn society of the evils he could see. By setting the ‘elemental life force’ in opposition to ‘degraded emotion’, he cried ‘No!’ to the world of evil, and to the immorality of the dehumanized apaches. And as an example to those who had confidence and hope, he presented the figure of the mandarin who, like Bartók himself, is a constant reminder of courage in opposition, determination in thought and feeling–the very triumph of man.” (Gillies, pages 383-384)

Consider the evils of today’s world, the contemporary exacerbation of those Bartók had been aware of a century ago. Consider what might happen if we lack the “courage in opposition” and “determination in thought and feeling” needed to end those evils. Though the danger of nuclear war between the US on one side, and China and Russia on the other, is more than possible, all we need to do to end life on the Earth is to continue to be passive in the face of growing climate change. Then the moribund musical ending of the pantomime will express what TS Eliot once did: “This is the way the world ends/Not with a bang but a whimper.”

Malcolm Gillies, editor, The Bartók Companion, London, Faber and Faber, 1993

‘Sirens,’ a Horror Novella, Chapter Twelve

[SEXUAL CONTENT]

“You’re lucky I had this lying around,” Nancy said, returning to the living room with a bedpan from her bedroom closet. “About two months ago, a friend of mine who happens to be a nurse came here immediately after her shift in the hospital and slept over at my insistence, because I learned her boyfriend had been beating her. She brought the bedpan–I don’t know for sure why, maybe to fight back and hit him with later when she went back to her apartment with him. Anyway, when she left, after learning he’d been hospitalized because of a drunk-driving accident, she forgot to take the bedpan with her. I guess she figured she didn’t need it as a weapon anymore, because while he was recovering in hospital from two broken legs, she moved out and left town.”

Nancy slid the bedpan between Eddie’s legs and under his ass. “This is so stupid,” her brother said as he felt the stainless steel of the bedpan rub uncomfortably against his ass and legs, which just added to his discomfort from being tied up to her sofa. “I don’t have the right to use the bathroom and pee in private, do I?”

“You’re a rapist, Eddie,” she said, unzipping his pants and wincing in disgust. “You don’t deserve to have rights.” She gritted her teeth as she pulled his dick out of his open fly so he could pee in the bedpan. “Oh, this is so gross!”

“If you’d just untie me–“

“I’m not untying, tying, untying, and tying you up, again and again, for every little thing. Besides, if I untie you now, the way you’re acting, you’ll never consent to being tied up again, and that will raise the risk of the Sirens luring you out again to be killed.”

“You’re damned right I won’t consent to being tied up again!”

“And that’s why I’m not untying you, no matter how disgusting this is for me. Now, hurry up and piss. Get it over with!” She ran out of the living room to wash her hands. After that awful dream of experiencing Serena’s gang rape, the last thing I needed was to come close to my brother’s dick.

Eddie groaned in relief as he let it out. “Hey, I’m spraying some on my pants!”

“Not my problem, rapist,” she called from the bathroom. “This is all part of your bad karma.”

After a minute, he called out. “OK, I’m done.”

She came back into the living room and winced as she took away the bedpan. “I’ll be right back.”

“You realize that if you keep me tied up like this, you’re gonna have to do everything for me.”

“No, not everything,” she called out from the bathroom as she cleaned out the bedpan.

“Well, I can’t do anything for myself.”

“Then some things won’t get done,” she said as she returned.

“I need to be cleaned up. I need my dick put back in my pants.”

“No, you don’t, rapist.”

“What?!” Eddie yelled.

“You can stay like that,” Nancy said, always looking away from his open fly. “As disgusting as it is, I think it’s fitting for you to be stuck like that. It’ll remind you of your shame. I won’t let Serena use her magic to lure you away and kill you, but I will see to it that you’re punished in at least some way.”

“How long am I gonna have to stay like this?”

“Not too long, I imagine. When Serena realizes that she can’t lure you away with her Sirens, and that I refuse to untie you, no matter what disturbing things she exposes me to, she’ll have to come here if she wants to get her revenge on you for helping your friends gang rape her.”

“And what if you can’t fight this…witch?”

“My ace in the hole is that Deanna woman, who said she’d use magic of her own to keep Serena from killing you.”

“That isn’t very reassuring, Nancy.”

The doorbell rang.

“Maybe that’s her,” Nancy said as she began walking over to the door. “This might be over with sooner than you think.”

“So, you’re gonna let whoever that is see my dick hanging out?” Eddie asked with a frown of embarrassment.

“You had no problem letting Serena see it, asshole rapist,” Nancy said as she slowly turned the doorknob. “If this is her, she won’t see anything new. Where’s that singing coming from?”

Nancy opened the door.

No one was there.

“What the hell?” she said, then closed and locked the door and turned her head to see Eddie.

A blurry fog floated in front of her and Eddie’s eyes, a dizzying feeling, then it disappeared. His eyes were closed, as if in a dream, and his mouth was wide open in a grin.

He also had an erection pointing up at about a sixty-degree angle from the floor. He was grinding as if he were screwing a woman on top of him in the cowgirl position.

“Eww,” she said, wincing and looking away. The Sirens are back, obviously, she thought. Did one of my neighbours buy a new record? Is that what those vocal harmonies are?

He could feel six hands caressing his cheeks, head, arms, and chest. He felt a woman’s moist vaginal walls hugging his erection, going up and down on it. Fingers played with his hair and went inside his shirt, tickling his nipples. He opened his eyes and saw the blonde Siren riding him, while the brunette was on his left, and the redhead was on his right. As they continued caressing and stroking him, they took turns giving him pecks on the lips and cheeks. He heard their singing in his ears.

“Try to squirm out of the rope, honey,” the brunette said between kisses…and singing.

“I can’t,” he said between moans. “Nancy tied it…too tightly. Oh!

“If you free yourself, I’ll give you a blowjob,” the redhead purred between pecks on his right cheek…and singing.

“I’d love to, but I told you,” he sighed, “I can’t get myself…out of this. Ah!

“They aren’t real, Eddie,” Nancy said. “Don’t listen to them!” She went over to slap him out of it.

Just when she was raising her hand for the first slap, a loud pounding of fists was heard on the door.

“Holy shit!” she said with a jerk. “That scared me. Who is it?” Is it Serena? she wondered.

“Please, help me!” a woman’s voice screamed from out in the hallway. “My husband is after me. He’s gonna kill me!”

Nancy ran into the kitchen and got a knife, then ran to the door. If it’s Serena, I’ll still stab her, she thought. I wish my neighbour would turn the music down. She unlocked and opened the door.

Instead of seeing a woman, she saw a big, angry man barging in.

“Where is that bitch?” he shouted, shoving Nancy aside. “Who are you? Are you hiding her?”

“Who am I…who are you?” she shouted at him. “Get out of here, before I–” She raised the knife, but he pushed her to the floor. Then he looked over at Eddie.

“Oh, I see,” the man growled. “That guy over there’s fucking my wife. I’ll take care of him!” He stomped over to Eddie, who was still enjoying the charms of the Sirens and took no note of him.

Nancy got up and ran at the big man with the knife raised up high.

“Don’t you hurt my brother!” she shouted, making the man look back at her. She slashed the knife in the air to warn him. “You hurt him, and I’ll–“

“You’ll what?” he growled at her. “He’s fucking my wife!”

“What are you talking about? He isn’t fucking anybody! No woman is there, you moron…wait, is this another of Serena’s tricks?”

“Serena’s my wife’s name!” he shouted, then looked back at Eddie. “You are fucking her!” The man grabbed Eddie’s head. He pressed his hands on it as if he was about to crush it.

What will I do?” Nancy shouted, slashing with the knife again. “Serena or not, I’ll do this!” She lunged at the man and stabbed him in the lower back.

The man disappeared.

Instead of seeing his blood, she saw Eddie’s–a deep stab in his gut, just above his exposed penis.

His blood sprayed everywhere while his body slumped on the sofa, then just lay motionless.

The singing stopped.

Nancy screamed. Where was Deanna’s help? she wondered as tears ran down her cheeks.

“Serena, you bitch!

“Speak of the Devil, and she appears,” a female voice said from behind Nancy.

‘Sirens,’ a Horror Novella, Chapter Ten

[WARNING: SEXUAL CONTENT OF A TRIGGERING NATURE]

“There,” Nancy said after finishing tying Eddie’s arms and legs to her living room sofa. “That should hold you.”

“I’m saying this for the fiftieth time,” he said, squirming in discomfort at the rope fibres cutting into his skin. “This is ridiculous.”

“Would you rather be lured away to your death by those Sirens?” she asked. “This is the only way we can keep you safe…you know, from wandering off.”

“What if I need to use the bathroom?”

“I told you. I’ll untie you. Now, I’m really tired from all the stress of today. I’m going to sleep. I’ll leave the bedroom door open, so shout and wake me up if you need to use the bathroom.”

“What if you don’t wake up when I shout?”

“I will,” she said. “I’m a light sleeper.”

She left the living room, went into her bedroom, and collapsed on her bed without even bothering to undress. Within five minutes, she fell asleep.

In her dream, she found herself in a pub just a few blocks away from her apartment. She was sitting at the bar, drinking from a bottle of Molson Canadian.

A group of handsome young men in navy blue and black suits walked up to her.

“Hi!” one of them said to her. “Can I buy you a drink?”

“Well…” she said, then gulped down the rest of her beer. “OK.” The whole pub area was a blur to her, except for most of the men’s faces, which looked familiar to her.

“We come to this pub all the time, but we’ve never seen you here,” one of them said. “It must be because you’re so pretty, you don’t need to find a man to pick you up.”

She giggled and blushed.

“Yeah,” another of them said. “You must have a boyfriend.”

“No,” she said with another giggle and blush. “I’m not taken…yet.”

“Hoo-hoo!” all of the young men groaned.

“We have ourselves a contest for your charms,” the first of them said, getting another giggle out of her. They began singing Cole Porter’s “All of You.”

As they charmed her with their singing, one of them took her by the hands and danced with her. They all got to the door of the pub, one of them opened it, and all of them went outside, all the time singing the song and getting giggles out of her.

(Their tight, flawless five-part vocal harmony so enchanted Nancy that she couldn’t hear the voice of her brother calling her name and shouting, “Hey, where are you going? Come back! Untie me!” as she went out the door of her apartment.)

She danced out the front door of the apartment building, giggling as she heard the singing. She went several blocks down the sidewalk, past the actual pub of her dream, then a few blocks further until she saw one of the men open the door to an apartment building. She went in, still charmed by their singing.

Where have I seen their faces before? she wondered as they got into an elevator. In old photos? In the newspaper?

They reached the third floor, then got out. She saw one of them unlock the door to his apartment, and they all danced in together to the Cole Porter melody.

No sooner had she come into the living room than one of them grabbed her and began kissing her. With his face up close, she recognized it as Tor’s.

Wait a minute, she thought. He’s dead!

The other boys crowded around her, aggressively feeling her up and unbuttoning her shirt. Another hand unzipped her pants.

“No…no!” she said, trying to push them off.

Her shirt was torn off, and her pants were pulled down to her ankles. She kept trying to fight them off, but she couldn’t. Tor unclipped her bra, and he grabbed her exposed breasts.

“No!” she screamed. “Help!”

Tor slapped her hard. Someone pulled her panties down to her ankles, then removed them, along with her pants, shoes, and socks. She looked down and recognized the one undressing her as Ari.

She felt someone behind her removing the bra strap off her shoulders and arms. She looked back and saw Virgil tossing her bra across the living room.

Now completely naked, Nancy was laid on the floor on her back. The five young men unzipped their flies and exposed themselves. She turned her head away in disgust. One of the boys mounted her. It was Tor.

She tried to push him off, but he balled up his raised fist, so she stopped resisting.

“Good girl,” he said, then slid inside.

She screamed from the stabbing against her vaginal walls, then felt someone raise and spread her legs; then she felt him spit on her anus. She shuddered and looked down to see who he was: it was Ari, pushing in. She groaned from this next stabbing.

Chad sat on her chest. She squeezed her eyes shut the split second she saw him put his erection between her breasts. He squeezed them around it and began rocking back and forth, just like the stabbers in her vagina and anus. His zipper was scraping against her lower chest, cutting a bleeding mark there.

Now, someone sat on her shoulders. The foul smell of urine indicated his much-too-close erection. She looked up and saw the one face that, up until now, had been blurry.

Eddie was force-feeding his erection into her mouth.

She whined and squeezed her eyes shut. He pushed so far in, she gagged.

“When do I get a turn?” Virgil said.

“I’m…almost…done!” Ari grunted. “Oh!” He came.

Ari got out of the way and zipped himself up. Virgil took his place, ramming it in.

“Mmmph!” she screamed, with a full mouth, at the painful tearing of her anus and rectal walls. This can’t be real, she thought. My rapists are all dead, and Eddie would never do this to his own sister.

The ordeal continued for several more minutes.

This must be a nightmare, yet it feels so real, she thought. Is it the ghosts of Serena’s victims? Wait: is this all her doing?

Finally, the other four rapists orgasmed, Eddie having pulled out and come on her face.

She opened her eyes, but instead of seeing Eddie and his friends, she saw the three Sirens, all crouching around her.

Nancy had all of her clothes on: no ejaculate was dripping down her face. It was as if the rape hadn’t happened.

“That is what they did to me,” the brunette said.

“And that is why they must all die,” the blonde said, with the exact same voice as the brunette’s.

“Including Eddie,” the redhead said, also in the exact same voice.

“Serena?” Nancy asked in sighs. “Is that you?”

“Yes,” all three answered, but in only one voice. “Though I don’t look like any of these three.”

“Where am I?” Nancy asked, catching her breath.

“In Virgil’s apartment,” Serena said through the Sirens’ mouths. “It’s not so many blocks from yours. You’ll have no problem getting back home as soon as you’re outside. Eddie’s waiting, by the way.”

“Have you done anything to him?” Nancy asked in a tremulous voice.

“No, he’s safe, still tied to your sofa,” Serena said. “You’d better get back to him, though. He needs to pee.” She laughed to herself. “I’ll take care of him later.”

Nancy got up, still shaking. She was surprised to feel no vaginal or anal injuries, no cut from a zipper on her lower chest, and no foul, urinary, penile taste in her mouth.

But she couldn’t stop shaking.

The Sirens disappeared. Nancy waited for her heart to slow down.

“It wasn’t real,” she whispered breathily. “What just happened to me. It couldn’t have been real.”

“It was real for me, though,” Serena said, a buzzing intonation in Nancy’s ears. “I’m sorry I put you through that. I wouldn’t do that to my worst enemy; but I had to get you to understand. What they did to me was unforgivable, and your brother was a part of it, not just the passive spectator you want to believe he was. You won’t like hearing this, but he must die with the others. Don’t try to stop me. You know what I can do to you. That bookstore owner won’t be able to help you, either.”

“You’re not the only one with power, Serena,” Nancy said, still shaking. “I’ll punish Eddie in my own way. Still, he’s my brother. Don’t you touch him!”

She listened for a reply, but got none.

I guess she’s gone, Nancy thought. “As for you, Eddie, you and I are going to have a little talk when I get home.”

She walked with staggering legs to the door and left the apartment building.

Analysis of ‘Black Sabbath’

I: Introduction and Quotes

Black Sabbath, or I tre volti della paura (“The Three Faces of Fear”), is a 1963 Italian horror film directed by Mario Bava and starring Boris Karloff. It’s an anthology of three horror stories loosely adapted (or so it claims in the Italian credits) from tales by Aleksey Konstantinovich Tolstoy, ‘Ivan Chekhov,’ and Guy de Maupassant: “The Telephone” (‘F.G. Snyder,’ in all probability a pseudonym for Bava and fellow screenwriters Marcello Fondato and Alberto Bevilacqua; in any case, the story is vaguely influenced by “Le Horla,” by Maupassant), “The Wurdalak” (Tolstoy), and “The Drop of Water” (‘Chekhov,’ but probably based on a story by Franco Lucentini).

The American version of the film moved “The Drop of Water” to the front; I prefer the original Italian ordering, as it gives the film a kind of ABA, ternary form in terms of theme–statement, departure, return. Furthermore, the prudish Production Code, while waning, was still in effect enough to censor the American version of “The Telephone,” removing the hints at a lesbian relationship between Rosy and Mary, and at the fact that Rosy is a call girl, vengeful Frank being her former pimp.

Having seen people lined up at the local cinema to watch the movie back in the late 60s, the heavy metal pioneers decided to name themselves after it (this renaming in English being a fortuitous choice for them, since it bears no relation at all to the film; the renaming was just to lull movie-goers over to it after the success of Bava’s Black Sunday); the band marvelled at how people are willing to pay to be scared. As a result, the band invented heavy metal, with its doom-and-gloom sound, as a kind of rock version of horror movie music, in contrast to the ‘happier’ hard rock of the likes of Led Zeppelin, AC/DC, and Van Halen.

The film didn’t do well commercially or critically on release, but it has since seen its reputation improve. “The Telephone” is an early Bava attempt at giallo in film.

Here are some quotes:

“Come closer, please! I’ve something to tell you. Ladies and gentlemen, how do you do? This is BLACK SABBATH. You are about to see three tales of terror… and the supernatural. I do hope you haven’t come alone. As you will see from one of our tales, vampires – wurdulaks – abound everywhere. Is that one, sitting behind you now? You can’t be too careful, you know. They look perfectly normal, and indeed they are. Except… they only drink the blood of those whom they love the best. Ah… there I go, talking shop again! Let’s get on with our first tale.” –Boris Karloff, first lines

“You have no reason to be afraid.” –Mary, to Rosy

“What’s the matter, woman? Can’t I fondle my own grandson? Give him to me!” –Gorca, to Ivan’s mother

II: Unifying the Stories

So, why did Bava choose these “three faces of fear” in particular? Why these three stores, as opposed to any other three? If they were merely chosen at random, such a choice would seem to detract from the overall quality of the movie, one which is now ranked #73 on a Time Out poll of the best horror films. Surely, these three specific choices, and how they were crafted, have a meaning in itself.

Since the three stories are separated in terms of plot, time, and setting (the first in early 60s France, the second in 19th century Russia, and the third in London in the 1910s), the link uniting them seems to be one of theme.

Indeed, there are several themes that I’ve found uniting the three stories, especially the first and last in this ABA structure. The main theme is the relationship between fear and desire.

Lacan said that desire is “the desire of the Other,” meaning that we desire to be what other people desire (what we think they desire), and that we desire recognition from others. As for fear, Lacan said that our anxieties spring from not knowing what others want–“the sensation of the desire of the Other…Anxiety is the feeling of the over-proximity of the desire of the Other.” Hence, the link between fear and desire.

Is the desire of others a wish to rape or kill us? Is it their wish to absorb our identity into them and to make us one of them? Is it their wish to take from us what they lack? These are “the three faces of fear” that confront us–sometimes literally, sometimes symbolically–in this film.

III: The Telephone

Though a telephone is a means of communication, of connection, it’s paradoxically also a cause of alienation, since we use it to converse from far distances, making face-to-face communication impossible. This is the central problem of Rosy (played by Michèle Mercier), a pretty young call girl who gets a series of threatening phone calls at home one night from a mysterious person.

She hears the voice of a man who claims to be watching her every move in her apartment: knowing when she’s changed into her dressing gown, when she’s exposing her pretty legs, when she’s hidden her valuables. This knowing is an erotic link between fear and desire; it’s Freud‘s Eros connected with Thanatos, for though the caller craves her beautiful body, it’s to kill her, not to caress her.

She learns from the newspaper that Frank (played by Milo Quesada), her former pimp against whom she testified, has broken out of prison, and she understands that it’s he who has been calling her, wanting to kill her in revenge. She calls her former friend, Mary (played by Lydia Alfonsi), to come over to her apartment to help her feel safe; immediately after hanging up, she gets another threatening call, her victimizer knowing she’s just chatted with Mary on the phone.

Little does Rosy know that Mary, a lesbian admirer who’s had a falling-out with her, is the caller. Mary’s terrorizing of Rosy, to pressure her former lover to let her come back into her life–and into her home, which is symbolic of Rosy’s vagina–is a symbolic lesbian sexual assault. (I’ll return to this symbolism in “The Drop of Water,” the returning A of this ABA structure.)

So, the alienating effect of the telephone conversations, as opposed to Mary’s entering of Rosy’s apartment to talk to her face to face, represents the kind of object relations that WRD Fairbairn wrote about: the Central Ego/Ideal Object configuration (Mary and Rosy, when face to face), the Libidinal Ego/Exciting Object configuration (Mary and Rosy when on the phone, with Mary’s desire to have Rosy again), and the Anti-libidinal Ego/Rejecting Object configuration (Mary’s threats to Rosy, when impersonating Frank on the phone).

Put another way, Mary is torn between feelings of love and desire (her Libidinal Ego) for Rosy (Mary’s Exciting Object), and feelings of hate and resentment (Mary’s Anti-libidinal Ego) for the ex-lover who spurned her (Mary’s Rejecting Object). Mary’s claim of bearing no grudge is thus an obvious example of denial.

Mary has resolved her conflict between the Eros wish to kiss Rosy, on the one hand, and her Thanatos wish to kill Rosy, on the other, by making the threatening calls. On the one hand, Mary enjoys terrorizing Rosy, and on the other, she is goading Rosy to let her come in [!] her home. Mary’s putting of a knife under Rosy’s pillow suggests that Mary knows Frank is really coming over.

There is the ever-so-slight influence of Guy de Maupassant’s horror short story, “Le Horla” on “The Telephone.” The American bowdlerization of “The Telephone,” not only removing the hints at lesbianism and prostitution, but also making Frank into a ghost who sends Rosy a self-writing letter, makes the story a little closer to Maupassant’s, with its sense of an evil presence encircling, watching, and ultimately controlling the protagonist (who at the end attempts to kill his/her tormentor, but ultimately fails); I must say, however, that this alteration comes off as contrived when compared with the vastly superior Italian original, which needed no supernatural trappings of any kind.

The link between the influence of The Horla (loosely translated, “[that thing] out there,” hors-là), who wants to possess the body of the narrator, and “The Telephone” reinforces my interpretation that the encroachment into Rosy’s apartment is a symbolic rape, especially since I see Frank as a projection of Mary; her impersonating of him on the phone represents a wish-fulfillment to attack Rosy.

Mary gives Rosy a tranquilizer. We see Rosy lying on her bed, towards the end of her sleep; and the light of dawn (by which time the threatened killing of her is supposed to have already happened) is coming through a window. Mary is at a nearby desk writing a letter to Rosy, confessing that she was, in fact, her terrorizer: this was the only way she could be with Rosy again. I wonder–while Rosy was out, did Mary enjoy her? It seems unlikely that Mary would have passed up such an opportunity.

Then, Frank comes in and, thinking it’s Rosy at the desk writing the letter of confession, strangles Mary with one of Rosy’s stockings. Since I see Frank as a projection of Mary’s aggressive feelings towards Rosy, this killing can be seen to symbolize Mary’s Anti-libidinal Ego momentarily triumphing over her Libidinal Ego, meaning that it’s Mary who has wanted to kill Rosy after all. Still, that part of Mary that still loves Rosy wins out in the end, for the knife Mary put under the pillow is used by Rosy to kill her attacker, that projection of Mary’s killer instincts onto Frank, which is once again rebuffed by Mary’s Rejecting Object.

IV: The Wurdalak

A wurdalak is a kind of Slavic vampire that feeds on the blood of those it especially loves–its family and close friends. Here again we see the meeting of fear and desire.

This story is the most faithful of the three to its purported literary sources, in this case, Aleksey Tolstoy’s Family of the Vourdalak. Here we see Boris Karloff doing his thing, and hearing his lines dubbed into Italian is the only drawback of Bava’s original version.

Travelling Vladimir Durfe (played by Mark Damon) stops when he sees a decapitated corpse with an unusual dagger stabbed in its chest. Later, he comes to the cottage of a family, having taken the dagger with him. He enters the cottage and sees an empty space on a wall where the dagger is meant to be hanging.

One of the men of the cottage, Giorgio (played by Glauco Onorato), points a rifle at Vladimir and demands he return the dagger to the family. The dagger is an obvious phallic symbol (as is the rifle), and its not being in the possession of Giorgio’s family is thus a symbolic castration, a Lacanian lack giving rise to desire.

The rest of the family present themselves to Vladimir: Giorgio’s wife (played by Rika Dialina) and their little boy, Ivan; Giorgio’s younger brother, Pietro (played by Massimo Righi), and the men’s sister, the breathtaking Sdenka (played by Susy Andersen), with whom Vladimir is immediately smitten. More desire emerges.

A terrible fear is consuming the family: their old patriarch, Gorca (Karloff), has gone off to destroy a wurdalak. If the old man doesn’t return until after five days (ten days in Tolstoy’s story), then he’s become a wurdalak himself, and he must be destroyed, an agonizing task for his family.

Gorca does return, at just about the last moment when such a return would be safe…or has it been just slightly too late? He looks ghastly and pale, and he’s irritable. He also has a gory wound on his chest, a yonic hole, another symbolic castration, a lack leading to desire.

Indeed, he does feel desire: the creepy old man wishes to “fondle” his grandson, Ivan; the family must indulge him. Here we come to the uncomfortable symbolism of the wurdalak‘s craving of the blood of family–it represents incest, both literal and psychological, leading to enmeshment.

Sexual perversity is at the core of Black Sabbath, the merging of fear and desire: lesbian rape (bear in mind that I am not the one making moral judgements against lesbianism here, the film is; in 1963, homosexuality was far less socially accepted–I’m just exploring theme here), the symbolic necrophilia that I see in “The Drop of Water” (see below), and the vampiric incest in this story.

Vampire stories are a form of erotic horror, with phallic fangs biting into flesh and sucking out blood, leaving pairs of yonic wounds. Such attacks can be seen as symbolic rapes, a taking possession of the victims. I demonstrated such forms of erotic perversity as these in my novel, Vamps, and in my analyses of Martin and ‘Salem’s Lot. From this reasoning, I can conclude that the families of wurdalaks, craving the blood of their kin, are incestuous.

This incestuous desire goes way beyond children’s Oedipal desires for their parents, but it shares the same Oedipal narcissism. One regards one’s whole family as a possession to gratify only one’s own desires, never an outsider’s desires, such as those Vladimir has for Sdenka. For this reason, she feels she cannot escape with him, for Gorca owns her.

Similarly, even before Ivan’s mother has been made a wurdalak, she is so attached to him that, knowing he’s a wurdalak, she won’t let Giorgio destroy Ivan; she would kill herself before allowing that to happen. She takes a knife and stabs Giorgio instead, then opens the door to let her vampire son (and Gorca) inside the house, risking the turning of her entire family into wurdalaks. Such extreme, irrational, overprotective love, going beyond even her love of her husband, suggests a Jocasta complex.

Vladimir’s love for Sdenka offers her the hope of escaping this narcissistic, emotionally abusive family. She runs away with him, stopping at an abandoned cathedral, but the wurdalak family–Gorca, bitten Giorgio and his wife–find her there and, biting her, force her to return with them.

The enmeshment of the abusive family is complete: they just have to ensnare Vladimir with a bite from Sdenka when he returns to their cottage.

V: The Drop of Water

This story is claimed to be based on one by ‘Ivan Chekhov,’ though the actual source is “Dalle tre alle tre e mezzo” (“Between Three and Three-thirty”), by Franco Lucentini, under the pseudonym of P. Kettridge. This third part of the movie shares enough thematic similarities, by my interpretation, to “The Telephone” to indicate a return to A in the film’s ternary form.

Helen Chester (played by Jacqueline Pierreux), a nurse in 1910s London, is in her flat one night; just as Rosy, in “The Telephone,” has returned to her apartment, in early 60s France, at night. In both stories, the protagonist is a woman in modern western Europe, at home at night. Both of them receive irritating phone calls at the beginning of the story.

The caller requires Helen immediately to go to the home of an old medium who has just died; the caller, the medium’s timid maid, needs Helen to dress the body and prepare it for burial. Annoyed, Helen goes over there.

The maid is too afraid to go near the body of a woman who has tampered with the spirit world, so Helen must do all the work unaided. The body has a grotesque, eerie grin on its face. On its finger is a sapphire ring that Helen covets.

Since the maid isn’t there to see Helen’s act of petty larceny, the nurse thinks she’s safe in pulling the ring off the corpse’s finger and stuffing it in her blouse. As soon as she wrests the ring off the dead medium’s finger, though, it falls on the floor; and when she goes down to find it, the corpse’s hand drops on her head, knocking over a glass of water and causing it to spill and drip water on a tray. Then a buzzing fly is seen on the finger where the ring was. It’s as if the medium’s soul has passed by metempsychosis from her body into the fly, so it can pester Helen in revenge for stealing the ring.

Now, to be sure, it is a nice ring, but is it nice enough to steal? I suppose; but would the ghost of the medium be so enraged with Helen’s theft as to want to torment her to the point of making her choke herself to death…over a ring?…over something the medium cannot take with her into the afterlife?

I believe the theft of the ring is symbolic of a far worse outrage, and the medium’s involvement with spirits, likely including evil ones, makes such an outrage plausible, if only symbolically expressed. I see the ring as a yonic symbol, the band representing the vaginal opening, and the sapphire representing either the clitoris or the hymen.

Helen’s theft of the ring, her having been under the demonic influence of one of the spirits with whom the medium has made a dangerous acquaintance, thus symbolizes a lesbian, necrophiliac rape. This symbolism would link this last story thematically with the first one (Mary’s presumed having of Rosy while the latter has been tranquilized), and such an outrage on the corpse would give the medium’s ghost sufficient motive for revenge against Helen.

The spilled glass of water, like those glasses of alcohol Helen drinks in her apartment, would thus also be yonic symbols of her sapphic, sapphire desires [!]. We also see in all of this the link between fear and desire; for right after she slips the ring on her finger and admires it, a symbolic vaginal fingering, she starts noting all the strange, frightening occurrences: the pesky fly having followed her home; the sound of dripping water, symbolic of vaginal discharge, heard everywhere; the power outage (indeed, that light outside her window, flashing on and off, can be seen to symbolize the bright fire of never-fulfilled desire when contrasted with the darkness of fear); and the medium ghost’s appearances, all to terrify Helen.

The link between fear and desire here is in Helen’s guilt over her theft of the medium’s symbolic yoni, her symbolic rape of the corpse. Helen goes mad with guilt, what she sees and hears being visual and auditory hallucinations, and in her madness, she chokes herself to death.

The next morning, a pathologist and doctor discuss Helen’s discovered corpse with her landlady (played by Harriet White Medin), who the night before had to break open the door to discover what Helen’s screaming was all about. Just as Mary pays with her life for Rosy’s symbolic rape, the forced entry into her apartment, and her projection of Frank trying to kill Rosy, so has Helen paid with her life for her symbolic rape of the dead medium.

A cut, or bruise, on Helen’s ring finger indicates that the ring has been pulled off. One may assume that the medium’s ghost has taken it back; but as I said above, the ghost has no use for a ring in the afterlife. I suspect that the landlady, having an agitated look on her face when hearing the sound of dripping water, has stolen the ring.

After all, Helen’s corpse now has an eerie grin just like that of the dead medium. A fresh, white dress is laid out on her bed, just as the maid left one out for the medium. All of these observations suggest a passing-on of the evil from victim to victim, suggesting in turn that, while alive, the medium outraged a previous female corpse, taking the sapphire ring while under the influence of an evil spirit; and now the landlady will be terrorized by Helen’s ghost, and when the landlady dies with an evil grin of her own, yet another woman will snatch the ring [!], and so on, leaving a bruise on the landlady’s finger, symbolic of the injured vaginal walls of a rape victim.

Such passings-on of evil have been observed in the other two stories: Mary’s resentment against Rosy is passed, projected onto Frank, and their aggression is passed on to Rosy, who kills him, with his own killing of Mary being symbolic of her self-destructive lust; the evil of the wurdalak is passed onto Gorca, then to Ivan, to Giorgio and his wife, and finally to Sdenka and Vladimir. Finally, the ghoulish lust for the yonic ring is passed on from woman to woman.

All violent forms of sexuality, three faces of fear, merged with three faces of desire.

Analysis of ‘Deliverance’

Deliverance is the 1970 debut novel by American poet James Dickey. It was made into a 1972 film by director John Boorman, starring Jon Voight, Burt Reynolds, Ned Beatty, and Ronny Cox.

Four middle-aged men–landlord/outdoorsman Lewis Medlock (Reynolds), graphic artist Ed Gentry (Voight), salesman Bobby Trippe (Beatty), and soft drink company executive Drew Ballinger (Cox)–spend a weekend canoeing up the fictional Cahulawassee River in the northwest Georgia wilderness…only their imagined fun-filled weekend turns into a nightmarish fight to survive.

Deliverance is considered one of the best English-language novels of the 20th century, and Boorman’s film adaptation–with a screenplay by Dickey–has also been highly praised, earning three Academy Award nominations (Best Picture, Best Director, and Best Film Editing) and five Golden Globe Award nominations (Best Motion Picture–Drama, Best Director, Best Actor [Voight], Best Original Song, and Best Screenplay).

Here are some quotes from the film:

“Sometimes you have to lose yourself before you can find anything…A couple more months, she’ll all be gone…from Aintry on up. One big dead lake.” –Lewis

Griner: Canoe trip?
Lewis: That’s right, a canoe trip.
Griner: What the hell you wanna go fuck around with that river for?
Lewis: Because it’s there.
Griner: It’s there all right. You get in there and can’t get out, you’re gonna wish it wasn’t.

Lewis: The first explorers saw this country, saw it just like us.
Drew: I can imagine how they felt.
Bobby[about the rapids] Yeah, we beat it, didn’t we? Did we beat that?
Lewis: You don’t beat it. You never beat the river, chubby.

Lewis: Machines are gonna fail and the system’s gonna fail…then, survival. Who has the ability to survive? That’s the game – survive.
Ed: Well, the system’s done all right by me.
Lewis: Oh yeah. You gotta nice job, you gotta a nice house, a nice wife, a nice kid.
Ed: You make that sound rather shitty, Lewis.
Lewis: Why do you go on these trips with me, Ed?
Ed: I like my life, Lewis.
Lewis: Yeah, but why do you go on these trips with me?
Ed: You know, sometimes I wonder about that.

Bobby: It’s true Lewis, what you said. There’s something in the woods and the water that we have lost in the city.
Lewis: We didn’t lose it. We sold it.
Bobby: Well, I’ll say one thing for the system. System did produce the air mattress, or as is better known among we camping types, the instant broad.

Mountain Man: What’s the matter, boy? I bet you can squeal. I bet you can squeal like a pig. Let’s squeal. Squeal now. Squeal. [Bobby’s ear is pulled]
Bobby: Wheeeeeeeeeeeeeee!
Mountain Man: Squeal. Squeal louder. Louder. Louder, louder. Louder! Louder! Louder! Get down now, boy. There, get them britches down. That’s that. You can do better than that, boy. You can do better than that. Come on, squeal. Squeal.

Mountain Man: Whatcha wanna do with him?
Toothless Man[grinning] He got a real pretty mouth, ain’t he?
Mountain Man: That’s the truth.
Toothless Man[to Ed] You’re gonna do some prayin’ for me, boy. And you better pray good.

Lewis: We killed a man, Drew. Shot him in the back – a mountain man, a cracker. It gives us somethin’ to consider.
Drew: All right, consider it, we’re listenin’.
Lewis: Shit, all these people are related. I’d be god-damned if I’m gonna come back up here and stand trial with this man’s aunt and his uncle, maybe his momma and his daddy sittin’ in the jury box. What do you think, Bobby? [Bobby rushes at the corpse, but is restrained] How about you, Ed?
Ed: I don’t know. I really don’t know.
Drew: Now you listen, Lewis. I don’t know what you got in mind, but if you try to conceal this body, you’re settin’ yourself up for a murder charge. Now that much law I do know! This ain’t one of your fuckin’ games. You killed somebody. There he is!
Lewis: I see him, Drew. That’s right, I killed somebody. But you’re wrong if you don’t see this as a game…Dammit, we can get out of this thing without any questions asked. We get connected up with that body and the law, this thing gonna be hangin’ over us the rest of our lives. We gotta get rid of that guy!…Anywhere, everywhere, nowhere.
Drew: How do you know that other guy hasn’t already gone for the police?
Lewis: And what in the hell is he gonna tell ’em, Drew, what he did to Bobby?
Drew: Now why couldn’t he go get some other mountain men? Now why isn’t he gonna do that? You look around you, Lewis. He could be out there anywhere, watchin’ us right now. We ain’t gonna be so god-damned hard to follow draggin’ a corpse.
Lewis: You let me worry about that, Drew. You let me take care of that. You know what’s gonna be here? Right here? A lake – as far as you can see hundreds of feet deep. Hundreds of feet deep. Did you ever look out over a lake, think about something buried underneath it? Buried underneath it. Man, that’s about as buried as you can get.
Drew: Well, I am tellin’ you, Lewis, I don’t want any part of it.
Lewis: Well, you are part of it!
Drew: IT IS A MATTER OF THE LAW!
Lewis: The law? Ha! The law?! What law?! Where’s the law, Drew? Huh? You believe in democracy, don’t ya?
Drew: Yes, I do.
Lewis: Well then, we’ll take a vote. I’ll stand by it and so will you.

Ed: What are we gonna do, Lewis? You’re the guy with the answers. What the hell do we do now?
Lewis: Now you get to play the game.

“Drew was a good husband to his wife Linda and you were a wonderful father to your boys, Drew – Jimmie and Billie Ray. And if we come through this, I promise to do all I can for ’em. He was the best of us.” –Ed

Sheriff: Don’t ever do nothin’ like this again. Don’t come back up here.
Bobby: You don’t have to worry about that, Sheriff.
Sheriff: I’d kinda like to see this town die peaceful.

The film begins with voiceovers of Lewis and the other three men discussing their plan to go canoeing up the Cahulawassee River while they still have the chance (i.e., before it gets dammed up), with visuals of the construction workers beginning work on the dam. The novel, however, begins not only with Ed, as narrator, and the other three discussing their weekend plans, but also with his experience as the co-owner of a graphic art business/advertising agency, Emerson-Gentry.

He describes a photography session with a model wearing nothing but panties with the brand name of “Kitt’n Britches.” She is made to hold a cat; he gets turned on watching her holding one of her breasts in her hand while posing for the photo shoot. This scene gives us a sense of how he, as the co-owner of this business, is a capitalist exploiter enjoying his job ogling a pretty, seminude model. He isn’t completely comfortable with treating her like an object, though.

Indeed, one gets a sense that Ed is a sensitive liberal, with mixed feelings about the shoot: “I sat on the edge of a table and undid my tie. Inside the bright hardship of the lights was a peculiar blue, wholly painful, unmistakably man-made, unblinkable thing that I hated. It reminded me of prisons and interrogations, and that thought jumped straight at me. That was one side of it, all right, and the other was pornography. I thought of those films you see at fraternity parties and in officers’ clubs where you realize with terror that when the girl drops the towel the camera is not going to drop with it discreetly, as in old Hollywood films, following the bare feet until they hide behind a screen but is going to stay and when the towel falls, move in; that it is going to destroy someone’s womanhood by raping her secrecy; that there is going to be nothing left.” (pages 20-21)

All the same, towards the end of the novel, after he has returned from the ordeal of the canoeing trip, Ed–a married man with a son–takes the model out to dinner a couple of times (page 277).

His dishonesty to his wife, Martha, combined with his having lied to the Aintry cops about the deaths on and near the river, gives off the impression that Ed is an unreliable narrator (I’m not alone in this opinion: check Germane Jackson’s comment at the bottom of this link.). There is a sense that this story is much more wish-fulfillment on Ed’s part than a straightforward narrative. He wants to portray himself as a rugged hero, his nightmarish battle with nature a proving of his manhood.

This last point leads to one of the main themes of the novel: masculinity and its fragility. Lewis is Ed’s ideal of manhood, metaphorically a mirror to his narcissism. Now, while Drew’s loyalty to the law (his last name, Ballinger, sounds like a pun on barrister) suggests to Ed a sense of moral virtue (Drew is later deemed “the best of [them],” after his death), he hasn’t the manly strength Ed admires so much in Lewis. This lack of manliness is especially apparent in Bobby, the one who gets raped by the mountain man. Bobby’s surname, Trippe, is apt, for it suggests his awkwardness and ineffectuality.

Even Lewis’s supposed masculine perfection is compromised, however, when he breaks his leg, forcing Ed to be the hero. In this predicament we see Ed’s wish-fulfillment of having a chance to be like Lewis: his arduous climbing up the cliff and killing the toothless man (or so he thinks) are like a rite of passage for him. Without this test of manhood, Ed’s just a mild-mannered “city boy.” His surname, Gentry, suggests this softness.

Ed’s admiration for Lewis borders on, if it doesn’t lapse into, the homoerotic, with a passage in which Ed describes Lewis’s muscular, naked body with awe: “Lewis…was waist deep with water crumpling and flopping at his belly. I looked at him, for I have never seen him with his clothes off.
“Everything he had done for himself for years paid off as he stood there in his tracks, in the water. I could tell by the way he glanced at me; the payoff was in my eyes. I had never seen such a male body in my life, even in the pictures in the weight-lifting magazines, for most of those fellows are short, and Lewis was about an even six feet. I’d say he weighed about 190. The muscles were bound up in him smoothly, and when he moved, the veins in the moving part would surface. If you looked at him that way, he seems made out of well-matched red-brown chunks wrapped in blue wire. You could even see the veins in his gut, and I knew I could not even begin to conceive how many sit-ups and leg-raises–and how much dieting–had gone into bringing them into view.” (pages 102-103)

Since Ed’s wish-fulfilling narrative is unreliable, we can see the rape of Bobby as, in part, the projection of an unconscious wish on Ed’s part to be done by Lewis. Recall also that the arrow Lewis shoots into the back of the mountain man has not only saved Ed from having to perform fellatio on the toothless man, but also avenges Bobby’s rape, since Lewis’s phallic arrow rapes, if you will, the mountain man.

One’s sense of masculinity is assured in our society by winning in competitions of one sort or another. This competitiveness ranges everywhere from Ed’s life-and-death struggle to kill the toothless man to Drew’s innocuous duet with Lonnie on the guitar and banjo, respectively.

In the novel, the two musicians begin by playing “Wildwood Flower” (pages 59-60). In the film, of course, it’s the famous–and aptly named–“Duelling Banjos.” They smile at each other as they play, while all the other men around, local and visitor alike, enjoy the impromptu performance. One of the locals even dances to the tune; but when the competing musicians finish, and Drew wants to shake hands with Lonnie, the latter coldly turns his head away.

Part of the sense of competition is a belief in the supposed superiority of oneself over one’s rival. Accordingly, the four visitors tend to have a condescending attitude to the impoverished locals, who in return are gruff with them. Since I consider Ed to be an unreliable narrator (In Voight’s portrayal of him in the film, as well), his encounters of the inbred among the locals could be his imagination, another way for him to see himself as superior to those around him…except for Lewis.

Ed muses, “There is always something wrong with people in the country…In the comparatively few times I had ever been in the rural South, I had been struck by the number of missing fingers. Offhand, I had counted around twenty, at least. There had also been several people with some form of crippling or twisting illness, and some blind or one-eyed. No adequate medical treatment, maybe. But there was something else. You’d think that farming was a healthy life, with fresh air and fresh food and plenty of exercise, but I never saw a farmer who didn’t have something wrong with him, and most of the time obviously wrong; I never saw one who was physically powerful, either. Certainly there were none like Lewis.” (pages 55-56)

These four visitors are men with money, generally owners of businesses and private property, thus making them at least petite bourgeois; their social status contrasts them with the poor, working-class locals in this rural area near the river. To the locals, it will feel as if the four men are intruding on their territory, comparable to Western imperialists coming into and taking over the Third World. After all, competition over who gets to control land, resources, and the means of production is what capitalism is all about; and between the building of the dam (page 123) and these four intruders, the rural locals have a lot to be annoyed about.

The four men imagine they aren’t doing anything wrong because they don’t know what it’s like to live on a barely subsistence level: the rural locals do know that experience, and they resent richer people coming into their area and thinking they can do whatever they please there.

Since Ed is telling the story, he is going to portray himself and his three friends in the best possible light, and portray the locals in the most unflattering way possible, too. For this reason, we should take his narration with a generous grain of salt, and seriously consider what possible details he’s leaving out: the goodness of the locals, and the wrongs that he and his friends have quite possibly, if not probably, done to the locals.

Part of how Ed’s narration is distorting the facts is how he’s projecting his and his friends’ faults and wrongdoing onto the rural people and their setting. In the film, while the four men are camping at night, Lewis suddenly wanders off because he thinks he’s heard something (i.e., is somebody stalking them?). In the novel, Ed thinks he hears a man howling before going to sleep in his tent. Then he dreams about the model in the Kitt’n Britches panties being clawed in the buttocks by the cat. Then he wakes up, turns on a flashlight, and sees an owl with its talons on the tent…is this meant to be an omen, or just him projecting his own ill will onto his environment? By his own admission, “There was nothing, after all, so dangerous about an owl.” (pages 86-88)

Ed shares such fears with us in order to make himself and his friends into the victims, to conceal the fact that they’re actually the victimizers, covering up their murders of the mountain man and toothless man while trying to win the reader’s sympathy.

Interspersed sporadically throughout the novel, oblique and metaphorical references to war and imperialist concepts can be found by the careful reader. Examples include Ed calling his employees his “captives” and his “prisoners” (page 17); there’s the above-mentioned reference to “prisons and interrogations” and to porno films watched in “officers’ clubs” (page 20); when he and Lewis drive off from Ed’s home to go on the canoeing trip, he speaks of himself and his friend as seeming like “advance commandos of some invading force” (page 35); when he reaches the wilderness and gets out of the car, he looks in the rear window and sees himself as a “guerrilla, hunter” (page 69); when the four men have pitched their tents, Ed feels “a good deal better,” for they have “colonized the place” (page 83); he and his friends would “found [a] kingdom” (page 103); according to Lewis, the locals consider anyone outside the rural area to be unwanted “furriners” (pages 123-124); Ed confesses, “I was a killer” (page 173); later, he muses how “It was strange to be a murderer” (page 232); he speaks of the river “finding a way to serve” him, including collages he’s made, one of which hangs in an employee’s cubicle, “full of sinuous forms threading among the headlines of war” (page 276); finally, Lewis makes a reference to “Those gooks” (page 278).

All of these quotes taken together suggest that this 1970 novel, taking place mostly in the wilderness and involving the killing of two local men, as well as the apparent shooting of Drew, could be seen as an allegory of the American whitewashing of such imperialist wars as those of Korea and Vietnam. The above-mentioned quotes can also be seen as Freudian slips, meaning that Ed has repressed possible traumatic war experiences, making them resurface in the unrecognizable form of a weekend canoeing…except the quotes give away what’s really happened.

In this reimagined scenario, Lewis as the outdoorsman, survivalist, and Ed’s macho ideal, is the squad commander, barking orders at Bobby in their shared canoe. Ed is second-in-command, a former officer in one or two wars, I suspect (hence his reference above to “officers’ clubs” watching porno films), as Lewis was. Bobby and Drew are the weaker, less-experienced NCOs.

The Georgia wilderness symbolizes the jungles of Vietnam and wilderness of pre-industrialized Korea. The river can symbolize either a path our four ‘troops’ are walking on; or the Mekong, once controlled by the French; or it could be a river like the Nung River that Captain Willard (played by Martin Sheen) would go on in Apocalypse Now; or it could be compared to the river that Marlow‘s steamboat goes on in Heart of Darkness. The weekend canoe trip, then, is symbolically an imperialist intrusion into an impoverished land whose people would free themselves from colonialism, if only they could.

Ed doesn’t tell the story anywhere near like my interpretation, though, because he’d rather portray himself and his friends as the victims, and depict the two men they have murdered as the victimizers. Western propaganda similarly portrayed North Korea and North Vietnam as the communist aggressors, and the American military as the heroes attempting to bring ‘freedom and democracy’ to the Koreans and Vietnamese. We’ve all heard these lies before, as with the Gulf of Tonkin incident and endless propaganda against the DPRK.

Hollywood has made movie after movie about the suffering of American soldiers in Vietnam, while giving short shrift to the suffering of the Vietnamese; also, they tend to make the Americans into the heroes and stereotype the Vietnamese as villains, prostitutes, backward peasant farmers, etc., though some films are better, or worse, than others in this regard. Similarly, though M.A.S.H. vilified Koreans far less, their experience is no less marginalized or stereotyped in the movie and TV show. This misrepresentation and marginalizing can be seen to be paralleled in Ed’s negative portrayal of the locals, and in his unreliable narration of the rape and sniper passages in the novel and film.

Anyone who has done the research knows that the US escalated the Vietnam war, rationalizing American military aggression with the fabricated Gulf of Tonkin incident, then committed such atrocities as the My Lai massacre, napalm attacks scarring such locals as Phan Thị Kim Phúc, as well as the troops’ widespread raping of Vietnamese women. The rape of Bobby and the near-sexual assault of Ed, apart from being the homoerotic projections I described above regarding Ed’s feelings about Lewis, can also be seen as projections of Ed’s own guilt, symbolic of the guilt of American soldiers in such places as Korea and Vietnam.

For here is the core of Ed’s trauma, as I see it: it isn’t so much what the rural locals (in my allegory, the North Koreans and the Vietcong) may have done to him, but the guilt of what he and those with him did to them. The only way he can cope with his guilt is to repress the memories, to transform them into an unrecognizable fake memory (his and Lewis’s crimes reimagined as acts of self-defence), and to project his own guilt onto the locals (i.e., those inhabiting the Georgian wilderness symbolizing the Koreans and the Vietnamese as victims of US imperialism, as I’d have it.)

And instead of being a villain who murdered locals, Ed can fancy himself and Lewis as heroes, avenging a rape, and climbing a steep cliff and saving his friends from the toothless sniper…if that’s even the man Ed has killed!

Ed’s ogling of the Kitt’n Britches model during the photo shoot, and especially his dream of the cat clawing at her ass, can be seen as symbolic of rapes and prostitution in Korea and Vietnam, censored by his superego to make them less anxiety-provoking. The fact that he thinks of her on several occasions while in the Georgian wilderness, which as I mentioned above is symbolic of the jungles of Vietnam, even further solidifies the symbolic link between her and the sexual exploitation of Korean and Vietnamese women and girls by US troops.

By now, Dear Reader, you may be skeptical of my imposing of US imperialism onto this story. There is, after all, not a shred of proof anywhere in the novel or the film that Ed, Lewis, Bobby, and Drew are vets of the Korean or Vietnam wars. But consider the alternative. The novel was published in 1970; the film came out in 1972. The story takes place more or less in the present (i.e., at that time), or maybe a year or two before. There is no indication of it happening at a far earlier time, so we can only assume it takes place some time between 1970 and 1972.

In the novel, the four men are middle-aged. In the film, though, they are considerably younger, between 33 and 36, going by the actors’ ages at the time (Voight’s having been 33), or perhaps a few years older. Some of the motivation for having younger actors may have been because moviegoers prefer to sympathize with younger, better-looking people; but Ned Beatty’s character doesn’t need to be younger, and nor does Ronny Cox’s. Burt Reynolds’s character is 38 or 39 years of age (page 6), only a few years older than Reynolds was at the time. If we imagine the film’s characters to be in their late 30s, then all four of them may have been drafted into the Korean War, twenty years earlier.

My point about the novel as allegorical of a whitewashed imperialist war experience isn’t dependent on whether or not these four men actually served in the Korean or Vietnam wars, but their involvement in them isn’t to be ruled out, either, just because it isn’t mentioned in the novel. Lewis, at the age of 18 or 19, would have been drafted into the Korean War in 1950, ’51, or ’52; and Ed (in his late 40s in the novel), Bobby, and Drew must have been drafted, at ages between their late 20s and 30, in 1950, because in that year, all men between 18-and-a-half and 35 would have had to sign up.

The men may also have joined voluntarily for service in the Vietnam War (at least two thirds of those who served were volunteers). They’re too straight (15b definition) and bourgeois to be the draft card burning type (their higher socio-economic status, education, and ages in the mid-Sixties would have presumably made them officers). For men of their age, the patriotic American, anti-commie type would have been standard enough of an attitude to make them likely to have volunteered.

Even though it’s never mentioned, I’d say they must have done tours of duty in Korea. Though they were too old to have been drafted into serving in Vietnam, they would have been the right age for Korea. At least Ed would have served in Korea, since Lewis (his macho ideal), Bobby, and Drew may be figments of Ed’s imagination, transformations in his unconscious mind of old army buddies. If Lewis isn’t an imaginary character, his rugged, outdoorsman, macho personality would likely have made him want to sign up for Vietnam.

Ed’s never mentioning having done any service in the Korean War, then–apart from it having been too distant a memory to preoccupy him consciously–can easily be attributed to repression, while those indirect and metaphorical references to war, colonialism, and imperialism can be seen as fragments of Korean (or possibly also Vietnam) War memories slipping out. Given the year that the story is set in, and that the four men were young enough and sufficiently able-bodied in the early 50s to have served in Korea, I’d say that, if anything, it’s harder to believe that they haven’t served than that they have.

The trauma of Ed’s guilt and his fight to survive the ambushes of the wartime enemy are enough to force him to bury the pain in his unconscious and to have it reappear in a much less painful form–a weekend canoe trip gone horribly wrong, with him killing only one man instead of many Koreans (and possibly Vietnamese), with his and Lewis’s two killings remembered as acts in self-defence, as “justifiable homicide” rather than as a string of wartime atrocities.

And instead of Ed witnessing–and allowing–the multiple rapes and prostitution of Korean (and possibly also Vietnamese) women, his unconscious transforms these into one rape of one of his buddies and an attempted sexual assault on himself, a projection of his guilt turning the victimizers into the victims.

And instead of Ed and his fellow officers (Lewis, Bobby, and Drew, by chance?) raping and/or enjoying the sexual services of a number of Korean (and maybe Vietnamese) prostitutes, Ed can imagine it was really just him ogling a model wearing nothing but panties (recall the mountain man in the film saying to Bobby, “Them panties, take ’em off,” and “get them britches down”) during a photo session that reminds him of being in an officers’ club watching a porno (page 20); then later, he dates her behind his wife’s back.

Instead of being guilty of terrible crimes, it turns out that Ed was just a little naughty. That’s not so bad, is it? This is his “deliverance” from a much more terrible trauma. Even when he makes love to his wife, Martha, he fantasizes about the model and her “gold eye” (page 28). Fantasizing about making love to her, instead of raping her, is his “deliverance” from guilt, for “it promised other things, another life.”

Ed’s difficult climb up the cliff is described in sexual language: “…I would begin to try to inch upward again, moving with the most intimate motions of my body, motions I had never dared use with Martha, or with any other human woman. Fear and a kind of enormous moon-blazing sexuality lifted me, millimeter by millimeter. And yet I held madly to the human. I looked for a slice of gold like the model’s in the river: some kind of freckle, something lovable, in the huge serpent-shape of light.” (page 176)

Later, Ed says, “It was painful, but I was going. I was crawling, but it was no longer necessary to make love to the cliff, to fuck it for an extra inch or two in the moonlight…If I was discreet, I could offer it a kick or two, even, and get away with it.” (page 177) This aggressively sexual language, once again with a reference to the model (previous paragraph), is another example of the symbolically imperialistic rape of the land the visitors have imposed on the locals.

Yet Ed is mostly preoccupied with describing the difficulty of the climb, especially for a man with aches and pains all over his body, as for example, here: “My feet slanted painfully in one direction or another. Guided by what kind of guesswork I could not say, I kept scrambling and stumbling upward like a creature born on the cliff and coming home. Often a hand or foot would slide and then catch on something I knew, without knowing, would be there, and I would go on up. There was nothing it could do against me, in the end; there was nothing it could do that I could not match, and, in the twinkling of some kind of eye-beat. I was going.” (page 177) His description of his battle with nature is thus more of him twisting things around and making himself the victim, and his surroundings the victimizer of sorts. It’s also him glorifying himself as a conquering hero, overcoming the cliff, and worthy of Lewis’s admiration.

When Ed shoots his arrow into the hunter he believes to be the toothless man, he falls from the tree he’s been hiding in and stabs another arrow into his side (pages 192-193). His aim of the arrow is shaky in the extreme, as you can see in Voight’s aim in the movie; his aim was just as shaky as when he shot at and missed the deer (page 97). This shakiness is to give us a sense of the “I kill’d not thee with half so good a will,” that Ed is somehow an unwilling murderer, to win our sympathy.

Ed describes himself as coming to be at one with the man he’s about to kill: “I had thought so long and hard about him that to this day I still believe I felt, in the moonlight, our minds fuse. It was not that I felt myself turning evil, but that an enormous physical indifference, as vast as the whole abyss of light at my feet, came to me; an indifference not only to the other man’s body scrambling and kicking on the ground with an arrow through it, but also to mine. If Lewis had not shot his companion, he and I would have made a kind of love, painful and terrifying to me, in some dreadful way pleasurable to him, but we would have been together in the flesh, there on the floor of the woods, and it was strange to think of it.” (page 180).

Ed stabbing himself with the second arrow when hitting the man with the first reinforces this sense of oneness with his victim. Later, Ed gets mad at Bobby, and says in the narration: “I ought to take this rifle and shoot the hell out of you, Bobby, you incompetent asshole, you soft city country-club man,” (page 201) this urge to point the gun at Bobby being once again Ed’s identification with the toothless man. Since, right or wrong, he imagines his victim to be the toothless man who was about to make him suck his cock, Ed is again projecting his own violent attitude onto his victim. As with Lewis shooting an arrow into Bobby’s rapist, Ed is raping his victim with his own phallic arrow.

As with the mountain man put in the ground (which will later be under water once the dam has been built–page 275), this new victim has to be buried in the water. These two burials symbolize guilt repressed into the unconscious. That repressed guilt, however, resurfaces in an unrecognized form; in the first of these cases, it’s the rapids that throw the men out of their canoes, destroying one of them and breaking Lewis’s leg. In the second case, recall the very end of the film.

Lewis insists that Drew has been shot. Ed isn’t so sure of this, especially when he finds Drew’s body and sees the bloody injury on his head. Is it the grazing of a bullet, or is it from his head having cracked against a rock? (page 217) He says he’s never seen a gunshot wound; maybe as an officer, he was behind a desk the whole time in Korea, or maybe he wasn’t all that close to the enemy he was shooting at…or maybe he’s lying again.

Since Drew was outvoted in the decision to bury the mountain man, he may have fallen out of his canoe not from having been shot, but from emotional exhaustion at having done something his conscience could not bear. Certainly that’s how it looks when we see Cox’s face before he falls out of the canoe in the movie; we don’t see his body jerk from having been shot.

If Drew hasn’t been shot, then Lewis’s insistence that he has–coupled with Ed’s determination to kill a hunter who, possibly if not probably, isn’t the toothless man–is yet another example of these men projecting their guilt outwards; the same way American imperialists in Korea and Vietnam were projecting their quest for world dominance onto those ‘commie reds.’

Lewis’s preoccupation with survivalism fits well in the context of my allegory, since he imagines all of civilization crumbling, necessitating man’s survival in the wild; the succumbing of civilization to nature here symbolizes the the capitalist West succumbing to communism. Cold War fears were like that back then. “Machines are gonna fail and the system’s gonna fail…then, survival. Who has the ability to survive? That’s the game – survive,” Lewis says in the film. As we know, though, it is nature that succumbs to civilization when the dam is built…and we all know who won the Cold War.

As Ed, Bobby, and Lewis are coming out of the wilderness and approaching a populated area, Ed must construct a plausible story and make sure that Bobby’s and Lewis’s accounts of it don’t contradict each other’s or Ed’s. As he says of his and Lewis’s crimes to Bobby, “we’ve got to make it unhappen.” (page 210)

This lying is, of course, necessary to avoid getting charged with murder by the local sheriff (in the film, played by Dickey), whose deputy, Queen, already suspects Ed of wrongdoing. Similarly, the US has avoided being held responsible for its war crimes by whitewashing history and portraying itself as “exceptional” and ‘defending the free world.’

Now, lying to the police about the supposed innocence of him and his friends isn’t enough to ease Ed’s mind; to assuage his conscience, he must alter the whole narrative and make himself and his friends seem as innocent as possible. This is why I believe he is an unreliable narrator.

He cannot deny that he and Lewis have committed deliberate murders; to claim to have killed men they haven’t would go against the tendencious bias of the narrative. So instead of denying murderous intent, they must rationalize the murders as acts of self-defence.

Though in the film, Ed has “got a real pretty mouth,” according to the toothless man, who happens to be ogling then 33-year-old, handsome Jon Voight, in the novel, Ed is supposed to be in his late forties, at an age far less likely to have “a real pretty mouth.” Similarly, the mountain man would have to have more than unusually perverted tastes to want to sodomize an obese, middle-aged man who “squeal[s] like a pig.”

When people are proven liars, anything they say is suspect; everything they say after having been found out as liars is doubted until strong evidence is provided that they’re telling the truth. It would be far more believable to imagine the mountain man and toothless man wanting to beat up and/or kill Ed and Bobby (for their insulting remarks about making whiskey–page 109) than it is to believe they’d want to rape them.

To be sure, it’s far from impossible to believe Ed’s and Bobby’s attackers really rape them; it just isn’t all that likely, and given Ed’s propensity to lie, that makes sexual assault all the less likely. What’s more, since he and Bobby look down on the locals as inbred ‘white trash,’ the way racist US troops looked down on East Asians as filthy, uncivilized ‘gooks,’ Ed’s portraying of them as loathsome rapist perverts is a perfect way to scorn and vilify the mountain man and toothless man, thus making it easier to kill them.

Here’s another point: of what relevance to the main narrative on the river is Ed’s preoccupation with a model wearing nothing but pretty panties? With so many references to her while in the wilderness, what’s the point of her involvement in the story other than to reinforce our sense of Ed’s sexual obsessions, manifested also in his description of Lewis’s body and in his ‘making love’ with the cliff? This is why I suspect that the rape of Bobby and near sexual assault on Ed are just projections of Ed’s own aggressive sexual feelings.

One of the tag lines of the film is, “What did happen on the Cahulawassee River?” I’d say that that’s a good question. We, the readers, and we who saw the movie, don’t really know what happened: we only know Ed’s version of the story. We know he killed a man, one who may well not have been his attacker. We know Lewis killed a man. We have reasonable doubts as to whether or not these homicides were justified.

Ed has to change their story when he learns that the cops have found the busted canoe, or parts of it, further back down the river from where Ed and Bobby have claimed that it crashed (page 245). This means more lying.

Ed claims that his fascination with the half-naked model is because of a “gold-glowing mote” in her eye (page 22), rather than with the contents of her Kitt’n Britches. We’re supposed to buy this. He takes her out to dinner a few times (page 277), then loses interest in her (Remember, he’s a married man with a son.). Really? He never took her to bed? He’s clearly trying to make his lust seem as harmless as possible. The connotations of his surname, Gentry, seem to have less to do with him (a capitalist) being a gentleman than they do with the notion of gentry as an upper social class.

Indeed, the fragile masculine ego, with its incessant need to compete with and outdo other men–in sex, in fighting, and in skillfulness in general–is bound up with competitive capitalism and class conflict, especially in its modern, late stage, imperialist form. This is partially why I link the Korean and Vietnam Wars to this novel. War is the ultimate struggle of man against man, and of man against nature, as seen in Deliverance.

By the end of the novel, the dam is up, and the river is now Lake Cahula (page 277). Drew and the men he and Lewis have killed are “going deeper and deeper, piling fathoms and hundreds of tons of pressure and darkness on themselves, falling farther and farther out of sight, farther and farther from any influence on the living.” (page 275) Ed can sleep better now. The bodies are further and further buried under the water, symbol of the unconscious.

Yet as I said above, whatever gets repressed always resurfaces. Dickey ends his novel peacefully, with Ed’s loss of interest in the model (an interest that was tied up with the river [!]), with him still practicing archery with Lewis, with Bobby moving to Hawaii, and with real estate people and college-age kids showing an interest in the Cahula Lake area as a place to live (page 278).

The film, however, ends with Ed waking up from a nightmare in which the hand of the toothless man surfaces from the water, a clear return of the repressed. In the novel, Ed can’t sleep because he’s looking out his bedroom window, wondering if a car is going to arrive on his driveway with a warrant for his arrest (page 273).

Even in the novel’s peaceful ending, the careful reader can sense a continued intrusiveness on the Cahula Lake area. Real estate people want to seize the area for private property. Young high school grads are thinking of living there. Lewis, in discussing Zen and archery, says, “Those gooks are right.” (page 278), an oblique reference, in my opinion, to the imperialists’ racist attitude to the people of the East Asian countries they’ve bombed, napalmed, and raped.

Our memories of the atrocities committed in the Korean and Vietnam wars are similarly fading into oblivion, thanks to whitewashing and repression. But it all comes back, however indirectly, in new forms…as it has over the years in continuing threats to the DPRK and China. We’ll just have to wait and hope for a deliverance from those threats.

James Dickey, Deliverance, New York, Delta Trade Paperbacks, 1970