The Big Book of Modern Fantasy
Page 54
His love for metaphor sharpened, for one thing. Writing in his Deliciae naturae, which appeared fourteen years after his encounter with the plant, he described a small pink-flowered ericaceous plant of Lapland growing on a rock by a pool, with a newt as “the blushing naked princess Andromeda, lovable and beautiful, chained to a sea rock and exposed to a horrible dragon.” These kinds of conceits intrigued him, and more than ever metaphor began to inform the way he perceived and outlined the facts of his science.
Another happy change in his life was the cessation of his bad nights of sleeplessness and uneasy dreams. No longer was he troubled by memories of the attacks of Siegesbeck or any other of his old opponents. Linnaeus had acquired a new and resistless faith in his observations. He was finally certain that the plants of this Earth carry on their love affairs in uncaring merry freedom, making whatever sexual arrangements best suit them, and that they go to replenish the globe guiltlessly, in high and winsome delight.
Angela Carter (1940–1992) was an English writer of stories, novels, essays, and journalism. Her early fiction was often strange and violent but mostly stuck to a more-or-less realistic mode, a mode she began to leave with Heroes & Villains (1969), a post-apocalyptic novel. Her work became more fantastic with The Infernal Desire Machines of Doctor Hoffman (1972), one of the most effective surrealist novels in English. In 1976, she was commissioned to translate Charles Perrault’s fairy tales, and after doing so she wrote the stories in The Bloody Chamber (1979), about which she said, “My intention was not to do ‘versions’ or, as the American edition of the book said, horribly, ‘adult’ fairy tales, but to extract the latent content from the traditional stories.” She won the James Tait Black Memorial Prize for her novel Nights at the Circus (1984), which in 2012 won a special “Best of the James Tait Black Prize” juried award from the award’s sponsor, the University of Edinburgh. “The Erl-King” was first published in the London magazine Bananas in 1977 and revised for The Bloody Chamber.
THE ERL-KING
Angela Carter
THE LUCIDITY, the clarity of the light that afternoon was sufficient to itself; perfect transparency must be impenetrable, these vertical bars of a brass-coloured distillation of light coming down from sulphur-yellow interstices in a sky hunkered with grey clouds that bulge with more rain. It struck the wood with nicotine-stained fingers, the leaves glittered. A cold day of late October, when the withered blackberries dangled like their own dour spooks on the discoloured brambles. There were crisp husks of beechmast and cast acorn cups underfoot in the russet slime of dead bracken where the rains of the equinox had so soaked the earth that the cold oozed up through the soles of the shoes, lancinating cold of the approach of winter that grips hold of your belly and squeezes it tight. Now the stark elders have an anorexic look; there is not much in the autumn wood to make you smile but it is not yet, not quite yet, the saddest time of the year. Only, there is a haunting sense of the imminent cessation of being; the year, in turning, turns in on itself. Introspective weather, a sickroom hush.
The woods enclose. You step between the first trees and then you are no longer in the open air; the wood swallows you up. There is no way through the wood anymore, this wood has reverted to its original privacy. Once you are inside it, you must stay there until it lets you out again for there is no clue to guide you through in perfect safety; grass grew over the track years ago and now the rabbits and the foxes make their own runs in the subtle labyrinth and nobody comes. The trees stir with a noise like taffeta skirts of women who have lost themselves in the woods and hunt round hopelessly for the way out. Tumbling crows play tag in the branches of the elms they clotted with their nests, now and then raucously cawing. A little stream with soft margins of marsh runs through the wood but it has grown sullen with the time of the year; the silent, blackish water thickens, now, to ice. All will fall still, all lapse.
A young girl would go into the wood as trustingly as Red Riding Hood to her granny’s house but this light admits of no ambiguities and, here, she will be trapped in her own illusion because everything in the wood is exactly as it seems.
The woods enclose and then enclose again, like a system of Chinese boxes opening one into another; the intimate perspectives of the wood changed endlessly around the interloper, the imaginary traveller walking towards an invented distance that perpetually receded before me. It is easy to lose yourself in these woods.
The two notes of the song of a bird rose on the still air, as if my girlish and delicious loneliness had been made into a sound. There was a little tangled mist in the thickets, mimicking the tufts of old man’s beard that flossed the lower branches of the trees and bushes; heavy bunches of red berries as ripe and delicious as goblin or enchanted fruit hung on the hawthorns but the old grass withers, retreats. One by one, the ferns have curled up their hundred eyes and curled back into the earth. The trees threaded a cat’s cradle of half-stripped branches over me so that I felt I was in a house of nets and though the cold wind that always heralds your presence, had I but known then, blew gentle around me, I thought that nobody was in the wood but me.
Erl-King will do you grievous harm.
Piercingly, now, there came again the call of the bird, as desolate as if it came from the throat or the last bird left alive. That call, with all the melancholy of the failing year in it, went directly to my heart.
I walked through the wood until all its perspectives converged upon a darkening clearing; as soon as I saw them, I knew at once that all its occupants had been waiting for me from the moment I first stepped into the wood, with the endless patience of wild things, who have all the time in the world.
It was a garden where all the flowers were birds and beasts; ash-soft doves, diminutive wrens, freckled thrushes, robins in their tawny bibs, huge, helmeted crows that shone like patent leather, a blackbird with a yellow bill, voles, shrews, fieldfares, little brown bunnies with their ears laid together along their backs like spoons, crouching at his feet. A lean, tall, reddish hare, up on its great hind legs, nose a-twitch. The rusty fox, its muzzle sharpened to a point, laid its head upon his knee. On the trunk of a scarlet rowan a squirrel clung, to watch him; a cock pheasant delicately stretched his shimmering neck from a brake of thorn to peer at him. There was a goat of uncanny whiteness, gleaming like a goat of snow, who turned her mild eyes towards me and bleated softly, so that he knew I had arrived.
He smiles, he lays down his pipe, his elder bird-call. He lays upon me his irrevocable hand.
His eyes are quite green, as if from too much looking at the wood.
There are some eyes can eat you.
The Erl-King lives by himself all alone in the heart of the wood in a house which has only one room. His house is made of sticks and stones and has grown a pelt of yellow lichen. Grass and weeds grow in the mossy roof. He chops fallen branches for his fire and draws his water from the stream in a tin pail.
What does he eat? Why, the bounty of the woodland! Stewed nettles; savoury messes of chickweed sprinkled with nutmeg; he cooks the foliage of shepherd’s purse as if it were cabbage. He knows which of the frilled, blotched, rotted fungi are fit to eat; he understands their eldritch ways, how they spring up overnight in lightless places and thrive on dead things. Even the homely wood blewits, that you cook like tripe, with milk and onions, and the egg-yolk yellow chanterelle with its fan-vaulting and faint scent of apricots, all spring up overnight like bubbles of earth, unsustained by nature, existing in a void. And I could believe that it has been the same with him; he was alive from the desire of the woods.
He goes out in the morning to gather his unnatural treasures, he handles them as delicately as he does pigeons’ eggs, he lays them in one of the baskets he weaves from osiers. He makes salads of the dandelion that he calls rude names, “bum-pipes” or the “piss-the-beds,” and flavours them with a few leaves of wild strawberry but he will not touch the brambles, he says the Devil spits on them at Mich
aelmas.
His nanny goat, the colour of whey, gives him her abundant milk and he can make soft cheese that has a unique, rank, amniotic taste. Sometimes he traps a rabbit in a snare of string and makes a soup or stew, seasoned with wild garlic. He knows all about the wood and the creatures in it. He told me about the grass snakes, how the old ones open their mouths wide when they smell danger and the thin little ones disappear down the old ones’ throats until the fright is over and out they come again, to run around as usual. He told me how the wise toad who squats among the kingcups by the stream in summer has a very precious jewel in his head. He said the owl was a baker’s daughter, then he smiled at me. He showed me how to thread mats from reeds and weave osier twigs into baskets and into the little cages in which he keeps his singing birds.
His kitchen shakes and shivers with birdsong from cage upon cage of singing birds, larks and linnets, which he piles up one on another against the wall, a wall of trapped birds. How cruel it is, to keep wild birds in cages! But he laughs at me when I say that; laughs, and shows his white, pointed teeth with the spittle gleaming on them.
He is an excellent housewife. His rustic home is spick and span. He puts his well-scoured saucepan and skillet neatly on the hearth side by side, like a pair of polished shoes. Over the hearth hang bunches of drying mushrooms, the thin, curling kind they call jew’s-ears, which have grown on the elder trees since Judas hanged himself on one; this is the kind of lore he tells me, tempting my half-belief. He hangs up herbs in bunches to dry, too—thyme, marjoram, sage, vervain, southernwood, yarrow. The room is musical and aromatic and there is always a wood fire crackling in the grate, a sweet, acrid smoke, a bright, glancing flame. But you cannot get a tune out of the old fiddle hanging on the wall beside the birds because all its strings are broken.
Now, when I go for walks, sometimes in the mornings when the frost has put its shiny thumbprint on the undergrowth or sometimes, though less frequently, yet more enticingly, in the evenings when the cold darkness settles down, I always go to the Erl-King and he lays me down on his bed of rustling straw where I lie at the mercy of his huge hands.
He is the tender butcher who showed me how the price of flesh is love; skin the rabbit, he says! Off come all my clothes.
When he combs his hair that is the colour of dead leaves, dead leaves fall out of it; they rustle and drift to the ground as though he were a tree and he can stand as still as a tree, when he wants the doves to flutter softly, crooning as they come, down upon his shoulders, those silly, fat, trusting woodies with the pretty wedding rings round their necks. He makes his whistles out of an elder twig and that is what he uses to call the birds out of the air—all the birds come; and the sweetest singers he will keep in cages.
The wind stirs the dark wood; it blows through the bushes. A little of the cold air that blows over graveyards always goes with him, it crisps the hairs on the back of my neck but I am not afraid of him; only afraid of vertigo, of the vertigo with which he seizes me. Afraid of falling down.
Falling as a bird would fall through the air if the Erl-King tied up the winds in his handkerchief and knotted the ends together so they could not get out. Then the moving currents of the air would no longer sustain them and all the birds would fall at the imperative of gravity, as I fall down for him, and I know it is only because he is kind to me that I do not fall still further. The earth with its fragile fleece of last summer’s dying leaves and grasses supports me only out of complicity with him, because his flesh is of the same substance as those leaves that are slowly turning into earth.
He could thrust me into the seed-bed of next year’s generation and I would have to wait until he whistled me up from my darkness before I could come back again.
Yet, when he shakes out those two clear notes from his bird call, I come, like any other trusting thing that perches on the crook of his wrist.
I found the Erl-King sitting on an ivy-covered stump winding all the birds in the wood to him on a diatonic spool of sound, that down there came a soft, chirruping jostle of birds. The clearing was cluttered with dead leaves, some the colour of honey, some the colour of cinders, some the colour of earth. He seemed so much the spirit of the place I saw without surprise how the fox laid its muzzle fearlessly upon his knee. The brown light of the end of the day drained into the moist, heavy earth; all silent, all still and the cool smell of night coming. The first drops of rain fell. In the wood, no shelter but his cottage.
That was the way I walked into the bird-haunted solitude of the Erl-King, who keeps his feathered things in little cages he has woven out of osier twigs and there they sit and sing for him.
Goat’s milk to drink, from a chipped tin mug; we shall eat the oatcakes he has baked on the hearthstone. Rattle of the rain on the roof. The latch clanks on the door; we are shut up inside with one another, in the brown room crisp with the scent of burning logs that shiver with tiny flame, and I lie down on the Erl-King’s creaking palliasse of straw. His skin is the tint and texture of sour cream, he has stiff, russet nipples ripe as berries. Like a tree that bears bloom and fruit on the same bough together, how pleasing, how lovely.
And now—ach! I feel your sharp teeth in the subaqueous depths of your kisses. The equinoctial gales seize the bare elms and make them whizz and whirl like dervishes; you sink your teeth into my throat and make me scream.
The white moon above the clearing coldly illuminates the still tableaux of our embracements. How sweet I roamed, or, rather, used to roam; once I was the perfect child of meadows of summer, but then the year turned, the light clarified and I saw the gaunt Erl-King, tall as a tree with birds in its branches, and he drew me towards him on his magic lasso of inhuman music. If I strung that old fiddle with your hair, we could waltz together to the music as the exhausted daylight founders among the trees; we should have better music than the shrill prothalamions of the larks stacked in their pretty cages as the roof creaks with the freight of birds you’ve lured to it while we engage in your profane mysteries under the leaves.
He strips me to my last nakedness, that underskin of mauve, pearlized satin, like a skinned rabbit; then dresses me again in an embrace so lucid and encompassing it might be made of water. And shakes over me dead leaves as if into the stream I have become.
Sometimes the birds, at a random, all singing, strike a chord.
His skin covers me entirely; we are like two halves of a seed, enclosed in the same integument. I should like to grow enormously small, so that you could swallow me, like those queens in fairy tales who conceive when they swallow a grain of corn or a sesame seed. Then I could lodge inside your body and you would bear me.
The candle flutters and goes out. His touch both consoles and devastates me; I feel my heart pulse, then wither, naked as a stone on the roaring mattress while the lovely, moony night slides through the window to dapple the flanks of this innocent who makes cages to keep the sweet birds in. Eat me, drink me; thirsty, cankered, goblin-ridden, I go back and back to him to have his fingers strip the tattered skin away and clothe me in his dress of water, this garment that drenches me, its slithering odour, its capacity for drowning.
Now the crows drop winter from their wings, invoke the harshest season with their cry.
It is growing colder. Scarcely a leaf left on the trees and the birds come to him in even greater numbers, because, in this hard weather, it is lean pickings. The blackbirds and thrushes must hunt the snails from hedge bottoms and crack the shells on stones. But the Erl-King gives them corn and when he whistles to them, a moment later you cannot see him for the birds that have covered him like a soft fall of feathered snow. He spreads out a goblin feast of fruit for me, such appalling succulence; I lie above him and see the light from the fire sucked into the black vortex of his eye, the omission of light at the centre, there, that exerts on me such a tremendous pressure, it draws me inwards.
Eyes green as apples. Green as dead sea fruit.
What big eyes you have. Eyes of an incomparable luminosity, the numinous phosphorescence of the eyes of lycanthropes. The gelid green of your eyes fixes my reflective face. It is a preservative, like a green liquid amber; it catches me. I am afraid I will be trapped in it for ever like the poor little ants and flies that stuck their feet in resin before the sea covered the Baltic. He winds me into the circle of his eye on a reel of birdsong. There is a black hole in the middle of both your eyes; it is their still centre, looking there makes me giddy, as if I might fall into it.
Your green eye is a reducing chamber. If I look into it long enough, I will become as small as my own reflection, I will diminish to a point and vanish. I will be drawn down into that black whirlpool and be consumed by you. I shall become so small you can keep me in one of your osier cages and mock my loss of liberty. I have seen the cage you are weaving for me; it is a very pretty one and I shall sit, hereafter, in my cage among the other singing birds but I—I shall be dumb, from spite.
When I realised what the Erl-King meant to do to me, I was shaken with a terrible fear and I did not know what to do for I loved him with all my heart and yet I had no wish to join the whistling congregation he kept in his cages although he looked after them very affectionately, gave them fresh water every day and fed them well. His embraces were his enticements and yet, oh yet! they were the branches of which the trap itself was woven. But in his innocence he never knew he might be the death of me, although I knew from the first moment I saw him how Erl-King would do me grievous harm.
Although the bow hangs beside the old fiddle on the wall, all the strings are broken so you cannot play it. I don’t know what kind of tunes you might play on it, if it were strung again; lullabies for foolish virgins, perhaps, and now I know the birds don’t sing, they only cry because they can’t find their way out of the wood, have lost their flesh when they were dipped in the corrosive pools of his regard and now must live in cages.