Nu-folk : "Swansong" by Kerry Andrew

Swansong by Kerry Andrew

A musical review

Kerry Andrew is a musician with four British Composer Awards to her name. As a ‘contemporary classical’ composer she has written choral works which subtly subvert the tradition. As her alter-ego You Are Wolf  she (re)interprets folk songs in a contemporary, electronica-tinged idiom. Andrew's first novel, Swansong, is inspired by a folk ballad and shares some of the concerns and methods of her musical projects.

The novel's feisty protagonist and narrator is Polly Vaughan, an English literature undergraduate who, by her own admission, is more into booze, drugs and sex than into literary theory. After she experiences a disturbing incident in London, Polly joins her mother Lottie on an extended holiday in the Western Scottish Highlands. Polly hopes that this will help ease her feelings of guilt and inadequacy.

Plans, however, soon go awry. For a start, her attempts to build new friendships and relationships seem to fail miserably. Moreover, the natural environment, beautiful and wild as it is, also comes across as decidedly uncanny. Right on her arrival she spots a strange man pulling a bird apart in the dead of night. And as the days roll on, she starts to have increasingly strange and unsettling visions which cannot be easily explained away as the effects of weed on a heavy conscience. Could something otherworldly really going on?

What makes the style of this novel particularly distinctive is the stark contrast between the fresh, contemporary (and sweary) narrative voice and the elemental, mythical and timeless symbolism which underpins the story. This is not the only dichotomy present in the novel. Indeed, the book often presents us with opposites which turn out to be closer to each other than may be obvious at first glance. "Dead / Not Dead", the mantra which Polly repeats to herself, starts off as an expression of guilt and, by the end of the novel, attracts a deeper meaning. There are similar contrasts between the urban and the natural, the human and the animal, the old and the new. 

Andrew also manages to combine seemingly disparate genres. This is, at heart, a supernatural novel, a reworking of a timeless myth. But it also has elements of the psychological thriller, the crime story and the Bildungsroman. It is also a nature novel where the landscape itself becomes a central character. Somehow, it all manages to gel.

If I have any criticism of the novel, it is that sometimes the metaphors pile on top of each other, giving the impression that the author is trying too hard to come up with an unusual or striking image. To be fair, however, Polly is herself a whimsical literature student and so the unconventional narrative voice is in character. 

What I do know is that when I finished Swansong, I suffered withdrawal symptoms, which does not often happen to me. That is when I realised how much I enjoyed this eerie but beguiling novel.

Published:  January 25, 2018

                                                     

***

Of musical journeys

Listening to Kerry Andrew’s music provides an interesting counterpoint and, possibly, a different perspective to her literary work.   What it certainly carries over from her novel is her seamless mix of different genres.  She is classically trained, and her first British Composer Award was for a choral work called “Fall”.  Works for choir are still an central part of her musical oeuvre.  I particularly like the motet “O Nata Lux”, performed and recorded in this video by the London Oriana Choir as part of the five15 project 

Another concern of Kerry Andrew is writing for young and/or amateur performers.  One of her works, composed for the Wigmore Hall, is the community chamber opera “Woodwose”, which won her another British Composer Award in 2014.  Her latest British Composer Award win was in the Music for Amateur Musicians category, for a piece featuring the massed National Youth Choirs of Great Britain, premiered at the Royal Albert Hall in 2016 : “who we are”

Just as important to Andrew is her work as the artist “You Are Wolf” (youarewolf.com) under which name she has released 2 albums.  The first one “Hawk to the Hunting Gone” explores the theme of birds in folklore and includes a track called Swansong.

Here’s a live performance of Cuckoo:

Kerry Andrew’s interest in folklore goes beyond a love of ballads and traditional songs.  She has recently written an erudite article for the brilliant Folklore Thursday website on swans in myth and folklore.  It features several references to her debut novel and its sources of inspiration.  But it does contain some spoilers – so perhaps the article works better as an “afterword” after the novel has woven its spell.

Horror Autofiction? "I Always Find You" by John Ajvide Lindqvist

Horror Autofiction - "I Always Find You" by John Ajvide Lindqvist

A review

Some years back I had enjoyed - with some reservations - Lindqvist's first and best novel "Let the Right One In". It was that which led me to try his latest book to be published in English (in a translation by Marlaine Delargy) - I Always Find You - the second instalment in the "Places" trilogy. Unfortunately, it left me with a sour taste, a reminder that in-your-face horror is, alas, not for me... Which, of course, does not mean that there's not much for others to enjoy in this book. 

Lindqvist has often been compared to Stephen King and one can see certain parallels with the American master of horror. Lindqvist is as much concerned with the realist/social aspects of his story as with the supernatural ones. In this case, the protagonist-narrator is a fictionalised version of the author himself, who is recalling events which occurred in 1985, as well as a disturbing incident from some years before that. In the mid-80s, the narrator/author was just 19 years old and starting out as a young showman/magician. He moves into a small and decrepit flat in a run-down apartment complex in Stockholm and the 'horrors' he has to face are the very real daily challenges faced as a teenager coming to terms with adult life. A novel does not need to go far back to count as convincing historical fiction and, in this case, judiciously-placed cultural and historical references (Depeche Mode, skinheads, the assassination of Olof Palme) take us, very effectively, back to 80s Stockholm. One also gets the impression that mixed with the distaste for the sordidness which city life could bring, there's also a vague sense of nostalgia.

The supernatural elements start, literally, with drainage problems. The apartment condomini share a communal laundry and bathroom and, out of the blue, an out-of-order sign appears on the bathroom door. Soon after, cataclysmic and ominous signs manifest themselves - birds fall out of the sky, John suffers from a constant claustrophobic feeling and the neighbours start behaving strangely. And the bathroom seems to beckon.

What follows is hard to describe without giving away much of the plot. And so I will leave any intrigued readers to discover for themselves the strangeness which lurks in the cover's bathtub. Suffice it to say that it is both splendid and bizarre, and evidence of the author's wild flights of the imagination. However, it also leads to some bloody and, at least to me, repulsive scenes and it is here that the book started to lose me. 

Lindqvist manages to give even the more outlandish aspects of his book a social and political underpinning. It is an interesting approach even it sometimes gives rise to rather preachy monologues. 

Overall, a mixed bag, which gives a horror twist to the "autofiction" genre.

Published September 20th 2018 by riverrun

The Seasons

The Seasons

Walter Crane (1845-1915) The Masque of the Four Seasons

We are but dreams. Our

children walk the sun-kissed land,

honey on their lips.

***

The shimmering earth

beckons, ripe and languorous;

fire at its heart.

***

Your tear-speckled eyes

Capture the slate-coloured skies.

Soon, the rain will fall.

***

Shivering trees stoop,

naked in the leaden air.

The year has grown old.

Five go on a Finnish Adventure... "Secret Passages in a Hillside Town" by Pasi Ilmari Jääskeläinen

Five go on a Finnish Adventure : Book review of "Secret Passages in a Hillside Town" by Pasi Ilmari Jääskeläinen (translated by Lola Rogers) 

A few years back I had read Jääskeläinen’s "The Rabbit Back Literature Society". That novel had been compared to “Twin Peaks meeting the Brothers Grimm” and was a dark and cryptic work which hovered rather awkwardly between outright supernatural fiction and magical realism. I had found this ‘ambivalence’ ultimately disappointing, but the novel was intriguing enough to make me want to sample the author’s latest offering, recently translated into English by Lola Rogers.

In its initial chapters, this novel seemed quite different from its predecessor, apart from its small-town setting and “bookish” background. Indeed, it starts off as a gentle, if quirky, tale of mid-life romance. Olli Suominen, the head of a publishing company based in Jyväskylä, is going through a crisis. Book sales are not what they used to be and, as far as family-life is concerned, he seems to be growing distant from his wife and young son. Through Facebook, he gets in touch with Greta Kara, an old flame who has since become the bestselling author of an influential self-help guide to “living a cinematic life”. He somehow convinces her to issue her next book – a ‘magical’ travelogue about Jyväskylä – through his publishing house. This promises to boost Olli’s business, and amorous, prospects.

But Olli’s Facebook exchanges with Greta also rekindle memories of another group of childhood acquaintances – the three Blomroos siblings and their cousin Karri. Together with Timi, Olli’s dog, they formed a Finnish equivalent of the Famous Five. In true Enid Blyton fashion, they spent their summer holidays together, shared long, glorious, sunny days on riverside picnics and solved mysteries along the way. Typically, they also explored secret passages. And here things start to get weird, because unlike the relatively workaday secret passages in Blyton’s novels, the Toulura tunnels seem to warp reality and cause time to go completely off-kilter. Unsurprisingly, Olli’s memories of the secret passages are vague and confused, but we eventually learn that they were the theatre for shocking happenings experienced by Greta and the Tourula Five.

Whether you will enjoy the novel from this point forward will depend on how crazy you like your fiction to be. In my case, I generally prefer novels which follow an internal logic, however strange their premise. And to be honest, it was sometimes difficult to understand where this book was going . But it still hooked me to the last chapter. Or chapters, given that the novel rather puzzlingly presents us with an alternative ending – probably a nod to “alternate movie endings” which are sometimes available on certain movie DVDs.

So, how should we interpret Secret Passages? Should we take it at face value as a work of supernatural fiction? Or is this actually realist fiction, using elements of fantasy to give us a glimpse of the workings of Olli’s mind? Is the book a satire on modern life which, thanks to social media, seems to be all about living a “cinematic life” worth sharing with the world at large? Or is this an adult parody of Enid Blyton mysteries, particularly the underlying gender politics simmering below their surface? Perhaps it’s all of this, but it makes for a wild and crazy ride.

Paperback, 416 pages

Publication Date: December 12th 2017 by Pushkin Press 

(Pre)history of violence : Ghost Wall by Sarah Moss

Ghost Wall by Sarah Moss
A book review

Silvie and her parents join an archaeology professor and three of his students on a field trip to Northumberland. The trip is an experiment in "experiential archaeology" in the sense that its participants try to recreate and re-enact the living conditions of the Iron Age tribes which inhabited these remote areas. The professor's intentions are innocent enough, at least at the outset - a mixture of academic curiosity and a "Boys' Own" thirst for adventure which he seems to share with his students. Silvie's father, on the other hand, has darker motives. We soon learn that he has supremacist fantasies about "Ancient Britons", whom he considers a pure, home-grown race, untainted by foreign influences. He idolises their way of life which, albeit nasty, brutish and short, is for him a test of manly mettle. And he has a morbid fascination with the Bog People, Iron Age victims of human sacrifice.

At first the group dynamics make the novel feel like an episode of "Celebrity Survivors" as we sense the increasing friction between the disparate characters. However, things decidedly take a turn for the sinister when the men decide to build a "ghost wall" - a wooden barricade topped by animal skulls which the ancients apparently used as a means of psychological warfare against invading hordes. 

Ghost Wall is a slender novella which packs a punch. The narrative element is tautly controlled. There's a constant sense of dread, of violence simmering beneath the surface. These leads to a terrifying climax, in which the novel skirts the folk horror genre to chilling effect.

More importantly, however, the work is a timely indictment of patriarchal and racist prejudices which, though distinct, often fuel each other. It also seems to suggest that even monsters have redeeming features which endear them to their own victims, whilst seemingly innocent persons can commit grave acts when they give in to atavistic instincts. Perhaps what make this novel so disturbing is that these horrors are all too real.

Perchance to dream... Sandra Newman's "The Heavens"

The Heavens by Sandra Newman

A review

Whittling down the plot of “The Heavens” to its bare bones makes it sound incomprehensible, if not downright silly.  However, I’ll try to do it justice with as few spoilers as possible.

The novel’s “present” is set in New York around the year 2000.  Except it’s not the city as we know it, but one which is different in subtle yet significant ways.  A female, environmentalist President has been elected, it’s “the first year with no war at all” and there’s a general sense of utopian optimism.  In other words, all’s right with the world.

It’s certainly all right with Ben’s world.  He’s just fallen in love with Kate and can’t believe his luck.  Kate is smart and beautiful.  She’s exotic, describing herself as Hungarian-Turkish-Persian, three romantic, impractical strains, three peoples who had thrown away their empires.  She moves within a glamorous set of friends who welcome Ben into their fold.   

Soon, Ben learns that Kate has a strange recurring dream in which she visits an alternative reality.  As her relationship with Ben gets stronger, the dream also becomes more defined and we realise that, in her sleep, she is travelling to late 16^th century England, and experiencing it as (the historical) Emilia Lanier.  Lanier was a poet and musician, mistress to the cousin of Elizabeth I, and wife of court musician Alfonso Lanier.  Emilia is also sometimes touted as the “Dark Lady” of Shakespeare’s sonnets.    

On each return to the “present”, Kate notices that the world has changed from the way she left it, and often for the worse – this sets her on a mission to change the past, in the hope of creating a better future.  But the second part of the novel also presents us with a radically – and tragically – different possibility, namely that this whole time-travel thing is all in Kate’s mind, even though the novel’s post-apocalyptic ending leaves it up to us to figure out what is really happening between the book’s pages.

This is a quirky novel with an appropriately quirky set of characters.  Ben and Kate/Emilia are the protagonists, but Kate’s set of friends provide an eccentric supporting cast, adroitly reflected in the court circles frequented by Emilia.  It might not be a perfect comparison, but “The Heavens” reminded me somewhat of David Mitchell’s Cloud Atlas – firstly in the idea of different eras impinging on each other but, more importantly, in its mixture of genres.  “The Heavens” is part romance, part historical fiction/alternative history, part science-fiction, part fantasy/speculative fiction with a touch of magical realism.  On one level, it can also be read as an expression of millennial angst – there’s an important scene which recreates the 9/11 attacks, making it the third novel I’ve read in the past few months which in some way or another references a defining event of recent history.   (Ottessa Moshfegh's My Year of Rest and Relaxation and R.O. Kwon's The Incendiaries)

There’s similar variety in the style – which shifts from realistic narration to poetic description, from tragedy to comedy and back to something-in-between.

If it’s eclectic in its influences and style, “The Heavens” is equally varied in the subjects it addresses.  Now whilst I don’t mind genre-hopping one bit and actually love a novel which breaks barriers between genres, the boring part in me still tries to find an “anchoring” theme, subject or message.  In this regard, “The Heavens” is more like a colourful butterfly which flits impulsively from one theme to the next.  The novel could be an ideal book club choice as it provides plenty of discussion material.  Just a few of the questions raised:

·        How does the past affect the present?

·        Does history repeat itself?

·        Is the idea that we can affect the future merely an illusion?

·        On a larger scale, can politics really change the world for the better?

·        Is there a place for utopia and ideals?

·        Can art...music...literature... change the world?

·        Can love change the world?

·        What does it mean to be happy and can one be happy when the world’s in a bad state?

·        What does it mean to live with mental health problems or with a person with (possibly) mental health issues?

They’re not easy questions and the novel does not provide easy answers, which might be frustrating for some readers and quite the contrary for others.  What’s more impressive is that these themes are addressed (or, at least, raised) in a novel which often displays a light, playful touch.

Expected publication

February 12th 2019 by Grove Press

May 2nd, 2019 by Granta Books

Grove Atlantic edition cover

***

The historical Emilia Lanier was born in a family of Italian musicians who served the Tudor court.  She married into another famous family of court musicians, the Laniers.  Of these, Nicholas Lanier, is by far the best-known, having been the first Master of the King’s Music.

Music plays an important part in the 16th/17th Century segments of the novel.  Viol consorts where a regular entertainment in the Tudor and Stuart courts.   Here’s a viol consort performance of Fancy for six Viols by Orlando Gibbons (1583 – 1625)

 

One of intriguing aspects of “The Heavens” is the way in which it brings together two disparate eras – an imaginary 21st century New York, and late16th century England.  For a musical equivalent, I suggest John Harle’s settings of Shakespeare.  Harle’s keening saxophone and the raucously expressive voice of Elvis Costello give them a contemporary feel but the pieces still nail the particularly English feeling of “melancholy (melancholia)

 

https://open.spotify.com/track/7sEnK1QdbZfuI0hZ8bBFyj?si=mv-uDd9gS5eUor9RN5WCuA

 

It’s interesting to compare Harle’s style to  a setting of Shakespeare’s poem “O Mistress Mine” by Thomas Morley (1557-1602), a contemporary of the Bard of Avon.

 

To end, here’s a link to an interesting and insightful blogpost about musical literacy in Shakespeare’s time:

 

https://blog.oup.com/2016/08/musical-literacy-shakespeare-england/#__prclt=A6Ds5eEl

 

Happy birthday, Arvo Pärt!

September 11th marks the birthday of Estonian composer Arvo Pärt, born in Paide, Estonia in 1935.  To mark the occasion here's a small tribute to the composer, including a review of a study of his "Tabula Rasa" and my recollections of meeting him at the European premiere of  "Greater Antiphons".  But first, a happy birthday song in his style:

***

Book review  "Arvo Pärt's Tabula Rasa"  

Each of the volumes in the Oxford Keynotes series is dedicated to a particular musical work or album from the fields of classical, jazz or popular music and is accompanied by a dedicated website which provides multimedia materials, including audio clips. In this particular book, Kevin C. Karnes explores Tabula Rasa, one of Arvo Pärt’s iconic works. A double concerto for two violins, prepared piano and strings, this was amongst the first compositions which Pärt wrote in his distinctive tintinnabuli style or ‘method’. Karnes’s explanation of how tintinnabuli works is admirably lucid, and I will not even attempt to put it into my own words. To get a feel of its sound (short of reading the book) I suggest listening to Für Alina (amongst the earliest of his tintinnabuli pieces) or to Tabula Rasa itself. Here's a live performance:

and here's a link to the cult 1984 ECM album which launched the label’s “New Series” and brought the piece (and its composer) to the attention of a wider public. 

Concise as it is, this monograph casts its web wide. Indeed, only one of the book’s five chapters is dedicated specifically to a “theoretical” analysis of Tabula Rasa. Before tackling the work head on, Karnes delves into the cultural context in which this concerto, and by extension, Pärt’s tintinnabuli approach, were first conceived. This involves an examination both of Pärt’s earlier compositions and of the Soviet musical world in which he worked. The volume ends with a chapter on the reception of Tabula Rasa outside the “Soviet” bloc and Pärt’s own emigration to the West. 

Along the way, Karnes provides several insights which will likely challenge lazy assumptions about Pärt and his music. Pärt’s development of tintinnabuli or, as he prefers to describe it, his ‘discovery’ of it, is often portrayed as a sort of Damascene conversion which led the composer to abandon his serialist, avant-garde past. Karnes however presents us with a “hermeneutic of continuity” (to borrow a theological term), teasing out several parallels between Pärt’s earlier and later pieces. Thus, whilst it might not be immediately evident to the listener, the composer’s tintinnabuli pieces often follow a strict mathematical process, making them not unlike the serialist works of his youth. Moreover, an interest in early music and forms, and a penchant for ‘polystylism’ could be felt even in pieces pre-dating Pärt’s tintinnabuli phase.

Karnes also convincingly shows that despite his distinctive mode of expression, Pärt is very much one of a piece with the post-war avant-garde: the mathematical formulae remind one of serialism, the “process” aspect of tintinnabuli is not far removed from the experiments of Steve Reich (although both composers were working independently) and the importance Pärt gives to silence is reminiscent of the musical philosophy of John Cage, whom Pärt often references in interviews.

There are other surprising discoveries in store. Influenced by the “marketing” people, many listeners tend to classify Pärt as a “holy minimalist”, lumping him with other (very different) composers such as John Tavener and Henryk Gorecki. So it might be surprising to discover that the earliest “Western” listeners, as yet lacking such preconceived references and easy categorizations, found in Tabula Rasa echoes of “Far Eastern music” and compared this strange, new, static music to “the effects of highly skilled pop groups such as Pink Floyd”.

Karnes does not eschew technical analysis and yet his style remains remarkably accessible throughout, making this an absorbing book for general readers as well. The text is enriched not only by the multimedia element, but also by illustrations and references (some of them difficult to find) and copious footnotes. In other words, this volume is a must-read for anyone interested in Arvo Pärt and tintinnabuli.

***

Postscript : The day I met Arvo Pärt

Pärt has been a musical idol for me ever since a hazy summer afternoon in the early nineties when I caught a recorded broadcast of “Cantus in Memory of Benjamin Britten” on Rai Radio 3 (played, incidentally, at half the speed and lower pitch because of a technical mishap). In July 2016, the composer was invited to Malta to attend a concert of his music presented by the Malta Philharmonic Orchestra as part of the Malta Arts Festival. The highlight was to be the European premiere of Greater Antiphons, the orchestral arrangement of his choral piece Sieben Magnificat Antiphonen. It had only been performed once before – by Gustavo Dudamel at the helm of the LA Phil. It was, to a Pärt fan, a historic occasion which I couldn’t let pass. I dragged along my good friend Nick. To be honest, he is more into jazz and rock but is, like me, an ECM groupie. And a good sport. Concealed in an inner pocket of my jacket was a Naxos recording of Pärt’s Passio, held close as a talisman, in the vague hope that I could get the composer to sign it.

Aesthetically, the golden Baroque splendour of a packed St John’s Co-Cathedral seemed miles away from Pärt’s pared-down style, just as the heat of the Mediterranean summer was hardly redolent of ‘Estonian cool’. Yet, when the descending scales and tolling bell of Cantus cascaded like a sigh over the audience, it seemed as if we were being propelled beyond time and space. I had listened to recordings of the piece tens of times, but hearing it live in those sacred surroundings felt like discovering it anew. The hushed atmosphere was temporarily torn asunder by the sound of a "festa" band marching outside, to the consternation of musicians and organisers. It was a facepalm moment. What must the composer be thinking? I later heard through the grapevine that Pärt was quite amused by it all. A touch of Ives?

When the concert ended, I lagged behind hopefully. Would Pärt be spirited away for after-concert canapés? Would I get a glimpse of him? Yes, as it turned out. There was the Great Composer, in the middle of the aisle, smilingly signing programme after proferred programme. I smugly pulled out my Passio CD, handed my camera-smartphone to my long-suffering concert buddy (who promptly placed himself in a strategic position), and joined the queue.

As I got nearer to Pärt, I couldn’t help feeling that the image of the benign man who stood before me seemed quite incongruous with that of the ‘prophet’ propagated by magazines and CD adverts. He was wearing a rather flamboyant, open-necked shirt with a surreal print (little blue birds, if my memory serves me right). “What’s your name?” Pärt asked a little boy who was being egged on by his mother. “Saviour”, the boy replied. “Ah, Saviour...”, the composer sagely nodded, “Saviour, like Our Lord Jesus Christ...” I couldn't tell whether he was in earnest or whether this was his idea of humour. Or both. 

It was my turn then. My recollection becomes hazy, but Nick’s photos show me grinning sheepishly as Pärt scrawls his signature on the CD cover. It’s on the shelf in front of me right now.

Arvo Pärt in bird-patterned shirt

Hamid Ismailov's The Dead Lake

The Dead Lake by Hamid Ismailov
(translated by Andrew Bromfield)

Book review

Whilst on a train journey across Kazakhstan, the narrator meets Yerzhan, a twenty-seven year old itinerant peddler and virtuoso violinist who, strangely, has the looks and build of a boy of twelve years. After overcoming his initial diffidence, Yerzhan starts to recount the tale of his childhood. He recalls growing up in a two-family settlement on a lonely, remote railway outpost in the Kazakh steppes, close to a top-secret “Zone” where Soviet nuclear experiments were carried out. He tells of his precocious musical talents on the dombra [lute-like folk instrument] and the violin, and his equally precocious love for his neighbour Aisulu. Chillingly, he recalls a fateful day when, during a school outing to the “Zone”, he waded into a radioactive lake to impress his classmates. Did the poisonous waters stunt his growth or was some other-worldly spell cast on him?

I suppose Hamid Ismailov’s novella might be regarded as a work of “magical realism”. I would prefer to describe it as a modern-day fable or myth. For what is mythology, if not an attempt to describe and explain the world through stories and symbols? In this case, Ismailov conjures up images of terrible beauty, by means of which he evokes daily life in the Kazakh steppes at the height of the Cold War. Andrew Bromfield's sensitive translation from the original Russian retains a poetic feel to it, as if the prose were permeated with the strains of Yerzhan’s dombra.

A haunting coming-of-age novel about a boy who does not come of age, this is my favourite amongst the Peirene Press publications I have had the pleasure to read.

***

In case you were wondering what a dombra is, here are two clips of Kazakh music featuring the instrument

Prequel, tribute, pastiche : "Dracul" by Dacre Stoker and J.D. Barker

"Dracul" by Dacre Stoker and J.D. Barker

Prequel, tribute, pastiche 

All fiction – and supernatural fiction especially so – requires us to suspend our disbelief and to accept that the world between the covers of a book is as real as the one we’re living in (if not more).  The premise of Dracul however is even harder to swallow than the very existence of the Undead – the novel presents us with a Bram Stoker who has personal experience of vampires and who has a final showdown with none other than Count Dracula himself.  The concept intrigued me even whilst setting alarm bells ringing in my head – would Dracul turn out to be the great Dracula prequel touted by the marketing blurbs or just another in a recent tradition of horror mash-ups?  The fact that the novel is jointly credited to Dacre Stoker (Bram’s great-grand nephew) and horror writer J.D. Barker only fuelled my misgivings.  Apart from my irrational prejudice against co-authored works, the Stoker name on the title page gave me a niggling suspicion that it was there primarily to capitalize on the link to Bram.   And so, with some difficulty in setting aside pre-conceptions, uncertainties and pet peeves, I joined a youngish Bram keeping watch in an unnamed tower, eyes fixed on a heavy door behind which untold horrors lurk...

I must say that the initial chapters did little to shake off my doubts .  The shifts between Bram’s vigil (helpfully marked “NOW”) and his recollections of his sickly childhood, nursed by the enigmatic “Nanna Ellen”, seemed artificial, the dialogue between Bram and his sister Matilda unconvincing.     However, once this backstory was set out and the action shifted closer to the (novel’s) present, I became increasingly engrossed.  Like Bram’s original, Dracul follows a group of improvised vampire-busters on a hunt which leads them to the dark heart of Continental Europe.  The pace of the plot mounts inexorably and culminates in a set-piece in a ghost-village outside Munich which seems to be as much inspired by horror movies and zombie tropes as by ‘traditional’ vampire fiction.  

 

Part of the fun of the book lies in looking for the parallels between this novel and the original, as well as references to real life events and figures.  Thus, as in Dracula, Dracul is recounted through a series of journal entries, diaries and letters, giving the text an immediacy and allowing for different perspectives.  There is material which is clearly gleaned from the short story Dracula’s Guest and expanded to fit the plot.  The novel also has its own Van Helsing, in the shape of Arminius Vámbéry, a Hungarian Turkologist who, in reality, was an acquaintance of Stoker and might have influenced or served as a model for Van Helsing.  Rather than a prequel to Dracula, I’d consider it more of a companion piece – a “pastiche”, in a positive sense, which delights in resurrecting vampire tropes largely shaped by Bram Stoker’s seminal novel.

In an afterword to Dracul, Dacre Stoker explains that this novel is based on his ancestor’s actual notes and on the first hundred-or-so pages of the novel which were allegedly excised at the insistence of the original publishers.  Then, Stoker ups the ante – Bram, he tells us, presented the manuscript as a “true story” and Dracula was not meant to serve as ‘entertainment’ as much as a warning against a very real evil.  Now, of course, Dracula was neither the first nor the last Gothic novel to present itself as a “non-fictional” account.   Presumably, Dacre is riffing on this trope.  But this does raise an interesting question – namely just how far is Dracul actually inspired by Bram’s biography, handwritten notes and “original intentions” and how much of it is Dacre’s and J.D. Barker’s own invention?  Scholars of the Gothic might illuminate us – in the meantime, Dracul remains an enjoyable vampire romp which nicely complements the (unbeatable) original.

Published October 2nd 2018 by Putnam
      October 18th 2018 by Bantam Press

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Tales of the Transylvanian Count led me to look up some classical music with links to the region.... or to the undead.    When night creatures are around, An Evening in Transylvania is not really recommended – but listening to some Bartók can never do any harm:

In 1593, obscure Italian composer Girolamo Diruta's published a treatise in two parts on organ playing, counterpoint, and composition. He called it Il Transilvano (The Transylvanian) and dedicated it to Sigismund Bathory, Prince of Transylvania.  Here’s one of the didactic pieces from this collection. The same Bathory Family gave us serial killer Elizabeth often cited (on slim grounds) as another inspiration for the figure of Dracula

The horror, the horror… and the comedy.  Joseph Horovitz’s Horrortorio, written for the farcical Hoffnung Festival sets a comedic horror text to a pastiche of Handel’s oratorios.

Finally, Wojciech Kilar’s soundtrack to Coppola’s “Bram Stoker’s Dracula” – one can never go wrong with this…