Run!

January 7, 2020January 7, 2020 ohyoulittlethingsLeave a comment

‘Run!’

The first word I hear escape from the mouth of the mysterious Northerner on the TV. He looks like any normal person… or human. He talks about beans on toast, wears a trendy leather jacket and speaks exactly like my uncle.

‘You’ll like this show… it’s a bit like Back to the Future.’ My mum had insisted, but nothing seemed out of this world – just a normal shop girl and a strange man. Where were the flying cars and hover-boards?

It’s only when the arm of the shop mannequin starts attacking the blonde-haired girl, that I know something is different about this man. He speaks wickedly fast; in verbose sentences I scarcely understand – talking about vortexes and the wider universe – but he’s captivating. His quick paced speech matches his adrenaline-filled actions and I want to see what he does next. The danger is within every street and estate he runs to and something was out-of-the-ordinary with that strange shop dummy.

The mood suddenly drops – everybody has slowed down and hallowing music plays through the television – is this man bad?

His name is ‘The Doctor’ and apparently, he is not from this world.

He’s an alien.

I thought Doctors were supposed to carry stethoscopes and aliens were luminous green, attacking humans. But he cared for others. He wanted to protect them. Unlike anybody I have seen, he runs towards the danger, and this time, armed with a screwdriver and a psychic paper.

Then, he disappears into an old-fashioned box. A phone box. But it wasn’t like the ones near my house, they were covered in graffiti and old circus advertisements. It was from another moment of time. This one was pristine – a shade of blue will forever be embedded in my mind.

The box stands there (in the middle of a council estate) and the mysterious man somehow squeezes into it – with an effortless amount of ease.

The box vanishes. Accompanied by a shriek. Where had he gone?

Coincidence after coincidence we meet this man and madness unveils. People turn into plastic. Someone is swallowed by a bin. The shop dummies all come alive. Yet this man still keeps coming back for more. He finds his way back to the blonde girl, Rose. They fight the villains, they save the day. Then Rose travels with this strange man. They see the Earth. Enormous and radiating in all its glory. Out of every place, time zone, galaxy, Rose was chosen for her this adventure. Running towards a new adventure.

How can something so extraordinary – a world full of aliens, exhilaration and police boxes – be happening in London? The ordinary married with this uncertainty – if it can happen to Rose, then it could happen to you. Maybe it will happen to me?

Uncategorized

Thank You!

January 7, 2020April 8, 2020 ohyoulittlethingsLeave a comment

Last week, I wrote a review of my visit to see Fascinating Aïda at the Southbank Centre (which can be found here) and it received more attention than I expected!

I just wanted to thank the Fascinating Aïda Facebook page for sharing my post! The post has received over 400 views in the last 4 days, leading to my other blogs for university having also been noticed.

If you enjoyed the review, then I can’t stress enough to book tickets for the F.A tour, this coming February and March.

Please see the Fascinating Aïda website for more information: http://www.fascinatingaida.co.uk/tour_dates

Gothic & Horror

Mina Harker: Rebel or Dutiful Wife?

January 5, 2020June 30, 2020 ohyoulittlethings1 Comment

It is true, Mina Harker is one unique woman.

From a historical viewpoint, her actions and presentation show her embodying this newly emerged category of the ‘New Woman’. Her individualist thought and ability to intellectually participate in the success of the male protagonist’s victory, show her pushing Victorian gender boundaries – arguably making her the true hero of Dracula.

For me, the most pleasing trait of Mina’s personality is her constant notion to write. Within feminist theory (such as écriture féminine), bodily and personal expression is fundamental for bridging the gap between a split gendered society – Mina is a well-oiled machine when it comes to consistency and quality of her writing. As previously explored in ‘The Idea of Stoker’s “New Women”’blog post, this willingness to speak and write definitely mirrors the Suffragist Movement.

Stoker demonstrating this technological and personal advancement sources Mina’s power and freedom, as a ‘New Woman’ allows her to become a key participant in piecing together the truth about vampires.

These examples are all very uplifting – yet in many ways, Stoker still oppresses Mina’s character…

We still see glimpses of Mina inhibiting the Victorian female ideal – ‘The Angel of the House’ – through her marriage and duty to her husband, Jonathan, as well as how her physical participation in the hunt for the Count is not appreciated.

I believe the male characters of the novel still see her purely as Mrs. Johnathan Harker – she must care for him after his trip to Transylvania – Mina attempts to be a ‘New Woman’ but society and her social duty stop her from doing this. At the start of the novel, she is already in this committed and engaged relationship – a state which Victorian women would have aimed for, showing an ideal to follow the social norm.

She is also unable to participate in, what are seen as ‘masculine’ activities – she does not give a blood transfer to Lucy, doesn’t take part in the killing of Dracula, and unalike Johnathan isn’t sexually engaged.

By the end of the novel, I think her ‘New Woman’ status is diminished – she becomes the ‘damsel in distress’ when she starts to become a vampire. She needs the power of men to live on and regain this holy sense once again. As well, by the end, this fighting, rebellious image is crushed yet again by Mina following social stereotypes and illustrates this idyllic, fantasia of family life – where she remains the dutiful wife and becomes a mother.

Perhaps the strong prejudice and double standards within society force her into this situation – and is something out of her control. The chaotic social order of being involved with Vampires, the unnatural and fear definitely aids Mina’s ability to have a voice and inhibit the supposed masculine roles – such as being a writer or stepping into the male roles of a relationship when Jonathan is in his invalid state.

By the end of the book, are those rebellious, life-saving skills blurred by the achievement of men?

Popular Fiction

Qui est Meursault?

January 3, 2020June 30, 2020 ohyoulittlethingsLeave a comment

Who is Meursault?

Albert Camus’ famous French novel, L’étranger, is laden with existentialist ideas, a hideous crime and confusing main character, Meursault. This modern classic delves into the complex psychology of a murderer. But what makes Meursault so distinct and why does he commit murder?

Even from the start of the book, Meursault presents himself as different – beginning with the famous lines:

<<Aujourd’hui, maman est morte. Ou peut-être hier, je ne sais pas.>>

“My mother died today. Or maybe yesterday, I don’t know”

Meursault lacks in empathy and compassion, showing no indication to change his ways. Even from the opening page, we can see there is no curiosity or grief within him, and he has not inclination to discover what happened to her. His oblivious attitude to life is arguably why his character can be seen as so shocking.

This is a recurring theme throughout the book – he pretends to care about the relationships he has, whereas in fact he is entirely detached from these feelings and emotions towards them – friends, family and his lover.

When visiting his mother’s body at her care home, he doesn’t explicitly pay his respects – by traditionally looking at her anointed body – he sits beside her coffin and smokes his time away (something which he spends the majority of the book doing). Additionally, during his socialised period of mourning, instead he spends his time judging people, swimming, drinking and smoking even more… actions which belittle the memory of his mother.

Although the almost bored sense I feel from Meursault, and his ability to detach from people – and break away from relationships fast, like with his lover, Marie – is what gives him the ability to be unharmed by his actions, psychologically, after killing an Arab…

Despite having no previous grievances with this Arab, Meursault still takes a gun from his friend and shoots his supposed opponent. He then shoots the ‘lifeless body’ four more times. Even though the Arab was already dead, why did Meursault shoot him again? Perhaps it was out of fear, or had he succumbed to being in control?

Albert Camus, an existentialist, paints the image of absurdity. As a reader, we search for meaning in these extra shots. I don’t think we are supposed to know the true meaning as Meursault himself is unsure, because he is so devoid of meaning and rationality – drawing attention to Camus’ idea of the Absurd. However perhaps knowing that his actions would have life-threatening consequences – execution by guillotine – this gives Meursault an almost escape from life, in a suicidal fashion, a death often linked with existentialism.

His final words:

‘I could only hope there would be many, many spectators on the day of my execution… that they would greet me with cries of hatred’

These show a desire to be affiliated with a hateful, racial crime and this victory to die almost fulfils him. Meursault want to illustrate his lack of meaning in his actions, leaving the reader extremely uncomfortable and highlighting the disturbing elements of murderers.

Meursault is complex and dismissive. Unlike other murderers he rejoices in being caught. Particularly as he is put into prison before being executed – a facility associated with forgiveness and reevaluating of the self – he rejects the support of faith entirely.. This complete dissociation away from society, belief and a desire to be free is why the jury see him as physically, spiritually and mentally guilty.

Gothic & Horror

The Poe Curse

January 3, 2020June 30, 2020 ohyoulittlethingsLeave a comment

Edgar Allan Poe may be a huge name in literary history, but when it comes to the treatment of women, often it doesn’t end well…

In ‘Poe’s feminine ideal’, a chapter of the Cambridge Companion to Edgar Allan Poe, Karen Weekes outlines her theory that women act as an ‘emotional catalyst for her partner’ and ‘must die’ in order to heighten the experience and emotion of the narrator, within Poe’s poetry and short stories.

But where exactly is this seen in Poe’s work?

Ligeia, 1838
Source: Alarmy Stock Images

Ligeia’ and ‘Berenice’ are prime examples. These titular characters both die, leaving the male narrators, who are their significant others, in a deteriorating and depressed manner – perhaps this widowing element enables Poe to explore horror and fear within the male psyche.

In ‘Ligeia’ it seems the narrator put his wife on a pedestal and falls himself after her untimely death. But is the grief presented legitimate? The narrator passionately recalls his change of lifestyle, becoming childlike without her. Yet, when sharing memories predominantly mentions her appearance – is this the only memorable thing for him? – also, he cannot remember her surname nor their first meeting. As well, let’s not entirely forget, how shortly after he remarries another woman… whom Poe later kills off too!

This supposed outcry for his beloved wife is full of ‘self-absorption’ and a false appreciation. This constant belittling of women proposes insignificance.

‘Berenice’ definitely shows some similarities to ‘Ligeia’ – the female characters die in order to delve into the complex, obsessive nature of the narrators – we hardly discover who they are and it seems they are only created in order to serve men or the drama. Also, in this short story, the narrator’s mother dies in childbirth – in a room allowing him to ignite his imagination and reclaim his masculine power.

Later on, (of course) disease is brought upon Berenice – almost decaying – the narrator describes her as ‘pale… placid… lifeless… hideous and unintelligible’ and Poe once again introduces this male gaze. Insinuating the only attractive factor has been destroyed.

The result of Berenice’s death allows Poe to illustrate psychological torment, through the narrator – when he becomes obsessed with his dead partner, especially her teeth. The fading away of Berenice physically can parallel to the narrator’s sanity and mentality fading away too, due to such horror. Eventually, he excavates his dead wife, discovering she isn’t dead. I think the use of killing a woman heightens this diversity within horror fiction. It unravels the image of female fragility and delicacy, completely causing chaos of social structure, as well as illustrating concerns of the time like death and burial.

Weekes’ argument is extremely persuasive – having highlighted a constant repetitive horror inflicted upon the women of Edgar Allan Poe’s stories. Ultimately I believe his aim was to construct true fear and show an absurd psychological consequence after the death of a loved one. Particularly with his desire to draw upon his ‘Philosophy of Composition’, and his idea of melancholy being the most powerful emotions, he wants something intrusive and fearful. This attention to emotion is extremely personal and important to Poe as he had been impacted by many female deaths throughout his lifetime, like his adoptive mother and cousin.

There is no denying that female death can produce true horror, for both the reader, character, and writer.

Reviews

Fascinating Aïda – Southbank Centre

January 2, 2020June 30, 2020 ohyoulittlethings3 Comments

They’re finally back! After a short hiatus, and a few solo shows thrown in for good measure, Fascinating Aïda finally returned in their brand new show at Queen Elizabeth Hall, last month. Gracing us with old and new songs, whilst painting a picture of positivity for the audience at the Southbank Centre (particularly in this abysmal political climate). This show is just the beginning – in the Spring, F.A will be voyaging once again, up and down the UK, on tour, showcasing their musical uniqueness.

Fascinating Aïda are also joined by Michael Roulston, who provides piano excellence, comedic commentaries, and I must say, a rather superb introduction to the Bulgarian Song Cycle.

We heard all kinds of songs – from the popular tunes to the political ones to the love ballads. I for one, was thrilled to hear their back-catalogue number, ‘Is it me, or is it hot in here?’ return to the set – because everybody should listen to a song about the menopause, at least once in their life! Not only were their songs about fake news and Instagram, but old numbers were rewritten especially for this occasion, to fit these polemical times. I saw their second performance of the schedule (10th December), and I only wish I could have been there to see what new Bulgarian Songs were conjured on the day of the General Election result…

But, for me, the most moving part of the performance was the rendition of ‘Goodbye Old Friends’ – pure and emotional and a song which illustrates the good and the bad of friendships. Dillie, Adele and Liza stand close around the piano and the beauty and heartache, without a doubt, resonates around the entire theatre.

Trust me… If you want to hear songs of the state of Britain, funerals and this strange obsession with posting your life online, then don your best theatre dress, treat yourself to a glass or two and make sure you see F.A on their upcoming tour. They are also in London until Sunday 5th January… so make sure you grab some tickets!

Details can be found (here) on the Fascinating Aïda website.

Activism

Handmaids Assemble II : Extinction Rebellion

January 1, 2020June 30, 2020 ohyoulittlethings2 Comments

In the first installment of my Handmaid’s Tale meets protest blog post, I highlighted the emergence of Handmaids as protest symbols. Particularly to fight misogyny and sexism within politics. However, the Handmaids have also recently taken to the streets of London, fighting for the recognition that climate is changing and the Government needs to do something about it.

And make a change. Fast.

These figures are members of the ‘Red Brigade’, who were actually first spotted protesting against the Iraq War in 2001. This image captures the Brigade at the Extinction Rebellion, earlier this year, walking in pairs alike the Handmaid’s featured in Margaret Atwood’s work.

Arguably in Handmaid’s, the favoured approach is a social or feminist perspective, rather than an environmental one. Despite this, I believe Atwood urges the great importance of care towards our environment, as a renowned activist, frequently throughout her works. She is one of many writers, creatives and celebrities in support of the Extinction Rebellion Movement.

The entire regime in The Handmaid’s Tale is predominantly triggered by an environmental catastrophe – leading to toxic wastelands, a diminishing birth rate, and constant need for health checkups. Speculative fiction, as showcasing something which could potentially happen, illustrates devastating consequences on the planet and humanity. The Handmaid-like figures represent the alike consequences that will happen if Governments don’t make a change.

But how does their presence affiliate with the climate?

Ecocritical approaches of Atwood’s work, describe the recurrence of ‘images of air, water and land pollution… [making] us… rethink our modern way of life and our treatment of the non human world’ and perhaps these protest figures move and symbolises the rapid increase of pollution. Their movements throughout the streets are forceful in protest. The image shows presence impacting life, dominating environments and the trespassing sense within order – strongly paralleling the hazardous consequences of not respecting environment. The images are captured in Central London, the hub of all pollution, and as creatives inhibiting pollution it allows a physical representation of how climate change can affect everyday life.

The red rebels state:

‘We divert, distract, delight and inspire people who watch us’

The dominating red colour immediately captures the eye – they symbolise ‘common blood we share with species, that unifies us and makes us one’, and the image of blood is paramount, as no change can lead to bloodshed, within humanity and nature. Significantly, this idea of unification is created through the uniformity of the dominating red colour, as well as how the Red Brigade is built of different ethnicities and genders, reinforcing this idea of a global issue which needs to be recognised.

Also, from a Gothic approach, the Red Brigade can evoke fear. Their pale, non-human style faces trigger a scared sense within a spectator. A monstrosity is created from the theatricality of their movements and looming presence. This is perfect with the desire to be noticed and almost scare influential figureheads into visualising a bloody future.

The colour is what makes media and spectators remember such an important event, and I think sometimes the only way to create a voice is through boldness and something the world will recognise – like The Handmaid’s Tale.

Fiction acts a reminder to rebel and of potentially catastrophic results if there is no change.