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Criticism

Review of The Heart Goes Last

October 1, 2018

The Heart Goes Last, by Margaret Atwood, is a quasi-science-fiction story set in the modern United States. Technically, it could be in the near future, but there is nothing to suggest it isn’t set in the present time.

The setup is (post-)apocalyptic alright, but in an individual way. Jobs disappear, social cohesion collapses, people live in the streets. However, the focus is on Stan and Charmaine, who are unwilling to live in their car anymore, and so sign up for Positron. It is a place promising security, safety, bliss; ad infinitum. That is the catch, however. Just like Hotel California, you can check out in any time you want, but you can never leave.

Let me start by saying this: I like Margaret Atwood’s style.Check the Critical Reception section in the article about The Other Side of Dreams to get a hintI like the way she introduces a deeply introspective narrative style, giving her characters life. As a result, I really had high hopes about The Heart Goes Last. Disappointingly, my expectations were shattered.

I have read countless books, both as a casual reader and from the perspective of literary criticism. Honestly, I never remember a narrative disintegrating so completely. Let’s see the details.

The Heart Goes Last
Nominally, The Heart Goes Last is about freedom versus security. But, sadly, things fall apart pretty rapidly
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Religion in Dracula: Christian, Pagan, and Jewish Narratives

September 19, 2018

Note: the following article on religion in Dracula is a modified excerpt (pp. 115-117) from my doctoral dissertation, “Time is Everything with Him”: The Concept of the Eternal Now in Nineteenth-Century Gothic, which can be downloaded (for free) from the repository of the Tampere University Press. For a list of my other academic publications, see the relevant page on the main site.

You can also find an article about religion in Charles Dickens’s A Christmas Carol and Mary Shelley’s Frankenstein

Religion in Dracula is a matter of oppositions. Bram Stoker’s Dracula presents the narrative as a whole and the Count in particular as an opposition to Christianity. Jacques Coulardeau argues that “Dracula [is] the heir of an older tradition than Christianity, that is to say paganism … Older religions are centered on a cult to nature: the night and the day, as well as the earth, the sun, and the moon” (2007, 130).

At the same time, Norma Rowen adds that the inverted Christian imagery in Dracula essentially renders the Count an antichrist, with Renfield’s phrase “the blood is the life” a parody of the Eucharist (1997, 241).

religion in Dracula

Furthermore, by calling Mina his “bountiful wine-press” (D 306), Dracula introduces a metaphor often argued to carry religious connotations. The reason is due to the fact that wine is part of the Eucharist (Kreitzer 1999, 125), but also because of the allusion to Genesis, with Mina’s vampiric baptism becoming a parody of the creation of Eve (Loughlin 2004, 204).

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Memory and Subjective Reality in Dracula

August 13, 2018

Note: the following article on memory and subjective reality in Dracula is a modified excerpt (pp. 155-158) from my doctoral dissertation, “Time is Everything with Him”: The Concept of the Eternal Now in Nineteenth-Century Gothic, which can be downloaded (for free) from the Tampere University Press pages. For a list of my other academic publications, see the related page of my website.

The importance of memory in Dracula is an issue receiving explicit attention. Mina mentions to Lucy that “with a little practice, one can remember all that goes on or that one hears said during the day” (D 62), an ability that is proven vital later on.

The occasions of memory loss begin early on for the characters. Jonathan, arriving at Dracula’s castle, suffers what appears to be a severe case of amnesia, as he claims “I must have been asleep, for certainly if I had been fully awake I must have noticed the approach to such a remarkable place” (D 21). Not only is Jonathan unsure of whether he noticed the approach or not, but his words imply that he is unsure of whether this was a result of dreaming or memory loss – hence his words “fully awake”.

Memory and Subjective Reality in Dracula
Memory and Subjective Reality in Dracula
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