A comic book return to the world of the Dark Crystal

After a long week, getting home on a Friday evening and finding two packets from Forbidden Planet waiting on the doormat was always going to start the weekend well; matters got even better on discovered that one of them contained the opening issue of a sequel to Jim Henson’s brilliant fantasy, The Dark Crystal.

A whole 35 years after that film – and oh, how old that makes me feel – Archaia Comics and Boom! Studio have just launched a highly-anticipated comic – The Power of the Dark Crystal, with a story by Simon Spurrier and art by Kelly and Nichole Matthews.

Set a century after the events of the film saw Jen and Kira restore the crystal and, with it, the world of Thra, this is based on a screenplay for an unfilmed sequel, and opens as a strange being arrives in a blaze of fire and on a desperate quest.

Scheduled for 12 issues, it’s beautifully illustrated – and the subscription cover by Sana Takeda is a gem, with more than a nod to Brian Froud’s wonderful concept work for Henson.

The first issue comfortably lives up to to expectation with nice pacing and intriguing suggestions of trouble brewing, as the ageing Gelflings are woken from slumber by the stranger’s arrival.

Elsewhere, as we start to turn the corner into spring, it seems a fitting moment to glance back and enjoy a glut of comics that all have have winter in their pages.

Klaus and the Witch of Winter, with a story by Grant Morrison and art by Dan Mora, is Boom!’s one-off winter special that sees a cruel witch awakened from ancient slumber by global warming, leaving it for Klaus to sort things out in time for Christmas and help a troubled child.

As with volume one of the trade (which I reviewed a while ago), it’s a cracking romp, excellently done, with the sort of emotional sophistication that marks it out as particularly classy.

Dark Horse has another seasonal offering in the Hellboy Winter Special, which gives us three short stories.

The Great Blizzard – story by Mike Mignola and Chris Roberson, with art by Christopher Mitten – doesn’t feature the titular hero, but is set in the 19th century and tells of a huge snow storm.

God Rest Ye Merry has a story by the same paring, with art by Paul Grist, and finds a stranger cropping up to help Hellboy and the BPRD tackle a Santa gone bad, while The Last Witch of Fairfield – story by Mignola and Scorr Allie; art by Sebastián Fiumara – sees Hellboy, Liz and Abe hunting for two missing children.

Okay, it doesn’t involve any of Mignola’s iconic artwork – but Hellboy has always been more than just that very stylised look – and the stories are all brief, but it’s fun nonetheless.

And talking of fun, Dynamite has a nice way of getting you to try a new comic: offering an opening issue for just 25c – so around the 25p mark over here.

Having enjoyed the Conan films and some of the books, plus Red Sonja, I decided to give the latter’s latest comic incarnation a try. Now on to the third issue, Amy Chu’s story, with art by Carlos Gomez, sees our heroine dumped from her Hyrkanian home into New York in a snow blown January 2017.

But for all the confusion caused by the modern world and the language, one thing remains a constant same for Sonja: Kulan Gath is still trouble and he knows she’s arrived in town.

You don’t look for great insights in a comic like this, but it is good fun.

If I don’t mind a bit of sword and sorcery, I also rather like vampire stories. And since Dynamite was offering an identical cut-price introduction to lure you in is the first issue of a rebooted Vampirella, it would have been churlish not to give it a whirl.

The story is by Paul Cornell with art by Jimmy Broxton, and it is a cracking intro that leaves plenty to keep us wondering, even while getting things going quickly.

Who are the mysterious trio hunting for Vampirella’s tomb – and why are themselves being hunted?

Since I’m still feeling very experimental with the comics I’m trying, the 25c offer was too good to refuse. I didn’t particularly expect much, but so far, both have been a very pleasant surprise.

And with the real world offering so much to cause concern, pure escapist entertainment can feel like a life saver.

Literature and an outburst of modern hysteria

I'm faint with the shock of it all

In the middle of all the news, analysis and hand-wringing surrounding the European and local elections emerged a little story that came almost as light relief.

Of Mice and Men and To Kill a Mockingbird are to be barred from school reading lists by secretary of state for education Michael Gove, it was reported late last week.

I don’t know about the reaction of any mockingbirds, but Twitter was alive with the sound of indignant tweeting.

One could quite easily have reached the conclusion that, deprived of the opportunity to read these works by John Steinbeck and Harper Lee, The Young People will fail in their studies, be put off reading for life and probably start injecting H.

Okay: I invented the last one.

The BBC reported “a Labour spokesperson” as howling that Gove’s “vision is backward-looking and preventing the rich, broad and balanced curriculum we need in our schools if our children are to succeed in the future economy.

Now it’s a lovely idea that what every child studies for a GCSE in English literature will have a direct impact on the national economy, but I’m going to call that one out as bollocks.

Actually, the reports were illustrative of the parlous state of substantial chunks of the UK media, as various organs picked up the story and ran with it uncritically.

Perhaps unsurprisingly, then, irrespective of Gove’s involvement in anything, some of the attitudes that have been revealed are hysterical – in more ways than one.

There is not a shred of evidence that any book has been banned.

One exam board has chosen to drop the novels from its preliminary syllabus (plus Arthur Miller’s The Crucible), with one anonymous individual from that board reportedly claiming that Gove’s personal dislike of Lee’s book is behind it – a claim that seems, at best, to be of dubious merit, although Gove has form on complaining that he thought ‘too many’ pupils were studying it. But that is not a synonym for hating the book himself.

The new English literature GCSE subject content was published last December and includes at least one play by Bill the Bard, something by the Romantic poets, a 19th Century novel, poetry since 1850 and a 20th Century novel or drama.

So pupils will still be able to study modern British works – the BBC reported that Meera Syal’s 1996 story of a British Punjabi girl in the Midlands, Anita and Me, and Dennis Kelly’s 2007 play about bullying, DNA, are among recent works that have been included in the same exam board’s draft syllabus.

Yet the Sunday Times reported Bethan Marshall, “a senior lecturer in English at King’s College, London”, as saying that it was a syllabus “straight out of the 1940s”, which would make schools “incredibly depressed” when they see it.

This is hyperbolic rubbish.

Frankenstein's monster. 19th Century. Still iconic

My secondary education came more than a generation later than the end of the 1940s and that’s pretty much what we studied for English literature – for our exam at 16.

Indeed, this is another point that seems to have passed over the heads of some.

This is about what pupils study for a particular GSCE – not for every English literature class for the duration of their secondary education up to and including taking that exam.

If Of Mice and Men and To Kill a Mockingbird are so influential and important to the development of young people, then perhaps they should be taught in the first three years, as preparation for the eventual list of texts that are available to be studied for examination?

To go back to my own experience, in the five years up to O’ level, we studied a huge number of books – and at least two plays a year by Shakespeare (plus the odd one by Sheridan and Shaw).

Now, much as I like to highlight my own uniqueness, I rather doubt that I’m alone in observing, some decades later, that none of that old stuff wrecked my exam chances or put me off reading.

In some cases, I fell in love instantly with the works – in particular, all but one of the Shakespeare that we studied (I only disliked Romeo and Juliet) and Jane Austen’s Pride and Prejudice.

At the time, I disliked Thomas Hardy, Charlotte Brönte and most certainly bloody, sodding Keats.

But then I also disliked William Golding’s Lord of the Flies – every bit a 20th Century novel – while I enjoyed Orwell’s Animal Farm.

As it happens, I have returned to most of these in the years since walking out of school for the last time. In most cases, I have enjoyed what I didn’t at the time and have explored further.

And my more recent literary peregrinations did not begin in isolation, but started as a result of my return to the literature I first encountered in class.

Ode to Autumn aside, however, Keats remains “bloody, sodding Keats”. Thankfully, our teacher also introduced us to a spot of Ted Hughes. And yes, I still read poetry too.

For clarity, I came from a home that was filled with books (mostly theology, non-fiction and light fiction), but have no memories of ever being read to or, once I’d passed beyond reading obviously children’s stories, being encouraged to read anything more demanding than Mary Stewart or Agatha Christie.

Vampires are still popular

So it was a case of mixed messages on the home front, leaving my introduction to literature entirely down to school (as was my introduction to art and music).

My first secondary school, which I attended until after taking my O’ levels, had a very mixed intake in terms of social background. It was a girls’ grammar school (we still had the 11 plus), but it was most certainly not ‘posh’.

My sister, who went to a local secondary school, was introduced to those dreadful ‘old’ books too – and has never ceased to be a reader or to love many older classics.

One of the problems with this sort of debate is that it is inherently patronising to children and young people.

It assumes that they need ‘easy’ texts and that ‘difficult’ – for which, often read ‘old’ – ones will be too hard and will turn them off their studies and even off reading in general.

Such things as computers, television and gaming are cited as being among the reasons that pupils will struggle to concentrate on anything that isn’t obviously ‘accessible’.

As I said: patronising.

Some complaints seem to think that not studying two particular classic 20th Century US texts for an exam will mean that pupils will be deprived – in other words, that they will never read them.

That is an assumption. There is nothing to stop anyone reading those – and other – books, either in their childhood or later. As I suggested earlier, there is nothing to stop a school using those books in earlier literature classes, before GCSE course work begins.

It also falls into the trap of assuming that the prime role of teaching literature to children is to create a life-long love of reading.

Now while hardly unpleasant, that’s far too simplistic an idea.

Few would apply the same idea to, say, the teaching of maths or of geography, so why treat reading differently?

Mind, much of this comes from the same camps that denounce ‘grammar nazis’ and proclaim that children should not be expected to learn to write correctly.

What they do in this – quite apart from revealing an utter lack of understanding of what a ‘nazi’ really was/is – is to reveal, among other things, that they do not comprehend the connection between a solid grammatical grounding in one’s own language properly and the ability to learn another language.

Let’s make it harder for children, shall we?

Every child – not just the ones whose parents can afford to send them to private schools – every child should have the right to the very best possible language education, in order that they have the very best chance to learn to make the most of the English language.

The clash between science and nature is no longer topical

That will not just help them in their future lives, but can be claimed to make a difference to the economic life of the nation as a whole.

And every child – not just the ones whose parents can afford to send them to private schools – every child should have the right to be introduced to the literary heritage of this country (and even Classical culture) and not just the ‘easy’ bits.

It’s the same, incidentally, with music and art – every child should have the right to be introduced to the very best that has been reached in those realms and not just what might be considered ‘easy’.

It’s not the role of education to make things comfortably easy, but to challenge the mind in order for that to develop.  Literature isn’t just about sitting down for a nice bit of a read, but about helping to develop critical skills.

To go down the route of education being ‘easy’ in such a way is not far from seeing education as essentially utilitarian – as merely a preparation for the workplace, which is what you get when the likes of the CBI bleats that school leavers lack “business and customer awareness” skills.

The idea has also been doing the rounds that pre-20th Century literature is also inherently reactionary – ‘misogynist’, was how one Twitter user characterised most of it.

First, as with reading history, it’s a cardinal error to attempt to impose modern mores on the past. You should not, as the Open University beautifully explains it, try to understand the Roman Colosseum through the prism of 21st Century Western attitudes to crime and punishment, religion or even animal rights (as though there’s only one Western attitude to any of those subjects anyway).

Similarly, you don’t try to understand any cultural ‘artifact’ by doing the same thing.

But none of this means that you have to introduce children to classic literature in a way that’s turgid.

Stop being terrified of the bawdiness of Chaucer.

And Shakespeare is full of power and politics, sex and violence.

Examine The Merchant of Venice in terms of anti-semitism and racism – and a proper examination, including the context in which it was written, does not produce the tired argument that is an inherently bigoted play, but rather, subtly the opposite.

Modern enough?

Look at Dickens for insights into 19th Century social issues. Austen was, first and foremost, a satirist – not a writer of rom-coms.

Read Mrs Gaskell’s Mary Barton if you want to see a representation of women and of class in the 19th Century industrial north.

Just want a damned good yarn? Try Conan Doyle or HG Wells – and with the latter, consider his ideas in terms of 21st Century scientific developments such as GM or cloning.

Now there’s a thought: man tampering with nature. What about Mary Shelley’s Frankenstein? Or Robert Louis Stevenson’s Strange Case of Dr Jekyll and Mr Hyde.

The fear of female sexuality and modernity? Try Bram Stoker’s Dracula.

Indeed, many of the above remain iconic figures on both the printed page and in film. With the latter, there comes the suggested opportunity to discuss changing attitudes toward women – and if you wanted, you could explore that by comparing Stoker’s tale with modern incarnations of vampires, including Selene in the Underworld film series.

19th Century English literature should not be seen as some sort of holy canon, but neither should it be damned and ignored, any more than anything from later – or earlier – or treated as though it were somehow so utterly out of date that is has no connection to human lives and experience in the 21st century.

Personally, I have no problem whatsoever with children reading To Kill a Mockingbird or Of Mice and Men, (I loved being introduced to Arthur Miller at A’ level), but I have no problem with them being introduced to older texts either.

The idea that seems to be floating around that somehow they’ll be damaged if they cannot study for examination the former novels, and damaged if they have to study for examination anything from before 1900, is patronising nonsense that does absolutely nothing to promote the best possible educational opportunities for every child.

And in protestations about ‘old’ literature and ‘accessibility’, the argument perversely turns out to be similar to Rupert Murdoch’s avowed anti-elitism. Do we need to detail how that has been used as an excuse to dumb down media – including but not limited to news media – and its impact on the UK’s public discourse?

If you need a reminder, then consider current attempts by the Times – once the paper of record – to smear Labour leader Ed Miliband because he looks a bit “weird”.

Another point: the clue is in the title – English literature. If you want to create a different course that covers global literature, then do so.

Literature in translation doesn’t count – although students of foreign languages will likely read relevant literature during their courses – so why should literature from the US?

After all, does anyone whine about a perceived lack of opportunity for pupils studying English literature to read, say, works by the rather excellent Australian author, Peter Carey?

And for brooding romance, Jane Eyre

Setting all that aside, is social mobility helped or increased by making education ‘easy’.

Ask yourself where the political leaders from the traditional working class are these days.

Is their absence down, in part, to the demise of the grammar schools that provided opportunities to gain the tools that enabled social mobility – including those that would and will always be available to those who have the fortune to be born to wealthy families.

Now this is not an argument that grammar schools are, per se, the ‘answer’. But the current situation is quite clearly not working – see that question about our politicians, and plenty of research that reveals social mobility to be reducing.

There are myriad reasons to criticise and damn Gove – his obsessive love of free schools and his actual record of trying to micromanage the curriculum (including some of his pronouncements on the teaching of history) are just two – but this non-issue really has the hallmarks of a dose of 19th century hysteria.

And caught in the middle, as always, are young people, being used – yet again – as a convenient political and ideological football.

So go on – won’t somebody actually think of the children for a change?

The Gothic classic with a sexy bite

Gary Oldman as a less clichéd screen Dracula

When Jonathon Harker, a newly-qualified solicitor, is sent to visit a client in Transylvania, he little realises that his trip to the Carpathians will change from romantic journey to life-threatening horror.

But his experiences at Count Dracula’s castle are just the beginning. While Harker is still on his way home, his fiancé, Mina, is visiting her best friend in Whitby.

And when Lucy falls mysteriously ill, shortly after the arrival in port of a ship that is manned only by a dead skipper, lashed to his wheel, her friends call on Professor Van Helsing to come to their aid.

Not the ‘original’ vampire tale by a long chalk – Polidori’s The Vampyre, from 1819, was the first to employ vampires as a stock figure in gothic horror – but Bram Stoker’s is the one that, since its initial publication in 1897, has stood the test of time.

It remains an excellent example of the genre. Taking an epistolary form made up of letters, notes, newspaper reports and diary entries from various characters, Stoker avoids overly flowery language, while his theatre background (he was stage manager to the legendary Victorian actor, Sir Henry Irving) shows in his ability to write various characters’ in a way that helps you ‘hear’ their voices. Van Helsing, for instance, ‘speaks’ and writes English with a slight hint of Germanic foreignness, while various working-class figures speak in the expected manner.

But what makes this novel stand out are the themes that Stoker deals with.

New-fangled technology and science rear their heads – typewriters, cameras and recording machines are seen alongside the new-fangled sciences such as psychology. In the novel, science in particular needs, if not to be overcome, then tamed.

Van Helsing’s understanding of what Dracula is depends on his ‘openness’ to things other than science and the empirical world. The other characters have to learn to accept what they find so difficult to believe – the message being that that difficulty is a direct consequence of faith in science etc.

And religion is important – not simply for the artifacts that protect (crucifixes, crosses and holy water) – but those fighting Dracula increasingly appeal to God for help in their quest. Folklore too is a help, seen in the role of garlic in keeping vampires away.

This is fin de siècle Europe, with Stoker appealing for the ‘old beliefs’ in the face of the new. But his concerns go further.

Max Schreck being scary as Nosferatu

The dominant theme here is of the danger of female sexuality – specifically, its danger to men.

The main threat to Harker’s life in Transylvania is not from Dracula himself, but from his three vampire brides, whom he rejects and flees, although it nearly kills him.

Once the count has made his way to England, though, he infects the innocent Lucy.

Stoker’s choice of vocabulary leaves no doubt.

The vampire brides and the infected Lucy are examples of “voluptuousness” and “wantonness”, while the pre-infected Lucy is “pure” and “innocent”. Such vocabulary is used time and time again.

Dracula comes to Lucy – and later Mina – at night, when they’re in bed.

The scene where he takes Mina is clearly sexual – having bitten her, he cuts his own breast and, forcing her head to him, makes her drink his blood. They’re discovered with Mina at his breast – a parody of maternity.

And what would men have to be so frightened of, other than sexuality itself?

In the late 19th century, syphilis was rife. Theories of the origins of the disease are manifold. Suggestions include it having come to Europe via the Spanish conquest of the New World.

However, in England, the disease was known at a 13–14th century Augustinian friary in the north-eastern port of Hull (not very far from Whitby). That Hull is a port suggests that the virus could have been ‘imported’ via its maritime links.

Dracula AD72 – a different sexual aspect

What is clear is that syphilis has long been blamed on foreigners. It has been variously called the ‘French disease’ in Italy and Germany, and the ‘Italian disease’ in France. The Dutch called it the ‘Spanish disease’, the Russians called it the ‘Polish disease’, the Turks called it the ‘Christian disease’ or ‘Frank disease’ and the Tahitians called it the ‘British disease’.

In Stoker’s England, respectable women didn’t like sex – the only reason for it was to procreate. As a result, with little or no sexual outlet at home, middle-class Englishmen visited prostitutes widely.

And the fear of syphilis caused them to hunt for virgins, in an effort to stay ‘clean’. Hunting for virgins then translated into a hunt for ever younger prostitutes, in order to be more sure that they were indeed virgins.

On a visit to London, the French writer Émile Zola was shocked to be propositioned by a child he estimated to be as young as six. She gave him a mouthful when he refused, but tried to give her some money.

In Dracula, the deadly infection is imported by a foreigner, who ‘seduces’ women in their beds at night, exchanging bodily fluids as he passes on the killer infection.

Arthur Holmwood cannot be allowed to kiss his dying Lucy, because it would infect him. Only after the undead Lucy is staked can she really die and, her soul cleansed once again, take her place in Heaven.

With Mina, after Dracula’s assault on her, she is ‘unclean’ – to the extent that, when van Helsing presses a communion wafer to her forehead, a mark is ‘burnt’ onto her skin. Even God blames and rejects her, and sees her as unholy.

Female sexuality is presented as an inevitable – women need little or no tempting. Mina and Lucy are “pure”, exemplary women – yet neither is able to resist the count’s blood lust. They need to be protected by men and by religion. Men need to protect themselves, by controlling and subduing female sexuality.

The contradictions are obvious – the idea that men are somehow ‘innocent’ in all this, together with the refusal to recognise that female ‘respectability’ is itself a part of the problem.

Evolving vampire sexiness in Underworld

But the attitudes are far from new – they hark back to ancient beliefs, including Biblical ideas of female impurity and the myth of Adam and Eve and the serpent.

And they still exist today – for instance, in the idea of a Muslim woman needing to cover herself ‘modestly’ so as not to tempt men.

Vampires have remained popular, from the obviously sexual Christoper Lee incarnation in the Hammer films, to Anne Rice’s Lestat series or Kim Newman’s enjoyable Anno Dracula novels, the Buffy TV series or the Underworld films.

They have evolved beyond simplistic representations of dangerous foreigners, but have retained a strong sexual element.

One suspects that this is at least part of the continuing attraction.

Thus Stoker’s Dracula is not only a great work of gothic horror, but an insight into Victorian social attitudes and fears. And that alone makes it a worthwhile and absolutely fascinating read.

* This was originally a 2008 piece written for a literature forum, that came to mind during an online discussion of the novel. It has been slightly edited and extended here.