Stirring Sexual Desires

Welcome to Celebrate Poe - This is episode 345 - Stirring Sexual Desire

I was looking at the podcast episodes I have done, and realized that I had written three or more episodes for each subject.  But I only did two for Carmilla, and have come to realize that the narrative does deserve more attention.  You see, there is no question that Carmilla has lesbian/homoerotic undertones that were groundbreaking for its time.  Being a gay male, I might not be the ideal person to speak to the lesbian subtext, but I can certainly give it a try.

The story features several scenes of physical closeness between a young woman named Laura and a female vampire named Carmilla, including embraces, caresses, and even Carmilla fondling Laura in bed. These interactions are described in sensual terms that suggest a romantic and sexual attraction. The relationship between the two women is characterized by intense emotions, possessiveness, and a deep, almost obsessive connection that goes beyond typical friendship.

Carmilla is one of the early works of vampire fiction, definitely predating Bram Stoker's “Dracula."  The story is narrated by Laura, a young woman who becomes the target of a female vampire named Carmilla.

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Transcript

Welcome to Celebrate Poe - This is episode 345 - Stirring Sexual Desire

I was looking at the podcast episodes I have done, and realized that I had written three or more episodes for each subject.  But I only did two for Carmilla, and have come to realize that the narrative does deserve more attention.  You see, there is no question that Carmilla has lesbian/homoerotic undertones that were groundbreaking for its time.  Being a gay male, I might not be the ideal person to speak to the lesbian subtext, but I can certainly give it a try.

The story features several scenes of physical closeness between a young woman named Laura and a female vampire named Carmilla, including embraces, caresses, and even Carmilla fondling Laura in bed. These interactions are described in sensual terms that suggest a romantic and sexual attraction. The relationship between the two women is characterized by intense emotions, possessiveness, and a deep, almost obsessive connection that goes beyond typical friendship.

Carmilla is one of the early works of vampire fiction, definitely predating Bram Stoker's “Dracula."  The story is narrated by Laura, a young woman who becomes the target of a female vampire named Carmilla.

And while modern readers might see clear lesbian themes, it's important to note that Victorian readers may have interpreted the relationship differently, possibly as an intense romantic friendship - remember that such close, intense friendships between women was commonly accepted.

And interpreting 19th-century literature through a modern lens requires careful consideration of historical context and attitudes towards sexuality.

Carmilla embodies a form of female autonomy and sexual expression that was considered taboo in Victorian society. She stirs sexual desires in Laura, countering the societal belief that women do not experience such feelings.

Carmilla subverts traditional gender roles by taking on an active, pursuing role typically associated with male characters in Victorian literature. This challenges the rigid societal norms of Victorian femininity.
The relationship between Carmilla and Laura explores homoerotic themes, which were highly controversial and feared in Victorian society. This representation threatens both the idealistic depiction of pure, virginal womanhood and the rigid structure of heteronormal monogamy essential to Victorian society.

Carmilla's presence weakens the authority of male characters, particularly Laura's father, symbolizing a challenge to patriarchal control. The male characters' attempts to understand and control the situation through medical explanations are portrayed as futile.

Carmilla is portrayed as strong and free from male restraint, which goes against the expected norms for women in Victorian society.

Carmilla defies Victorian sexual ethics by challenging the sacred pillar of preserving young girls' innocence, embodying corruption and defying social norms.

By presenting these challenges to Victorian norms, Le Fanu uses Carmilla to critique and question the societal constraints of his time, particularly those placed on female sexuality and autonomy. The novella suggests that these constraints can lead to a distortion of natural desires and highlights the tension between tradition and modernity in Victorian society.

Now the novella explores several key themes of lesbianism that were revolutionary for its time:

The story portrays intense sexual attraction between women, challenging Victorian-era norms. Carmilla's longing for Laura is primarily sexual, depicting female homosexual desire as a powerful force.

Lesbianism in Carmilla represents women's search for autonomy and freedom from patriarchal constraints. The relationship between Carmilla and Laura offers an alternative source of intimacy that doesn't demand subservience to men.

The novella presents lesbian relationships as a challenge to traditional marriage and gender roles, seen as potentially "draining" women of their perceived societal duties.

Laura's simultaneous attraction to and repulsion by Carmilla's affections reflects the complex emotions surrounding same-sex desire in a repressive society.

Carmilla's relationship with Laura is portrayed as potentially empowering, offering education, companionship, and personal development.

Even after Carmilla's demise, her influence on Laura persists, suggesting the profound and enduring nature of their connection.

The story depicts a world where women are free to express their sexuality without male intervention, challenging then current power structures.

The relationship between Laura and Carmilla evolves from initial fascination to a complex, intense bond with romantic and supernatural undertones. Their connection begins in Laura's childhood when Carmilla appears in her dream, leaving a lasting impression. When they meet again years later, Laura is immediately drawn to Carmilla, feeling both attraction and a sense of recognition.

As their relationship develops, it becomes characterized by:

Intense emotional connection: Laura feels strongly drawn to Carmilla, despite also experiencing some repulsion.

Sexual tension: Carmilla's behavior towards Laura is often described as erotic and compelling, with clear sexual undertones.

Mystery and secrecy: Carmilla keeps much of her life secret, which both intrigues and frustrates Laura.

Conflicting emotions: Laura experiences a mix of desire, anxiety, and fear in relation to Carmilla.

Physical symptoms: As their relationship intensifies, Laura begins to experience illness and disturbing dreams, which are later revealed to be connected to Carmilla's vampiric nature.

Power dynamics: Carmilla exerts a powerful influence over Laura, which Laura finds both alluring and threatening.

Despite the eventual revelation of Carmilla's true nature and her demise, her impact on Laura remains profound and lasting.
 
Now the theme of female sexuality profoundly influences the relationship between Laura and Carmilla in Le Fanu's novella, creating a complex dynamic of attraction, fear, and liberation.

Laura experiences a mix of "adoration" and "abhorrence" towards Carmilla, reflecting her conflicted feelings about sexual freedom. This paradoxical response stems from Laura's simultaneous attraction to Carmilla's passionate advances and her fear of the unknown, as well as the societal norms she has internalized.

Let me take an aside here - as a gay male, I can certainly relate to such feelings - the fear of the unknown, conflicts about sexual freedom, and an attraction to passionate advances while simultaneously (at least at first) being repulsed by those advances  - but I digress - back to Carmilla - 

Now Carmilla's behavior towards Laura can be characterized by:

Intimate physical contact, such as caressing and crawling into bed with Laura

Possessive and passionate displays of affection

Freedom from male control, allowing Laura to experience a world not entirely dominated by men

Interesting enough, Laura’s inability to comprehend Carmilla's desire except by imagining her as a male suitor in disguise highlights the extent of female sexual repression in their society. The relationship between Laura and Carmilla gives Laura a taste of sexual and personal freedom she had not previously experienced.

However, the novella ultimately portrays this female sexual desire as dangerous and potentially deadly. Afterall, these were Victorian times. Laura’s growing "illness" is explicitly sexual in nature, and can only be "cured" by eliminating Carmilla and the mutual attraction between them. This portrayal reflects the anxieties surrounding female sexuality, particularly homosexual desire, in the 19th century, and to an extent, anxieties that are still present in certain areas.

Despite the eventual defeat of Carmilla by male characters, Laura's lingering thoughts of Carmilla suggest that the experience has fundamentally changed her. This ambiguous ending underscores the complex and lasting impact of female sexuality on the relationship between Laura and Carmilla, as well as on Laura's sense of self and her place in society.

Now getting back to Carmilla’s vampirism - 

Carmilla's vampirism allows her to express her sexuality outside the constraints of Victorian-era expectations. As a vampire, she can pursue her desires without conforming to traditional gender roles or societal restrictions on female sexuality. Carmilla's attraction to Laura represents a form of sexuality that was taboo. Her vampirism serves as a metaphor for lesbian relationships, allowing her to express same-sex desire in a time when such relationships were forbidden.

And as a vampire, Carmilla possesses a level of sexual freedom and autonomy that was rare for women in the Victorian era. She actively pursues her desires and takes control of her sexuality, rather than being passive or submissive.

Carmilla's vampiric actions, such as biting and blood-drinking, serve as metaphors for sexual acts. These intimate physical encounters allow her to experience sensual pleasure outside the bounds of conventional sexual relationships.

Carmilla's vampirism grants her independence from patriarchal authority. She exists in a world not entirely controlled by men, which allows her to explore her sexuality without male interference or dominance.

Carmilla's predatory nature as a vampire challenges traditional gender expectations. Her active pursuit of Laura subverts the typical dynamic of male aggressor and female victim, further symbolizing her sexual freedom.

Now you have to remember that all this is taking place in the Victorian era - and Le Fanu's portrayal of Carmilla subverts traditional Victorian gender roles by presenting a female character who is sexually empowered and takes an active role in courtship. This depiction contrasts sharply with the Victorian ideal of the "angel in the house," where women were expected to be passive, asexual beings confined to the domestic sphere.

The novella navigates taboo same-sex desires within the context of Victorian social repression. The intense bond between Carmilla and Laura, characterized by physical intimacy and declarations of love, challenges the traditional expectations of the era. Carmilla embodies the Victorian concept of the "fallen woman," a term used to describe women who deviated from sexual norms. By portraying Carmilla as both alluring and monstrous, Le Fanu reflects the Victorian society's conflicted attitudes towards female sexuality.

Carmilla holds significant importance from a lesbian standpoint, both in its original 19th-century context and in modern interpretations. The novella is considered one of the earliest works of vampire fiction and is particularly notable for its portrayal of a same-sex relationship between women.

Carmilla predates Bram Stoker's Dracula by 26 years and subverts the typical vampire narrative of the time by featuring a female vampire who preys exclusively on other women. This was groundbreaking in Victorian literature, where same-sex relationships were rarely depicted, especially between women.

Le Fanu's writing allows for multiple interpretations of the relationship between Carmilla and Laura. While Carmilla is ostensibly the villain, her genuine affection for Laura and Laura's reciprocal attraction create a complex dynamic. This ambiguity has allowed modern readers and adaptations to explore the story from a more sympathetic queer perspective.

Carmilla can be read as a critique of patriarchal society and its attempts to control female sexuality. The vampire Carmilla represents a form of female empowerment and autonomy that threatens the established social order. Her ability to form deep emotional connections with other women challenges the notion that women's primary relationships should be with men.

Carmilla is often credited as the progenitor of the lesbian vampire archetype in literature and popular culture. This trope has been both criticized for its potential to demonize lesbian relationships and celebrated for its portrayal of powerful, seductive women who defy societal norms.

Contemporary adaptations of Carmilla often emphasize the queer aspects of the story, reframing it as a love story rather than a horror tale. These modern versions tend to portray Carmilla more sympathetically, celebrating her as a queer icon rather than a predatory monster.

Carmilla's importance from a lesbian standpoint - and we getting closer to the end here - lies in its groundbreaking representation of female same-sex desire, its challenge to patriarchal norms, and its lasting influ ence on queer literature and popular culture. While the original text is a product of its time and contains problematic elements, its legacy as an early exploration of lesbian themes in literature remains significant.

I’d like to conclude this episode with a short section from Carmilla, where she is a young girl and attempts to describe the strange sensations that she is experiencing -

The first occurrence in my existence was one of the very earliest incidents of my life which I can recollect. Some people will think it so trifling that it should not be recorded here. You will see, however, by-and-by, why I mention it. The nursery, as it was called, though I had it all to myself, was a large room in the upper story of the castle, with a steep oak roof. I can’t have been more than six years old, when one night I awoke, and looking round the room from my bed, failed to see the nursery maid. Neither was my nurse there; and I thought myself alone. I was not frightened, for I was one of those happy children who are studiously kept in ignorance of ghost stories, of fairy tales, and of all such lore as makes us cover up our heads when the door cracks suddenly, or the flicker of an expiring candle makes the shadow of a bedpost dance upon the wall, nearer to our faces. I was vexed and insulted at finding myself, as I conceived, neglected, and I began to whimper, when to my surprise, I saw a solemn, but very pretty face looking at me from the side of the bed. It was that of a young lady who was kneeling, with her hands under the coverlet. I looked at her with a kind of pleased wonder, and ceased whimpering. She caressed me with her hands, and lay down beside me on the bed, and drew me towards her, smiling; I felt immediately delightfully soothed, and fell asleep again. I was wakened by a sensation as if two needles ran into my breast very deep at the same moment, and I cried loudly. The lady started back, with her eyes fixed on me, and then slipped down upon the floor, and, as I thought, hid herself under the bed.

I was now for the first time frightened, and I yelled with all my might and my nursery maid and housekeeper, both came running in, and hearing my story, they made light of it, soothing me all they could meanwhile. But, child as I was, I could perceive that their faces were pale with an unwonted look of anxiety, and I saw them look under the bed, and about the room, and peep under tables and pluck open cupboards; and the housekeeper whispered to the nurse: “Lay your hand along that hollow in the bed; someone did lie there, so sure as you did not; the place is still warm.”

I remember the nursery maid petting me, and all three examining my chest, where I told them I felt the puncture, and pronouncing that there was no sign visible that any such thing had happened to me.

The housekeeper and the two other servants who were in charge of the nursery, remained sitting up all night; and from that time a servant always sat up in the nursery until I was about fourteen.

Join Celebrate Poe for episode 346 for Challenging Male Authority

Sources include: Carmilla and Other Tales of Torment: An Annotated Edition by Joseph Sheridan Le Fanu

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