To be fair, this isn’t really a “crime story,” it’s a narrative that leads up to a crime. But it’s an excellent read, with some striking imagery, and I like it. That’s all the reason I need….
Originally published in 1890, Emilia Pardo Bazán’s “Un destripador de antaño” (“A Ripper of Yesteryear“) tells of the tragic intersection between the lives of a young orphaned peasant girl and a mysterious apothecary. It’s set in the author’s native Galicia, in and around the historic city of Santiago de Compostela, the ending point of the famous pilgrimage known as the Camino de Santiago. The story’s introduction implies that it may be inspired by an old Galician folktale:
The legend of “The Ripper,” the half-sage, half-sorcerer assassin, is a very old one in my homeland. I heard it at a tender age, whispered or chanted in frightful refrains,… I will tell it to you. Enter valiantly with me into the shadowy regions of the soul.
It’s also seems related to a certain Andean folklegend, which I won’t mention here, for fear of spoilers. But if you’re interested, you’ll find a pointer in the footnotes of my translation. Continue reading →
There’s no real theme to this post; I’m just tying up some loose ends I’d forgotten about. Specifically, a couple of posts to Ephemera that I never boosted here.
First is a translation that I posted last October of a ghost story, of sorts, by Emilia Pardo Bazán. This is an interesting and ambiguous tale: is the protagonist mad, or possessed? It reminds me a little bit of The Horla, and also a little bit of “The Yellow Wallpaper.” See what you think.
Second is a version of the Snow White fairy tale, in verse, by Aleksandr Pushkin, called (in this version) “The Tale of the Dead Princess and the Seven Knights” (1833). It’s a mix of the traditional Snow White narrative (Aarne-Thompson-Uther tale type 709), with a little bit of “East O’the Sun, West O’the Moon” (Aarne-Thompson-Uther 425 I think? — only in reverse).
Just an update on some recent(ish) posts to my other blogs. By coincidence, both posts relate to the theme of Faustian bargains, so they go rather well together.
Over on Ephemera, here’s the latest of my Emilia Pardo Bazán translations. This is from a few months ago, but I got distracted by Pedro Escamilla and Dark Tales Sleuth, so I never announced the translation here.
The Spell (El conjuro): A philospher performs an incantation of the last day of the year, in hopes of summoning a being that can grant his desire.
The protagonist of the tale is referred to as “el pensador” (the thinker) in the original Spanish. I rendered that as “the philospher” in my translation, because it felt better to me in English, and in my opinion still retains the connotations of the original Spanish term.
Two more translations! One by Juana Manuela Gorriti, and one by Emilia Pardo Bazán. This is a kind of matched pair: two stories about the tension between rational explanations and the desire to believe in the supernatural.
Many marvelous-seeming phenomena in the world are really quite natural; Sir Walter Scott dedicated an entire letter from his Letters on Demonology and Witchcraft to debunking ghost stories of this type. One such example is the tale of the dead club president’s ghost, which has a perfectly rational explanation.
As a story, though, the supernatural explanation is far more satisfying. And that may be the case with Gorriti’s and Pardo Bazán’s stories as well.
Featured Image: Mandrake. Folio 90 Folio 90 from the Naples Dioscurides (7th century). Source: Wikimedia
Part of my Women Writers of Folklore and Fiction series.
We tend to think of vampires as revenants, creatures that have come back from the dead and who feast on the living to maintain their existences. But it’s not just the undead who siphon away the life of their prey. Today’s post looks at two stories about such “living vampires”: Mary Elizabeth Braddon‘s “Good Lady Ducayne” (1896), and Emilia Pardo Bazán‘s “Vampiro” (1901).
Both stories have similar structures: young, vulnerable women are “acquired” by an extremely elderly and obscenely rich person–the living vampire–who siphons the life from their victim(s) in order to rejuvenate themselves.
In “Good Lady Ducayne,” the prey is eighteen year old Bella, whose mother was abandoned by Bella’s father. To earn extra money for the family, Bella goes into service. She is hired as a companion by rich old Lady Ducayne, who pays her an incredibly generous salary–and takes her to Italy! If that sounds too good to be true, it is.
Read “Good Lady Ducayne” at Project Gutenberg Australia, here.
In “Vampiro,” the prey is fifteen year old orphan Inesiña, the parish priest’s niece. Inesiña’s uncle arranges for her to marry seventy-seven year old Don Fortunato, the richest man in the province. The town gossips seem to think Inesiña got a good deal; how long can her husband live? Well….
Read my translation of “Vampiro” at the Ephemera blog, here.
Women’s History Month is over, but my series continues! Today I am featuring one of the major figures of Spanish literature: feminist, novelist, journalist, critic, and profilic short story writer Emilia Pardo Bazán (1851-1921), the Countess of Pardo Bazán. Like George Sand, she is not primarily thought of as a writer of the fantastic , but is a prominent mainstream literary figure, known for her efforts to incorporate naturalism into Spanish literature.
According to her page at the Biblioteca Virtual Miguel de Cervantes, she “is considered the best Spanish woman novelist of the 19th Century and one of the most distinguished writers in [the history of Spanish literature].” In 1916, she became the first woman to receive a chair at a Spanish university: Chair of Contemporary Literature and Romance Languages at the Universidad Central in Madrid.
I hadn’t read her since my undergrad days (I have a minor in Spanish Language Literature, though I remember almost nothing about it now), and she didn’t catch my attention at the time, focused as I was on the Argentine magical realists. I came across her again recently, while flipping through some of my old textbooks and bilingual anthologies, and this time around, her stories struck me, hard. Her writing feels remarkably contemporary in its psychological acuity and feminist outlook; like Quiroga, she sketches perceptive portraits of some of the darker and/or frailer aspects of human nature. While the stories I initially read don’t quite fit into the types of fiction I discuss on this blog, I really wanted to include her in this series, if possible.
Fortunately, a little digging surfaced several pieces that arguably qualify as fantastic or weird. I think I’ll have translation projects for some time to come! For this post, I’ll start with two that are short, but particularly powerful.