halted in the midst of her ecstasy, puzzled, to see how her new friend grew less in size.
The moonlight spilled into the Duke's motionless bedroom from behind a cloud and she saw how pale this wolf, not-wolf who played with her was. The moon and mirrors have this much in common: you cannot see behind them. Moonlit and white, Wolf-Alice looked at herself in the mirror and wondered whether there she saw the beast who came to bite her in the night. Then her sensitive ears pricked at the sound of a step in the hall; trotting at once back to her kitchen, she encountered the Duke with the leg of a man over his shoulder. Her toenails clicked against the stairs as she padded incuriously past, she, the serene, inviolable one in her absolute and verminous innocence.
Soon the flow ceased. She forgot it. The moon vanished; but, little by little, reappeared. When it again visited her kitchen at full strength, Wolf-Alice was surprised into bleeding again and so it went on, with a punctuality that transformed her vague grip on time. She learned to expect these bleedings, to prepare her rags against them, and afterwards, neatly to bury the dirtied things. Sequence asserted itself with custom and then she understood the circumambulatory principle of the clock perfectly, even if all clocks were banished from the den where she and the Duke inhabited their separate solitudes, so that you might say she discovered the very action of time by means of this returning cycle.
When she curled up among the cinders, the colour, texture and warmth of them brought her foster mother's belly out of the past and printed it on her flesh; her first conscious memory, painful as the first time the nuns combed her hair. She howled a little, in a firmer, deepening trajectory, to obtain the inscrutable consolation of the wolves' response, for now the world around her was assuming form. She perceived an essential difference between herself and her surroundings that you might say she could not put her
She would spend hours examining the new skin that had been born, it seemed to her, of her bleeding. She would lick her soft upholstery with her long tongue and groom her hair with her fingernails. She examined her new breasts with curiosity; the white growths reminded her of nothing so much as the night-sprung puffballs she had found, sometimes, on evening rambles in the woods, a natural if disconcerting apparition, but then, to her astonishment, she found a little diadem of fresh hairs tufting between her thighs. She showed it to her mirror littermate, who reassured her by showing her she shared it.
The damned Duke haunts the graveyard; he believes himself to be both less and more than a man, as if his obscene difference were a sign of grace. During the day, he sleeps. His mirror faithfully reflects his bed but never the meagre shape within the disordered covers.
Sometimes, on those white nights when she was left alone in the house, she dragged out his grandmother's ball dresses and rolled on suave velvet and abrasive lace because to do so delighted her adolescent skin. Her intimate in the mirror wound the old clothes round herself, wrinkling its nose in delight at the ancient yet still potent scents of musk and civet that woke up in the sleeves and bodices. This habitual, at last boring, fidelity to her every movement finally woke her up to the regretful possibility that her companion was, in fact, no more than a particularly ingenious variety of the shadow she cast on sunlit grass. Had not she and the rest of the litter tussled and romped with their shadows long ago? She poked her agile nose around the back of the mirror; she found only dust, a spider stuck in his web, a heap of rags. A little moisture leaked from the corners of her eyes, yet her relation with the mirror was now far more intimate since she knew she saw herself within it.
She pawed and tumbled the dress the Duke had tucked away behind the mirror for a while. The dust was soon shaken out of it; she experimentally inserted her front legs in the sleeves. Although the dress was torn and crumpled, it was so white and of such a sinuous texture that she thought, before she put it on, she must thoroughly wash off her coat of ashes in the water from the pump in the yard, which she knew how to manipulate with her cunning forepaw. In the mirror, she saw how this white dress made her shine.
Although she could not run so fast on two legs in petticoats, she trotted out in her new dress to investigate the odorous October hedgerows, like a debutante from the castle, delighted with herself but still, now and then, singing to the wolves with a kind of wistful triumph, because now she knew how to wear clothes and so had put on the visible sign of her difference from them.
Her footprints on damp earth are beautiful and menacing as those Man Friday left.
The young husband of the dead bride spent a long time planning his revenge. He filled the church with an arsenal of bells, books and candles; a battery of silver bullets; they brought a ten-gallon tub of holy water in a wagon from the city, where it had been blessed by the Archbishop himself, to drown the Duke, if the bullets bounced off him. They gathered in the church to chant a litany and wait for the one who would visit with the first deaths of winter.
She goes out at night more often now; the landscape assembles itself about her, she informs it with her presence. She is its significance.
It seemed to her the congregation in the church was ineffectually attempting to imitate the wolves' chorus. She lent them the assistance of her own, educated voice for a while, rocking contemplatively on her haunches by the graveyard gate; then her nostrils twitched to catch the rank stench of the dead that told her her co-habitor was at hand; raising her head, who did her new, keen eyes spy but the lord of cobweb castle intent on performing his cannibal rituals?
And if her nostrils flare suspiciously at the choking reek of incense and his do not, that is because she is far more sentient than he. She will, therefore, run, run! when she hears the crack of bullets, because they killed her foster mother; so, with the self-same lilting lope, drenched with holy water, will he run, too, until the young widower fires the silver bullet that bites his shoulder and drags off half his fictive pelt, so that he must rise up like any common forked biped and limp distressfully on as best he may.
When they saw the white bride leap out of the tombstones and scamper off towards the castle with the werewolf stumbling after, the peasants thought the Duke's dearest victim had come back to take matters into her own hands. They ran screaming from the presence of a ghostly vengeance on him.
Poor, wounded thing ... locked half and half between such strange states, an aborted transformation, an incomplete mystery, now he lies writhing on his black bed in the room like a Mycenaean tomb, howls like a wolf with his foot in a trap or a woman in labour, and bleeds.
First, she was fearful when she heard the sound of pain, in case it hurt her, as it had done before. She prowled round the bed, growling, snuffing at his wound that does not smell like her wound. Then, she was pitiful as her gaunt grey mother; she leapt upon his bed to lick, without hesitation, without disgust, with a quick, tender gravity, the blood and dirt from his cheeks and forehead.
The lucidity of the moonlight lit the mirror propped against the red wall; the rational glass, the master of the visible, impartially recorded the crooning girl.
As she continued her ministrations, this glass, with infinite slowness, yielded to the reflexive strength of its own material construction. Little by little, there appeared within it, like the image on photographic paper that emerges, first, a formless web of tracery, the prey caught in its own fishing net, then in firmer yet still shadowed outline until at last as vivid as real life itself, as if brought into being by her soft, moist, gentle tongue, finally, the face of the Duke.
About The Author:
Angela Carter was born in 1940. When she published her first novel, Shadow Dance, in 1966, she was immediately recognized as one of Britain's most original writers. Eight other novels followed:
