The Onyx Review: The Interdisciplinary Research Journal © 2017 Center for Writing and Speaking 2017, Vol. 3, No. 1, pp. 9–20 Agnes Scott College The Cannibal Mother: Philip Pullman’s The Golden Compass and the Sexual Anxieties of Bluebeard Folktales Taylor Drake Agnes Scott College Philip Pullman’s His Dark Materials trilogy is renowned for its condemnation of Christian fundamentalism and positive portrayal of sexual maturation; yet these themes supposedly do not come into prominence until after the first book, The Golden Compass. However, here I will argue that The Golden Compass contains subtle retellings of “Bluebeard” (ATU 312) and “The Robber Bridegroom” (ATU 955), folktales wherein a young woman finds a room full of the corpses of her husband’s previous wives. Through repurposing elements of these folktales – and recasting the villain as the protagonist’s mother – The Golden Compass presents a strong condemnation of what feminist Elizabeth Spelman calls “somatophobia,” Western philosophy’s hostility to the body that is used to rationalize the subjugation of women. While Pullman’s use of the Bluebeard cycle ultimately reinforces his publicly-stated goals for the series, judging The Golden Compass as a Bluebeard retelling allows for reevaluations of both feminist and Freudian interpretations of the folktales, revealing an alternate interpretive paradigm that re-centers narrative importance on the family and thus exposes the manufactured nature of sexual anxieties in Judeo-Christian society. s English authoress Angela akin to analyzing it by its prologue Carter once wrote: “I am all for (Waldman). A putting new wine in old bottles; What is left for the first book, then? especially if the pressure of the new wine Although the connection between makes the old bottles explode” (37). Carter’s Pullman’s plucky heroine Lyra Belacqua fairy tale retellings challenge the ideological and the Biblical Eve is not codified until the paradigms of some of the Western world’s second novel, Pullman utilizes retellings of oldest and most-beloved stories—but the Bluebeard cycle, fairy tales in which perhaps she could have gone back further. “Eve is allowed to get away with it,” to Fellow Englishmen Philip Pullman has question the proposed destructiveness of made no secret that the His Dark Materials female curiosity and sexual maturation trilogy is “a retelling of Miltonian (Warner 244). It is not merely the exciting temptation and fall,” meant to “represent the prologue to a series that eventually tackles fall as entirely good,” intending for his new themes of sexual maturity and the dangers of wine to destroy the old bottle entirely religious fundamentalism. Instead, the (Waldman). By returning to the beginning of folkloric context reveals The Golden human life, – and its stories – Pullman seeks Compass as itself a thematic heavyweight, to challenge fundamental notions of albeit more subtly so, and the fruition of maturation and sexuality. By his own hundreds of linked attempts to express and admission, however, most of the books’ ease somatophobic anxieties. Miltonian intertextuality happens “after The The Golden Compass is the quest of 11- Golden Compass ends”—an ending so open year-old orphan Lyra Belacqua to find her that analyzing the novel independently feels friend, Roger, who has been kidnapped by a group known colloquially as the “Gobblers”; The Onyx Review, 2017, 3 (1) 9 T. Drake / THE CANNIBAL MOTHER: PHILIP PULMAN’S THE GOLDEN COMPASS AND THE SEXUAL ANXIETIES OF BLUEBEARD FOLKTALES over the course of the novel, this journey poem at the end of Charles Perrault’s “La becomes centered around “Dust,” a Barbe Bleue,” identified as the first literary mysterious element that her father Lord variant, defined this attitude: Asriel wants to study and that the theocratic Curiosity despite its attractions, Magisterium wants to suppress. Comes with the cost of many regrets; “The Gobblers” are the Oblation Board, …And always at too high a cost a government program spearheaded by the (Heiner, “Moral” 17). manipulative but gorgeous Mrs. Coulter, This comes despite Perrault’s own Lyra’s biological mother. Based on research flippant tone, and the additional moral that that Dust begins to accumulate in a person Anyone with a sensible mind once their daemon – a physical …Will easily see that this story manifestation of the soul able to shapeshift Is a tale from past times (Heiner, during prepubescence – finds its permanent “Another Moral” 17). form, the Magisterium has concluded that Perrault also calls Bluebeard’s test Dust is remnants of Original Sin. Thus, the “impossible,” implying that Fatima’s Oblation Board have been tasked to sever, or disobedience was an inevitability (Heiner, “intercise,” the metaphysical tie between “Another Moral” 17). This second moral child and daemon, ultimately at the cost of also concludes by stating that the traditional the child’s life. power dynamics within marriage have Next, for simplicity’s sake, the phrase shifted so that “it is hard to judge which of ‘Bluebeard cycle’ will refer to stories of [the man and woman] is the master,” which ATU tale types 311, 312, and 955; as much too conflicts with the denouncement of folkloric scholarship refers to tale types by female curiosity that most seem to have their most famous variants, 311 and 955 taken away (Heiner, “Another Moral” 17). shall here be referred to as Fitcher’s Birds Still, much of the scholarship and art around and Robber Bridegrooms respectively, while the Bluebeard cycle is entrenched in 312 shall be called Maiden-Killers to avoid misogyny – sometimes even rationalizing confusion with Bluebeard the character. The the first wife’s murder as the result of an heroine of this cycle shall be here Fatima, as unrelated and equally-imaginary crime. bestowed upon her by the Victorian stage Yet even to other feminist scholars, (Kiesel 26). Warner’s earlier praise that the Bluebeard Bluebeard is a hideous man who woos a cycle allows Eve to escape blameless is one young girl with his immense wealth, and a more often heaped upon The Maiden month after their wedding day hands her the Killer’s sister-tales, Fitcher’s Bird and The keys to his castle – demanding before he Robber Bridegroom. As professor Cristina departs, however, that she not enter one Bacchilega posits, however, focusing on the closet door. She does, whereupon she finds forbidden chamber rather than Fatima’s all the bodies of his previous wives hanging disobedience reframes the Maiden-Killer along the walls. Her husband immediately narrative as “a process of initiation which returns and vows to behead her for her requires entering the forbidden chamber,” transgression, but just as he is raising his an acquisition of life-affirming knowledge sword, her brothers arrive to cut him down and a first assertion of autonomy, which is a with their own. paradigm that The Golden Compass falls Vastly more shocking than the violence into within its opening pages (197). of the tale is how many authors and scholars Lyra’s snooping in the Retiring Room cite curiosity as the true villain. A short of Jordan College reveals her caregivers’ The Onyx Review, 2017, 3 (1) 10 T. Drake / THE CANNIBAL MOTHER: PHILIP PULMAN’S THE GOLDEN COMPASS AND THE SEXUAL ANXIETIES OF BLUEBEARD FOLKTALES attempt to poison her father. Rather than Amber 376). While Freud characterizes the Fatima’s illusions of her marriage destroyed basement as the area of the house where – or, in many cases, her repressed inappropriate feelings are kept hidden, Lyra uneasiness validated – Lyra’s childish, feels these room not as threatening but unquestioning trust in the goodwill of adults “quiet, expectant,” awaiting her exploration is struck a blow. Like Walter Crane’s (Tartar 50; Pullman, Amber 376). Further illustrations of Fatima, key-in-hand, framed cementing the sexual overtones of this scene against a tapestry of the Temptation in Eden, – and its connection to the biblical story – is this scene mirrors what Marina Warner the fact that Malone’s sexual awakening is claims is the “inner structure” of the symbolized by her first kiss in a garden, a Bluebeard cycle (244). Lyra is destined to be kiss which feels like “paradise” and whose “tempted, as Eve was,” and thus, following memory later leads Malone to renouncing Warner’s line of reasoning, the Jordan her covenant (Pullman, Amber 376). Scholars, beholden to the Magisterium, are Before one can explore the newly- God’s agents– strict older men trying to alighted rooms of the house, however, one stamp out those who will arouse Eve’s must question why one has been told not to. dangerous intellectual curiosity (Pullman, The acquisition of this mistrust of adult Amber Spyglass 67). authority in the novel’s opening scene is This “inner structure” can perhaps unquestionably presented as a necessary act; explain why so many echoes of the without Lord Asriel, the trilogy would not Bluebeard cycle have arisen with seemingly exist. Through these cues, regardless of little intention on Pullman’s part. To whether one hears the folkloric echoes, Warner, Fatima is Eve, Bluebeard is God, Pullman primes both protagonist and patron the key the apple, and his dead wives’ to not only question the motives of bodies the knowledge of both good and evil seemingly-benign authority figures, but to (Warner 244). The Freudian symbolism of a dare to enter their forbidden chambers. key going into a lock is also blatant, and this Although the first chapter echoes The imagery of opening doors representing Maiden-Killer, the most salient influence is female sexuality will resurface later in that of The Robber Bridegroom upon Lyra’s story. While listening to former-nun chapter fifteen to the ending of part two. In Mary Malone (the second serpent) describe many ways, Pullman’s use of the Robber her own sexual awakening, Lyra feels “as if framework regresses the novel into she had been handed the key to a great conventional fairy tale tropes.