I noticed recently that Boomerang Books had twittered about a book trailer for The Gargoyle, by Andrew Davidson. Released back in 2008, I read the book as soon as I could get my hands on it because the blurb just sounded so damn good:
The nameless narrator of The Gargoyle is driving along a dark road when he is distracted by what seems to be a flight of arrows. He crashes into a ravine and wakes up in a burns ward, undergoing the tortures of the damned. His life is over – he is now a monster. One day, Marianne Engel, a wild and compelling sculptress of gargoyles, enters his life and tells him that they were once lovers in medieval Germany. As she spins her tale, Scheherazade fashion, and relates equally mesmerising stories of deathless love in Japan, Greenland, Italy and England, he finds himself drawn back to life – and, finally, to love.
This strange debut offering – which had such a high-falutin’ storyline – turned out to be compulsively readable. From the first sentence the book leapt free of the Gothic Classic narrative I’d been banking on, and was testing its wings in an entirely more modern context. And it may have been more of a shock, because the narrator wasn’t some damsel-in-distress wooed by a chance at love, it was a Hollywood heartthrob with a face of ash, being wooed by an excaped patient from the psychiatric ward next door. So yeah, romance can happen in all places, to all types of people. And this message gave The Gargoyle its ability to enter massmarket fiction for adults. Indeed, it was the first time since the 90s (when angels were popular for the ‘Hard Rock Goths’), that I sensed the concept of a winged being had embarked on a dark road: one to commercial success (excess).
Gargoyles; vampires; angels; demons; concepts of heaven and hell, have all experienced a resurgence in literature. Gothic is all the rage right now, for some reason. You could perhaps, credit Samuel Taylor Coleridge’s Gothic poem Christabel (one of me faves) as the stirring of vampires in the 1800s. From there, friend and contemporary Mary Shelley produced Frankenstein, Sheridan Le Fanu was inspired to write a cracking novella titled ‘Carmilla’, and this in turn is said to have partly influenced a book you may know: Dracula, by Bram Stoker.
While Twilight may have awoken the sleeping dead for teenagers and starry-eyed 20- and 30-something women, word around the book blog traps has been that angels, riding on the coattails of the humanised vampire, are ready for a descent themselves. Not only a descent into the world of teens, mind you, but with a plan for fantasy fiction world takeover (including all its subgenre cities).
I don’t know just yet if angels are indeed the new vampires, but the whole religious idea and how it has been translated into popular culture definitely deserves some further investigation. Why are they popular again? How do they differ from their original concept? Religious connotations of heaven and hell, as alluded to in The Gargoyle, also requires some exploration.
Grab a shovel, and get ready to do some digging. Stay tuned for future angelic/demonic posts – it’s a heaven/hell extravaganza!