How can this new and uneasy detecting alliance, its members all harboring hidden agendas of their own, retrieve Godfrey and Nell from the abyss into which they seem to have fallen? The trail will take the trackers back to Bohemia and the secrets of many-spired Prague, then eastward on to a darker land with an even darker history: the Transylvania of the legendary fifteenth-century warlord whose murderous deeds make even the abominations of Jack the Ripper pale in comparison, Vlad the Impaler.
For Discussion
RELATED TO CASTLE ROUGE
Advancing historical suspects for Jack the Ripper, from British Royals to other notorious killers of the era, has become a popular fictional and nonfictional game over past decades. Rasputin’s youth is shrouded in mystery, and he fits the classic serial killer profile: a boy already prone to binge drinking and blackouts becoming a man whose intense notions of religion deeply conflict with his need for sex. Why did the author develop this particular suspect given the particular direction in which she takes Irene Adler and her cohorts, far afield from the foggy London town and the Holmes Canon? How does Rasputin’s candidacy alter the perception of the historical Ripper and his motivations? Although the authorities then often cited “religious mania” as a likely motive for the Ripper, why has it so seldom been used in later fiction and nonfiction explorations of the case? How does the role of religious mania in the life of James Kelly, the Englishman, both differ from and resemble the pagan/Christian sects that erupted in Rasputin’s peasant Siberian culture for two centuries? Do elements of modern religious upbringing echo these eternal notions that sex is bad and that women who have sex deserve punishment? Why must some men despise what they desire? And what has it to do with self-hatred?
Nell plays an entirely different part in this novel. The Drood Review of Mystery observed of Chapel Noir. “This dark tour de force proves by its verbal play and literary allusiveness that Douglas wants neither Irene nor herself underestimated in fiction. More important, she wants women fully informed about and capable of action on the mean streets of their world.” Nell begins Castle Rouge as a helpless abductee, but proves to be more adaptable and resilient than her protective friends might suspect. Does she gain strength by being separated from her “leading lady,” Irene? Her relationship to all the male characters in the series is changing in these Ripper-related novels. How and why, and is it for the better, or worse? Or both?
The immediate British public’s reaction to the murders and mutilations in Whitechapel was: “No Englishman could have done it.” What does this say about the attitudes of nineteenth-century colonial nations then busily engaged in making inroads into “dark continents” and unsettled places? Are the savageries of the Siberian wastes any less comprehensible than the atrocities of the American Indian wars? Are the Russian peasants, persecuted Jews, and itinerant Gypsies any less subject to control and eradication than the Native Americans? What would the young Rasputin have made of himself in the American West?
The mysterious author of the Yellow Book entries in Chapel Noir is revealed in this novel. Is this also another person displaced from a native culture, like the wandering Red Tomahawk and Rasputin…and Quentin Stanhope and Nell Huxleigh, and Irene Adler herself? If you have read Another Scandal in Bohemia, the previous novel to Chapel Noir by seven years, what fore-shadowing of this person and locales and themes and events appear in the earlier novel? Has Irene Adler helped bring these disastrous eventualities upon herself? Through what weaknesses, or what strengths?
Bram Stoker’s Dracula is central to this Jack the Ripper duology, yet Dracula himself never appears in it. Although Conan Doyle flirted with the occult in his Sherlock Holmes stories, he always came down on the side of the rational explanation. Does Castle Rouge “flirt” with this alternate dimension of unreality, and why? What is Douglas saying about the man who imagined Dracula and his motivations? Are the fictional Dracula, the historical Vlad the Impaler, and Jack the Ripper brothers under the skin?
Douglas has said she likes to work on the “large canvas” of series fiction. What kind of character development does that approach permit? Do you like it? Has television recommitted viewers/readers to the kind of multivolume storytelling common in the nineteenth century, or is the attention span of the twentieth century too short? Is long-term, committed reading becoming a lost art?
FOR DISCUSSION OF THE IRENE ADLER SERIES
Douglas mentions other authors, many of them women, who have reinvented major female characters or minor characters from classic literary or genre novels to reevaluate culture then and now. Can you think of such works in the field of fantasy or historical novels? General literature? What about the recent copyright contest over The Wind Done Gone, Alice Randall’s reimagining of Gone With the Wind events and characters from the African-American slaves’ viewpoints? Could the novel’s important social points have been made as effectively without referencing the classic work generally familiar to most people? What other works have attained the mythic status that might make possible such socially conscious reinventions? What works would you revisit or rewrite?
Religion and morality are underlying issues in the novels, including the time’s anti-Semitism. This is an element absent from the Holmes stories. How is this issue brought out and how do Nell’s strictly conventional views affect those around her? Why does she take on a moral watchdog role yet remain both disapproving and fascinated by Irene’s pragmatic philosophy? Why is Irene (and also most readers) so fond of her despite her limited opinions?
Douglas chose to blend humor with adventurous plots. Do comic characters and situations satirize the times, or soften them? Is humor a more effective form of social criticism than rhetoric? What other writers and novelists use this technique, besides George Bernard Shaw and Mark Twain?
The novels also present a continuing tension between New World and Old World, America and England and the Continent, artist-tradesman and aristocrat, and as well as woman and man. Which characters reflect which camps? How does the tension show itself?
Chapel Noir and Castle Rouge make several references to Dracula through the presence of Bram Stoker some six years before the novel actually was published. Stoker is also a continuing character in other Adler novels. Various literary figures appear in the Adler novels, including Oscar Wilde, and most of these historical characters knew each other. Why was this period so rich in writers who founded much modern genre fiction, like Doyle and Stoker? The late nineteenth century produced not only Dracula and Doyle’s Holmes stories and the surviving dinosaurs of The Lost World, but Trilby and Svengali, The Phantom of the Opera, The Prisoner of Zenda, Dr. Jekyll and Mr. Hyde, among the earliest and most lasting works of science fiction, political intrigue, mystery, and horror. How does Douglas pay homage to this tradition in the plots, characters, and details of the Adler novels?
An Interview with Carole Nelson Douglas
Q: You were the first woman to write about the Sherlock Holmes world from the viewpoint of one of Arthur Conan Doyle’s women characters, and only the second woman to write a Holmes-related novel at all. Why?
A: Most of my fiction ideas stem from my role as social observer in my first career, journalism. One day I looked at the mystery field and realized that all post-Doyle Sherlockian novels were written by men. I had loved the stories as a child and thought it was high time for a woman to examine the subject from a female point of view.
Q: So there was “the woman, “Irene Adler, the only woman to outwit Holmes, waiting for you.
A: She seems the most obvious candidate, but I bypassed her for that very reason to look at other women in what is called the Holmes Canon. Eventually I came back to “A Scandal in Bohemia.” Rereading it, I realized that male writers had all taken Irene Adler at face value as the King of Bohemia’s jilted mistress, but the story doesn’t support that. As the only woman in the Canon who stirred a hint of romantic interest in the aloof Holmes, Irene Adler had to be more than this beautiful but amoral “Victorian vamp.” Once I saw t
hat I could validly interpret her as a gifted and serious performing artist, I had my protagonist.
Q: It was that simple?
A: It was that complex. I felt that any deeper psychological exploration of this character still had to adhere to Doyle’s story, both literally and in regard to the author’s own feeling toward the character. That’s how I ended up having to explain that operatic impossibility, a contralto prima donna. It’s been great fun justifying Doyle’s error by finding operatic roles Irene could conceivably sing. My Irene Adler is as intelligent, self-sufficient, and serious about her professional and personal integrity as Sherlock Holmes, and far too independent to be anyone’s mistress but her own. She also moonlights as an inquiry agent while building her performing career. In many ways they are flip sides of the same coin: her profession, music, is his hobby. His profession, detection, is her secondary career. Her adventures intertwine with Holmes’s, but she is definitely her own woman in these novels.
Q: How did Doyle feel toward the character of Irene Adler?
A: I believe that Holmes and Watson expressed two sides of Dr. Doyle: Watson; the medical and scientific man, also the staunch upholder of British convention; Holmes, the creative and bohemian writer, fascinated by the criminal and the bizarre. Doyle wrote classic stories of horror and science fiction as well as hefty historical novels set in the age of chivalry. His mixed feelings of attraction to and fear of a liberated, artistic woman like Irene Adler led him to “kill” her as soon as he created her. Watson states she is dead at the beginning of the story that introduces her. Irene was literally too hot for Doyle as well as Holmes to handle. She also debuted (and exited) in the first Holmes-Watson story Doyle ever wrote. Perhaps Doyle wanted to establish an unattainable woman to excuse Holmes remaining a bachelor and aloof from matters of the heart. What he did was to create a fascinatingly unrealized character for generations of readers.
Q: Do your protagonists represent a split personality as well?
A: Yes, one even more sociologically interesting than the Holmes-Watson split because it embodies the evolving roles of women in the late nineteenth century. As a larger-than-life heroine, Irene is “up to anything.” Her biographer, Penelope “Nell” Huxleigh, however, is the very model of traditional Victorian womanhood. Together they provide a seriocomic point-counterpoint on women’s restricted roles then and now. Narrator Nell is the character who “grows” most during the series as the unconventional Irene forces her to see herself and her times in a broader perspective. This is something women writers have been doing the past two decades: revisiting classic literary terrains and bringing the sketchy women characters into full-bodied prominence.
Q: What of “the husband,” Godfrey Norton?
A: In my novels, Irene’s husband, Godfrey Norton, is more than the “tall, dark, and dashing barrister” Doyle gave her. I made him the son of a woman wronged by England’s then female-punitive divorce law, so he is a “supporting” character in every sense of the word. These novels are that rare bird in literature: female “buddy” books. Godfrey fulfills the useful, decorative, and faithful role so often played by women and wives in fiction and real life. Sherlockians anxious to unite Adler and Holmes have tried to oust Godfrey. William S. Baring-Gould even depicted him as a wife-beater in order to promote a later assignation with Holmes that produced Nero Wolfe! That is such an unbelievable violation of a strong female character’s psychology. That scenario would make Irene Adler a two-time loser in her choice of men and a masochist to boot. My protagonist is a world away from that notion and a wonderful vehicle for subtle but sharp feminist comment.
Q: Did you give her any attributes not found in the Doyle story?
A: I gave her one of Holmes’s bad habits. She smokes “little cigars.” Smoking was an act of rebellion for women then. And because Doyle shows her sometimes donning male dress to go unhampered into public places, I gave her “a wicked little revolver” to carry. When Doyle put her in male disguise at the end of his story, I doubt he was thinking of the modern psychosexual ramifications of cross-dressing.
Q: Essentially, you have changed Irene Adler from an ornamental woman to a working woman.
A: My Irene is more a rival than a romantic interest for Holmes, yes. She is not a logical detective in the same mold as he, but is as gifted in her intuitive way. Nor is her opera-singing a convenient profession for a beauty of the day, but a passionate vocation that was taken from her by the King of Bohemia’s autocratic attitude toward women, forcing her to occupy herself with detection. Although Doyle’s Irene is beautiful, well dressed, and clever, my Irene demands that she be taken seriously despite these feminine attributes. Now we call it “Grrrrl power.”
I like to write “against” conventions that are no longer true, or were never true. This is the thread that runs through all my fiction: my dissatisfaction with the portrayal of women in literary and popular fiction—then and even now. This begins with Amberleigh—my postfeminist mainstream version of the Gothic-revival popular novels of the 1960s and 1970s—and continues with Irene Adler today. I’m interested in women as survivors. Men also interest me of necessity, men strong enough to escape cultural blinders to become equal partners to strong women.
Q: How do you research these books?
A: From a lifetime of reading English literature and a theatrical background that educated me on the clothing, culture, customs, and speech of various historical periods. I was reading Oscar Wilde plays when I was eight years old. My mother’s book club meant that I cut my teeth on Eliot, Balzac, Kipling, Poe, poetry, Greek mythology, Hawthorne, the Brontes, Dumas, and Dickens.
In doing research, I have a fortunate facility of using every nugget I find, or of finding that every little fascinating nugget works itself into the story. Perhaps that’s because good journalists must be ingenious in using every fact available to make a story as complete and accurate as possible under deadline conditions. Often the smallest mustard seed of research swells into an entire tree of plot. The corpse on the dining-room table of Bram Stoker, author of Dracula, was too macabre to resist and spurred the entire plot of the second Adler novel, The Adventuress (formerly Good Morning, Irene). Stoker rescued a drowning man from the Thames and carried him home for revival efforts, but it was too late.
Besides using my own extensive library on this period, I’ve borrowed from my local library all sorts of arcane books they don’t even know they have because no one ever checks them out. The Internet aids greatly with the specific fact. I’ve also visited London and Paris to research the books, a great hardship, but worth it. I also must visit Las Vegas periodically for my contemporary-set Midnight Louie mystery series. No sacrifice is too great.
Q: You’ve written fantasy and science-fiction novels, why did you turn to mystery?
A: All novels are fantasy and all novels are mystery in the largest sense. Although mystery was often an element in my early novels, when I evolved the Irene Adler idea, I considered it simply a novel. Good Night, Mr. Holmes was almost on the shelves before I realized it would be “categorized” as a mystery. So Irene is utterly a product of my mind and times, not of the market-place, though I always believed that the concept was timely and necessary.
Selected Bibliography
Belford, Barbara. Bram Stoker. New York, NY: Alfred A. Knopf, 1996.
Brook-Shepherd, Gordon. Uncle of Europe: The Social and Diplomatic Life of Edward VII. New York, NY: Harcourt, Brace, Jovanovich, 1975.
Bunson, Matthew E. Encyclopedia Sherlockiana. New York, NY: MacMillan, 1994.
Coleman, Elizabeth Ann. The Opulent Era. New York, NY: The Brooklyn Museum, 1989.
Crow, Duncan. The Victorian Woman. London UK: Cox & Wyman Ltd, 1971.
De Jonge, Alex. The Life and Times of Gregorii Rasputin. New York, NY: Carroll & Graf, 1989.
Demetz, Peter. Prague in Black and Gold. New York, NY: Hill and Wang, 1997.
Doyle, Arthur Conan. The Complete Works of Sherlock Holmes. Various editions.
Hibbert, Christopher. The Royal Victorians. New York, NY: Lippincott, 1976.
Jakubowski, Maxim and Nathan Braund. The Mammoth Book of Jack the Ripper. New York, NY: Carroll & Graf, 1999.
Krafft-Ebing, Richard von. Psychopathia Sexualis. London UK: Velvet Publications, 1997.
Kroeger, Brooke. Nellie Bly: Daredevil, Reporter, Feminist. New York, NY: Times Books, 1994.
Lehrer, Milton G. Transylvania: History and Reality. Silver Spring, MD: Bartleby Press. 1986.
Lottman, Herbert R. The French Rothschilds. New York, NY: Crown, 1995.
Moynahan, Brian. Rasputin: The Saint Who Sinned. New York, NY: Random House, 1997.
Oakley, Jane. Rasputin: Rascal Master. New York, NY: St. Martin’s Press, 1989.
Pearson, John. Edward the Rake. New York, NY: Harcourt, Brace, Jovanovich, 1975.
Rasputin, Maria and Patte Barham. Rasputin: The Man Behind the Myth. Englewood Cliffs, NJ: Prentice-Hall, 1977.
Stoker, Bram. Dracula. Various editions.
Tully, James. Prisoner 1167: The Madman Who Was Jack the Ripper. New York, NY: Carroll & Graf, 1997.
Wetmore, Helen Cody. Last of the Great Scouts. Harrisburg, PA: The National Historical Society, 1899/1994.
Wittlich, Petr. Prague: Fin de Siècle. Cologne, Germany: Benedikt Taschen Verlag, 1999.
About the Author
“Highly eclectic writer and literary adventuress Douglas is as concerned about genre equality as she is about gender equity,” writes Jo Ellyn Clarey in The Drood Review of Mystery.
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