In the spreading of the weird fiction virus, “which book was first sick?” (Miéville, “Afterweird,” 1116). Alfred Kubin’s novel Die andere Seite (The Other Side) can be thought of as ‘Patient Zero,’ or at least the one Ann and Jeff VanderMeer thought acceptable to identify for the purposes of their anthology The Weird: A Compendium of Strange and Dark Stories. It is doubtful that the true Patient Zero can be identified at all. However, Miéville admits “we’re tempted to hunt [it]” (1116). The Other Side may be as close as we can get.
Kubin, an Austrian writer influenced by E.T.A. Hoffman and Edgar Allan Poe, published his novel in 1908 and an excerpt translated by Mike Mitchell is text #1 included in The Weird. The Other Side bridges the gap between old traditions in supernatural writing and new, more modern twentieth-century forms. In the literary history created by the anthologists, the composition of The Other Side is chosen as to represent the moment weird fiction begins to take shape.
Fittingly enough, for a genre Miéville describes as a “burrowing infestation” (“Afterweird” 1115), The Other Side begins with a disease. From the first line, the story is haunted by a sense of the inescapable: “An irresistible sleeping sickness had Pearl in its grip” (1). The omniscient narrator describes a fictional city falling victim to what is at one point explicitly compared to the sleeping spell in the Brothers Grimm’s Sleeping Beauty. An American, who later becomes a prophet of doom, is the only one unaffected by the sickness, like the Prince in the fairy tale in question.
The sleeping spell spreads rapidly. Society stops what it is doing and falls asleep. This pointedly fails to lead to revolution, despite the opportunities a sleeping populace presents. A political speaker “suddenly bent down over the table, lowered his head and started to snore rhythmically” and the military “training to prepare… for the threatened revolution … just lay down on the ground” (1). With very few exceptions, the entire city is affected for six days, or “at least that was the time calculated by the barber who based his estimate on the length of his customers’ stubble” (2).
By the time the town awakens, however, the real trouble begins, for “during out long sleep another world–the animal kingdom–had spread to such an extent that we were in danger of being swept aside” (2). Creatures large and small have multiplied and infested the city. Foxes and vultures, deer and ibexes have turned Pearl into a terrifying zoo, where beasts may be hunted in the streets for food.
Here the narrative departs the scenario of a modernized fairy tale and enters fully into territory we recognize as ‘weird.’ Human beings and their civilization are being eclipsed by a power larger than themselves: the animal world. The city plunges into decay as wildlife retakes the urban core. The imagery here reminded me of films like 28 Days Later and I am Legend, minus the zombies. The Other Side‘s publication in 1909 proves that such post-apocalyptic visions are not exclusively the domain of contemporary culture.
The novel’s translated prose describes the devastation with a keen imagination and sensuousness reminiscent of magic realism. There are plagues of locust, serpents, and buffaloes. Castringius, one of the characters, has an apartment with “bats hanging like smoked hams from his curtain rail” (4). Soon the decay of the city is not only evident in the animal infestations but the decay of buildings and artworks, as “precious objets d’art succumbed to an irresistible inner decay without any reason being evident” (5). Kubin, influenced by the Decadent movement, has provided us with this phenomenal representation of decline. It is barely a coincidence that this imagery is eerily reminiscent of the corruption of the painting in Oscar Wilde’s The Picture of Dorian Gray.
The Other Side introduces several important images and patterns of thought that will become prominent in later weird tales. For example, Kubin represents the blurring of the categories by which humanity defines its place in the world: “the nights were wreathed in a strange half-light that blurred all the contours” (5). Furthermore, one’s body and even one’s thoughts become prisons before the inevitability of death and decay. “Oh, if only I could stop thinking, but that functions automatically,” cries the narrator. “There are no certainties that are not countered by uncertainties!” (9) This despair captures the uncertainty and unease that weird fiction will continue to articulate in its later iterations.
How can narrative closure be reached amid such anxiety? It turns out that the only way Kubin can conclude this portion of his novel (keeping in mind that only an excerpt is included in the anthology) is through the narrator’s recognition of a fundamental contradiction in human experience. “Incapable of extended thought, I took strength from the consciousness of my own impotence,” he says (10). The final revelation he experiences “closed off the abyss of my doubts and anxieties.”
This statement should, if anything, make the reader feel deeper anxiety. “I took strength from the consciousness of my own impotence”: Kubin’s existential irony suggests that human beings are powerless before their environment, but can nonetheless gain some strength by acknowledging this fundamental lack of power. It is almost a variation of Socrates’ famous maxim that he is wisest because he knows that he knows nothing.
However, is this statement really as optimistic as it sounds? Admittedly, it does not sound very optimistic already. But added to the basic gloominess of this conclusion is the philosophical implication that the realization of our impotence does not by itself guarantee that we can have actual power. It is, after all, the fundamental nature of humanity to be impotent. Realizing our powerlessness by itself cannot give us real power, or it would contradict the terms of this thought experiment. Therefore, it can only give us inner strength.
Realizing that we are the puppets of other forces in the universe cannot by itself rescue us from our fundamental condition of enslavement. As puppets, we cannot cut our own strings. The best that can be hoped for is a certain stoicism as we recognize our place as puppets within the larger system that controls us.
There’s your cheery thought for the day.
The Weird opens with Kubin’s observation of an existential contradiction. Although it is not a very optimistic vision, the infestation of the weird has begun and I’ve cracked the topsoil in my archaeological study of weird fiction. On that note, I leave you until next week, when I will express my thoughts on “The Screaming Skull” by F. Marion Crawford (1908).