Good literature has a way of transporting you to another world, offering you a glimpse of an author’s creative imagination and vision. Some authors, though, take their vision to a whole new level, a vision that is dystopian, dark and yet strangely compelling.
Camilla Grudova is one such author and her book A Doll’s Alphabet, published by Fitzcarraldo Editions, is a treat.
The author write-up at the start of the novel does not reveal much. Grudova lives in Canada, and has a degree in Art History and German. That’s it. But while the bio is minimal, her stories have a lot to tell.
A Doll’s Alphabet is a collection of 13 stories. Each story is wondrous, fantastical, weird but in a good way. There’s plenty going on. Here’s a taster of some of them…
The first story “Unstitching” opens thus:
One afternoon, after finishing a cup of coffee in her living room, Greta discovered how to unstitch herself. Her clothes, skin and hair fell from her like the peeled rind of a fruit, and her true body stepped out. Greta was very clean so she swept her old self away and deposited it in the rubbish bin before even taking notice of her new physiognomy, the difficulty of working her new limbs offering no obstruction to her determination to keep a clean home.
In ‘Waxy’, another superb story, the set-up is quite dystopian. Women work in Factories and the men are required to take Exams and bring home Exam money. It is also expected that every woman should have a man otherwise people would become suspicious.
If one’s Man did not do well on Exams, it was considered the woman’s fault for not providing a nurturing enough environment in which they could excel.
The narrator is a woman who stays in a flat that she shares with a couple Stuart and Pauline. She works in a Factory where she paints the company name on all its sewing machines. When the story opens, she is without a man. One day the woman brings a youngish man called Paul home. She realizes, a little too late, that he has neither Exam books nor identification papers. They decide to keep this strictly a secret between them. In the meanwhile, they become a couple and the narrator gives birth to a baby whom they name Waxy because ‘it was a tiny, waxy child, like a little cheese rind’ and because they are too scared to name it properly. Can Paul’s secret truly remain hidden especially from Stuart and Pauline? What will happen if they find out?
The other strong story in this collection is ‘Agata’s Machine’. This is a story of two eleven year olds, Agata and the narrator. Both of them are loners. But Agata is not tormented in school like the narrator is because she is a genius excelling in sciences and maths. One day, Agata invites the narrator to her home and the two withdraw into Agata’s attic. There Agata shows the narrator a sewing machine…
A gigantic black insect. It was a sewing machine, an old malicious one, black and gold, attached to its own desk with a treadle underneath, wrought metal like the grates over fire stoves and sewers.
Agata begins to pump the treadle. When the lights are turned off, the mason jar next to it begins to glow and the light inside morphs into a Pierrot. When it’s the narrator’s turn to work the treadle, the Pierrot does not appear but what she sees instead is an angel in the garb of a sailor. These are images that mesmerize the two girls and they take turns at pumping the treadle well into the night and for many days. This then is an unusual, dark story about obsession and indulging in destructive activity and what happens when it gets out of control.
In the last story ‘Notes from a Spider’, the narrator is part human, part spider with eight legs. One day, he comes across a sewing machine shop and gets besotted by a sewing machine called Florence. He brings it home and employs a string of seamstresses to make the machine work hard and transform the cloth. In Florence’s honour, the narrator also decides to open a sewing machine museum, which will supply a steady stream of seamstresses. However, in the beginning the machine is being fed with cloth, but what will happen later when the narrator begins to feed it his flesh?
Sewing machines, dolls, factories, mermaids, babies are some of the recurring motifs in this collection, and a general air of dirt and dereliction permeate all of these stories. Grudova has a way of drawing you into her surreal, unusual world with prose that is enthralling.
There is also a whiff of feminism in some of them. In the first story, men are portrayed as superficial.
There was also a small minority of men who tried to unstitch themselves with the aid of razorblades and knives, only to end up wounded and disappointed. They had no ‘true, secret’ selves inside, only what was taught and known.
There is an abundance of anachronistic subjects, an ode to something ancient, an older era. For instance, in the story ‘The Mouse Queen’, Peter’s shelves are stocked with green and red Loebs (the origins of classical wisdom, Greek and Latin respectively), his hair is slicked back ‘like a young Samuel Beckett’, and the church where Peter and the narrator marry has a replica of Michelangelo’s Pietà. In another story ‘The Mermaid’, the character Emmeline is reading Homer and is fond of very old books, while her husband owns a shop called Old Time Things.
In an interview with Culture Trip, this is what Grudova had to say:
“The anachronistic aspect is from my own life, my family didn’t have a television till I was a pre -teen or a computer until I was a teenager, and we never owned a car, the sewing machine was the first machine in my life, my mother taught me how to use it, I made dolls, doll’s clothes, clothes for myself. It was very much an imaginative tool for me so I associate it with writing.
“I like looking for old treasures in the garbage. I find old technology useful to use to think about new technology, like not staring at something directly, maybe looking at its shadow instead.”
Grudova has painted a different world; a macabre world of fables, dreams, nightmares and otherworldliness. Each of these stories is haunting, dark, striking and will stay in your mind for a long, long time.