We, The Infected

Lombano began an interesting thread on father’s and son’s in the novel. I think that absent parents is an important theme in LTROI, and I would like to consider it from the point of view of mothers and sons.
This is especially interesting when you look at Eli and what Eli’s thoughts are on the subject. We know much about Oskar, but there are very few scenes in the novel where the reader, alone and apart from Oskar, sees inside Eli’s head. (Clues for this “elliptical” vampire are also few and far between.) The first time we really see what is going on with Eli is the episode with the elderly cancer patient. (30 October) We don’t get the whole story, but we get a considerable number of clues. “Eli’s story” is begun, the remainder of which is communicated telepathically to Oskar in two installments and concluded in a reprise where Eli shouts tragically at the cob webs “But I don’t want to!”
What really struck me about this scene with the old cancer patient is the monstrous image of Eli playing mother to her victim. Eli coldly sizes up her prospects and closes in for the kill, all the time playing the role first of a helpless little girl, and then that of a mother for the old woman. “Who are you?’ asks the lonely cancer patient. Eli’s answer is “I don’t know.”

[quote]Eli shifted slightly away from the woman, who pulled up her legs and rested her head on Eli’s lap. Eli slowly stroked her hair. They sat like that for a while. The Shimmering backs of whales [on the television] broke the surface of the water, spurted out a fountain, disappeared.
“Tell me a story,” said the woman.
“What do you want to hear?”
“Something beautiful.”
Eli tucked a tendril of hair behind the woman’s ear. She breathed slowly now and her body was completely relaxed. Eli spoke in a low voice.
[/quote]
And so Eli begins her story, which is the story of how Eli lost her human family and became a vampire.
Why, at this point in the story does Lindqvist give us this surreal image of a child mothering an old woman? Perhaps by its very incongruity, this image of the child (and monster) as mother is meant to make us think about Eli’s character and the primal relationship between parents and children. The story that Eli tells begins with Eli’s family, Eli’s memories of her last meaningful contact with the human world. If we pay attention to what Eli does, as well as what Eli says, we catch a glimpse of Eli’s memories of human love, which is parental love, which is most of all “Momma.” Momma is perhaps the last time Eli knew real human love, that is, until she meets Oskar.
This interpretation of Eli provides one possible explanation for the attraction that Eli feels towards Oskar. Oskar is a child, just like Eli is in part at least, a child. Oskar is also, much to his own chagrin, an androgynous boy. In his sympathy for Eli, Oskar shows himself to be very “Momma” like. His reactions to Eli are stereotypically maternal. Where is your coat? Don’t you bathe or brush your hair? Take off that shirt you picked out of the trash and put on some proper clothes. Don’t you get enough to eat? Most of all, don’t you have a mother? I am not saying this explains the relationship between Eli and Oskar completely, but it is an important clue. We know that the absence parents is an important theme in this novel. Is it far fetched to say that by loving each other, Oskar and Eli are compensating for the missing parents in their life?
Again, I am not saying this explains everything involved in the troubled relationship between Oskar and Eli, but it is a very important part of the puzzle. For example, when Eli climbs into bed with Oskar is he climbing into bed with his brother, or is it with his mother? A child climbing into bed with his/her mother is something I have seen personally more times than I care to think.

(Book Spoilers)

I did find the cancer patient's actions strange, but I attributed it to Eli's vampire "influence," for lack of a better word. The woman behaved normally until she came into physical contact with Eli--I think they bumped elbows or something like that. And then she became utterly passive.

It didn't cross my mind that Eli was behaving like a mother to this woman, but I'm not suggesting the notion lacks merit. I viewed it more as a sudden opportunity for Eli to talk about herself to someone who was not going to pose any risk to him. I suspect he pretty much knew she was going to die, so what's the harm? It was probably nice for him to unload a little bit. What I did find very strange was how politely Eli answered the woman's questions as she was dying. I mean, Eli's just laid open her neck, her blood is pumping out of her, and Eli is responding to her questions like they are having a cup of tea together. That was surreal.

I think you are on the money about Oskar's attitude toward Eli. It was my thinking that his concern for Eli reflects what a good job his mom did in raising him. Oskar's mom had probably always been pretty "motherly" toward Oskar, and Oskar has absorbed that and understood it as a way to demonstrate a caring attitude toward others. The exciting thing about it (exciting in terms of the developing promise of a relationship between them) is that for the most part, Eli responds positively to Oskar's suggestions, remarking at various points that he could change for Oskar.

If thy brother wrongs thee, remember not so much his wrong-doing, but more than ever that he is thy brother. - Epictetus

*book spoilers*

I don't see Oskar as androgynous - his fascination with physical violence, his fantasies of assering himself by physical force, his interest in comics and horror books, his seeming lack of interest in his appearance - none of these are particularly androgynous. He has also no specifically girly traits; rather, he is weak and unassertive.
It hadn't occurred to me how motherly Oskar's behaviour towards Eli is - I also think given he has no close friends, no siblings, etc, his mother's actions towards him are his main example of how to show concern for someone. And in all fairness to poor Oskar, each of his comments in this respect are natural and justifiable - Eli being so lightly dressed in such cold weather was a reasonable cause for concern, Eli really was underfed, Eli did smell so badly almost to the point of making Oskar vomit, and so on.
But I think Eli did climb into Oskar's bed like climbing into his brother's bed not his mother - Oskar's attitudes may be somewhat motherly, but Eli doesn't act like Oskar's child. In the 'you have a knife' scene, Eli behaves rather like an older brother. In changing for Oskar's benefit, he behaves more like a girlfriend trying to please her boyfriend, plus Eli really doesn't care about fashion so it's not like it was a major thing that he'd only do for parental authority.
I too saw Eli's behaviour with the cancer woman as very motherly - the woman's behaviour can presumably be explained by the morphine, but Eli's is more interesting. I need to think more about it.

a_contemplative_life wrote:(Book Spoilers)

I did find the cancer patient's actions strange, but I attributed it to Eli's vampire "influence," for lack of a better word. The woman behaved normally until she came into physical contact with Eli--I think they bumped elbows or something like that. And then she became utterly passive.

It didn't cross my mind that Eli was behaving like a mother to this woman, but I'm not suggesting the notion lacks merit. I viewed it more as a sudden opportunity for Eli to talk about herself to someone who was not going to pose any risk to him. I suspect he pretty much knew she was going to die, so what's the harm? It was probably nice for him to unload a little bit. What I did find very strange was how politely Eli answered the woman's questions as she was dying. I mean, Eli's just laid open her neck, her blood is pumping out of her, and Eli is responding to her questions like they are having a cup of tea together. That was surreal.

I think you are on the money about Oskar's attitude toward Eli. It was my thinking that his concern for Eli reflects what a good job his mom did in raising him. Oskar's mom had probably always been pretty "motherly" toward Oskar, and Oskar has absorbed that and understood it as a way to demonstrate a caring attitude toward others. The exciting thing about it (exciting in terms of the developing promise of a relationship between them) is that for the most part, Eli responds positively to Oskar's suggestions, remarking at various points that he could change for Oskar.

If thy brother wrongs thee, remember not so much his wrong-doing, but more than ever that he is thy brother. - Epictetus

In the book, I had the impression that Eli's real mother was very attentive. Even to the point that Eli probably wasn't expected to do as much in the way of chores as the other children did. Maybe Eli was even a little spoiled. Everyone had said that he was the prettiest child they had ever seen. Then comes sexual mutilation and 200 years of having to hide and depend on other adults for help "for different reasons". And then along comes Oskar with his attentiveness, and Eli couldn't resist. And the only thing Oskar wanted was friendship; not the things that others wanted from Eli.

lombano wrote:I don't see Oskar as androgynous - his fascination with physical violence, his fantasies of assering himself by physical force,

True, Oskar is not androgynous, perhaps I am corrupted by that "Goldilocks" Oskar in the film version. It is striking how friendship with Eli brings out a different side of Oskar, which to me is stereotypically maternal and as I am suggesting, would be something Eli would respond to. In these observations I am drawing on my own family, especially my in laws, who are very "old school," and only one generation from "old world." I have heard too many comments about a lack of winter clothing, and personal grooming habits not to recognize it when I hear it.

lombano wrote:In the 'you have a knife' scene, Eli behaves rather like an older brother.

Good point. I think she is really an older brother taking on the role of a parent. What really makes this parental is not the advice, but that Eli recognizes what has happened, despite repeated lies by Oskar. The whole line of questioning here is very parental I think, "Friends! You Friends did this?". Just as Oskar becomes a mother figure for Eli, the masculine Eli becomes a father figure for Oskar. I have seen mother's giving that type of advice, but I think the intention here is to see Eli as a masculine figure, despite being a cute little girl.
As for the bedroom scene, I am again prejudiced perhaps by personal experience. My little toddler son was in bed with us again last night! He does this about 50% of the time when it is not all the time. Before him, it was older sister doing the exact same thing.

gary13136 wrote:In the book, I had the impression that Eli's real mother was very attentive. Even to the point that Eli probably wasn't expected to do as much in the way of chores as the other children did. Maybe Eli was even a little spoiled. Everyone had said that he was the prettiest child they had ever seen. Then comes sexual mutilation and 200 years of having to hide and depend on other adults for help "for different reasons". And then along comes Oskar with his attentiveness, and Eli couldn't resist. And the only thing Oskar wanted was friendship; not the things that others wanted from Eli.

I don't know how much of this is intentional, but Eli is a time traveler from a world where being an orphan was a virtual death sentence, and where desperate families would kill or abandon the children they couldn't support. This is not clear, but I got the impression that Eli was the expendable family member, "not much good for anything." He is the child picked to go down and enter the vampire "competition." It actually surprises me that Eli did not harbor any resentment towards his mother for what happened.

gattoparde59 wrote:

lombano wrote:I don't see Oskar as androgynous - his fascination with physical violence, his fantasies of assering himself by physical force,

True, Oskar is not androgynous, perhaps I am corrupted by that "Goldilocks" Oskar in the film version. It is striking how friendship with Eli brings out a different side of Oskar, which to me is stereotypically maternal and as I am suggesting, would be something Eli would respond to. In these observations I am drawing on my own family, especially my in laws, who are very "old school," and only one generation from "old world." I have heard too many comments about a lack of winter clothing, and personal grooming habits not to recognize it when I hear it.

lombano wrote:In the 'you have a knife' scene, Eli behaves rather like an older brother.

Good point. I think she is really an older brother taking on the role of a parent. What really makes this parental is not the advice, but that Eli recognizes what has happened, despite repeated lies by Oskar. The whole line of questioning here is very parental I think, "Friends! You Friends did this?". Just as Oskar becomes a mother figure for Eli, the masculine Eli becomes a father figure for Oskar. I have seen mother's giving that type of advice, but I think the intention here is to see Eli as a masculine figure, despite being a cute little girl.
As for the bedroom scene, I am again prejudiced perhaps by personal experience. My little toddler son was in bed with us again last night! He does this about 50% of the time when it is not all the time. Before him, it was older sister doing the exact same thing.

gary13136 wrote:In the book, I had the impression that Eli's real mother was very attentive. Even to the point that Eli probably wasn't expected to do as much in the way of chores as the other children did. Maybe Eli was even a little spoiled. Everyone had said that he was the prettiest child they had ever seen. Then comes sexual mutilation and 200 years of having to hide and depend on other adults for help "for different reasons". And then along comes Oskar with his attentiveness, and Eli couldn't resist. And the only thing Oskar wanted was friendship; not the things that others wanted from Eli.

I don't know how much of this is intentional, but Eli is a time traveler from a world where being an orphan was a virtual death sentence, and where desperate families would kill or abandon the children they couldn't support. This is not clear, but I got the impression that Eli was the expendable family member, "not much good for anything." He is the child picked to go down and enter the vampire "competition." It actually surprises me that Eli did not harbor any resentment towards his mother for what happened.

I went back and re-read the section where Eli was telling the story to the elderly woman; just so I had my facts straight. So this is what the relevant sentence says:

"One day the lord announced a competition for the families that worked his land. Everyone who had a boy between the ages of eight and twelve had to enter."

As is stated in the paragraph, Eli was only 11 years old at that time. Also, Eli states in the story that his siblings were older than he. So Eli is not the "expendable family member". His mother had to take him. And no one had any idea what the competition was about. When the "lord" issues his orders, the peasantry have no choice but to obey. So there was in fact no reason for Eli to "harbor resentment" towards his mother. I believe that when Eli described himself as "not much good for anything", it was his way of saying that he wasn't considered old enough for the harder work. But that wouldn't mean that Eli didn't do anything; only that he didn't do the more physically-demanding work.

gattoparde59 wrote:

lombano wrote:I don't see Oskar as androgynous - his fascination with physical violence, his fantasies of assering himself by physical force,

True, Oskar is not androgynous, perhaps I am corrupted by that "Goldilocks" Oskar in the film version. It is striking how friendship with Eli brings out a different side of Oskar, which to me is stereotypically maternal and as I am suggesting, would be something Eli would respond to. In these observations I am drawing on my own family, especially my in laws, who are very "old school," and only one generation from "old world." I have heard too many comments about a lack of winter clothing, and personal grooming habits not to recognize it when I hear it.

Poor Oskar! It's bad enough his girlfriend turns out to be a boy, and now we're calling him a motherly Goldilocks. I know what you mean about mothers being like that, but going out dressed like for a summer day when it's bitterly cold is rather more extreme than not putting your hat on or something - likewise stinking so badly others are literally almost vomiting is not like not washing your hands before a meal or something. I think the natural reactions in such cases is to either to show concern, like Oskar, or repulsion - indifference would be bizarre.
And yes, the film's Oskar does look a bit androgynous (though I don't think he acts androgynously), in some youtube LTROI fan video one of the comments was asking whether they were both boys or both girls.

gattoparde59 wrote:

lombano wrote:In the 'you have a knife' scene, Eli behaves rather like an older brother.

Good point. I think she is really an older brother taking on the role of a parent. What really makes this parental is not the advice, but that Eli recognizes what has happened, despite repeated lies by Oskar. The whole line of questioning here is very parental I think, "Friends! You Friends did this?". Just as Oskar becomes a mother figure for Eli, the masculine Eli becomes a father figure for Oskar. I have seen mother's giving that type of advice, but I think the intention here is to see Eli as a masculine figure, despite being a cute little girl.

I think you're spot-on, Eli is acting just like a brother being forced by circumstances to take on a parental role. And yes, his role in this scene is very masculine - interestingly he cuts Oskar short before he can object that Eli is a girl.

gattoparde59 wrote:As for the bedroom scene, I am again prejudiced perhaps by personal experience. My little toddler son was in bed with us again last night! He does this about 50% of the time when it is not all the time. Before him, it was older sister doing the exact same thing.

Yes, but your children have parents - Eli doesn't have that alternative. Also, surely he shared a bed with his brothers before he was infected, given that they were poor - climbing in bed with a brother was a daily thing.

lombano wrote:Yes, but your children have parents - Eli doesn't have that alternative.

No, but she has Oskar to turn to. Certainly he shared his bed with his brothers, but he was just as certainly sharing a bed with his parents. Interesting he went right from that "tell me a story" scene to Oskar's room (after doing some tidying up with gasoline). Eli's Momma is the only family she really talks about, her last connection to the human world.

True, Oskar shows a considerable tolerance for weirdness, lucky for Eli. "You smell funny," is being pretty polite actually. Still Oskar knows there is something that ain't right with this child, and his conclusion is that Eli is neglected by her parents, that she is the child of alcoholics or drug addicts.

I am not saying Oskar is literally a mother for Eli, but he does assume that role. Just like Gosta's cats are not his family, but he sees them that way.

lombano wrote:And yes, the film's Oskar does look a bit androgynous (though I don't think he acts androgynously), in some youtube LTROI fan video one of the comments was asking whether they were both boys or both girls.

I think the hair style 28 years ago adds a bit to Oskar's androgyous appearance. But still, it might be over the top even for 1981...

drakkar wrote:

lombano wrote:And yes, the film's Oskar does look a bit androgynous (though I don't think he acts androgynously), in some youtube LTROI fan video one of the comments was asking whether they were both boys or both girls.

I think the hair style 28 years ago adds a bit to Oskar's androgyous appearance. But still, it might be over the top even for 1981...

Yes, the haircut is largely what makes Oskar look a bit androgynous.