‘Incubus’, Ann Arensberg’s novel, is a post-modernist twist on the Greek myth of Persephone and Demeter. Rife with fecundity and harvests, it’s a feminist-centered narrative, steeped with the possibility of a small town’s citizens’ lives being disrupted by incubi, those nocturnal demons who prey on both women and men sexually.
Is Dry Falls, Maine, experiencing an invasion of succubi who dampen the spirits and passions of the town’s husbands? Are women and young girls being targeted and tormented by nightly visitations of something other? Is it all hysteria caused by unnatural seasonal weather patterns? And why, is there an endless recitation of planting, cooking and celebration threaded throughout the narrative?
Cora, the narrator of these unsettling events, is a domestic goddess. Early on we learn she writes a column for a local publication centering on recipes, harvesting, planting, seeding and all things of nature. Seemingly staid, and unconcerned with worldly things, she enters marriage later in life to an Episcopalian minister, a man with one foot in church doctrine and the other in supernatural and psychical hauntings.
As the year of unnatural weather unfolds, women become dispirited, restless and tired. They complain that their sleep is interrupted nightly. Young girls fall into slumber that lasts days. Fruit and flowers ripen, then wilt, echoing the spirits of those who inhabit Dry Falls.
Henry, Cora’s husband experiences a lapse in faith and makes much ado about events he analyzes as unnatural. All the while, Cora, grows, harvests, and cooks scintillating recipes and worries over her garden’s health.
Despite its title, Incubus, is no book of grisly horror. There are no loud bumps in the night. No ghosts or gory deaths. No monsters to speak of. There is little in the way of an ultimate crescendo. If anything, the novel begins on a higher note, than the whimper it ends on. As Henry James did in The Turn of The Screw, Arensburg crafts a cerebral tale of easily rattled townspeople.
Against a backdrop of church ritual, Arensburg’s novel unfolds as a mirror image, an echo of sorts, of Druidic rituals, that was transmuted into orderly church doctrine, that if one looks closely enough, you can see still in existence in a different guise but under the surface of established Christian dogma.
Incubus succeeds as a question in the reader’s mind. Are these events unfolding as related to us? What is real? What is not? Ultimately, the ending attempts to capture the psyche of Persephone as Cora decides to work six months of the year, crafting her fecund world, while the remaining six months are spent assisting her husband, no longer a theologian, in his cold, psychical research investigations.
Clever, yes. However, a diligent reader wades through 322 pages before getting to this quiet denouement. Therein lies the problem. Reading this book is often like wading through mud. It is slow-going and oft times boring.
I should also add that this is the second time I’ve read the book. I plucked it from my shelf thinking I won’t read to the end. I noted some excellent sentences highlighted from my first earlier reading of it. I continued reading all the while thinking, okay, I’ll remember it, everything will come back to me, and I will put the book down. Alas. That never happened. Perhaps this is the most damning thing about Incubus. If it were truly a memorable and good read, some part of it, something would have stayed with me. Unfortunately, nothing did and I read it as if it were the first time. That is why I rated it three stars.