Playing with dolls: the Corinthian and "this dream people call Human Life" - part I
Written for The Sandman Book Club
Since at The Sandman Book Club we are re-reading The Doll's House, and since the first chapter of this story marks the entry of the Corinthian, I would like to dwell on some of the distinctive traits of this character, how he is the embodiment of one of the great symbols of American and Western pop mythology (the serial killer) and how the netflix adaptation, while excellent, has completely deprived him of precisely those elements that made him so distinctive, while enhancing other important aspects.
Murderer vs. Killer, or when killing is a "work of art"
In The Dreaming, the spin-off series immediately following the canonical Sandman, there is a panel that I think is emblematic in defining what the Corinthian is, even before his being nightmare, black mirror, etc
Judging Cain like he's on Dancing with the Stars
There is a passage in which the Corinthian states that Cain is definitely a murderer, but not a very good killer. This because the word murderer here is linked to a primordial concept of homicide. Yes, Cain is the first murderer, but his act is something instinctual, part of his nature. Cain kills because he cannot do anything else and murder for him is an inevitable act, demonstrating his being part of a story from whose narrative he does not escape.
For the Corinthian, on the other hand, killing theoretically is not in his nature: he is after all a nightmare, which must terrify, unsettle, reflect the deepest fears and secrets of the human subconscious. A means to an end, not the end itself. For the Corinthian, killing is a deliberate act by which he tries to carve out a space of his own within a predetermined story.
The serial killer is a planner: in the Corinthian mind, an artist too. Even the fact that he appears on the scene not already in his nightmare function but primarily in that of being ready to kill a young man leaves no doubt about it: the Corinthian, in the way he perceives himself, is first and foremost a serial killer/artist.
This is not Vogue: comics vs show
In the netflix Sandman, episode one, the Corinthian has sensed that Dream is free. He wipes off the blood from his eyes and stands up, sensually stroking the head of his...victim? It would be better to say a model without eyes. Death here is not horror: there is something glamorous about this scene that irritates me deeply, not least because we are watching it from a spectator's pov, comfortable in our chairs. We are in a hotel room but the space is open, and the screen of the devices from which we are watching the episode gives us
1) an escape route
2) a way to dilute the horror of the scene (there is always hope if there is an escape route)
This Corinthian is elegant and sensual. He could disturbs us, if he wants, but definitely he's not scary.
Let's compare the netflix scene with the comic. First, fundamental change: the reader's pov, which coincides exactly with that of the Corinthian. We do not see the Corinthian in the panels, and we will not see him until after a long time. We look at the scene through his eyes, we read the words through his voice. From this perspective, it's as if behind the glasses, together with him, we were there, an active part of this crime.
Paradoxically, this scene should be less scary than the one in the TV show. There is no blood and the boy still has his eyes. But we perceive his terror, we see him tied up and helpless like a doll. We see his pimply face making ugly grimaces of fear (in the netflix episode the victim's face is perfect). There is no hope for this boy and while he begs for mercy in vain we brandish, together with the Corinthian, the knife that will kill him. There is no sensuality, there is no seduction, there is no sex here (better, sex and death are the same thing but I will return to the relationship between death and sexuality in the second part of this little essay). We are in a room with no escape, the scene in front of us is dirty, not at all glamorous, in which we readers are actively participating. This Corinthian is fucking scary.
The waking world: a big doll's house to play in
This title takes on a different meaning depending on the various characters involved in this Sandman story. From my point of view, I believe that the characters who most of all are linked to the concept of a doll's house are Unity and the Corinthian.
Unity appears near an old doll house, and her clothes are also similar to those of an old doll
Unity was literally a doll for most of her life: her condition was caused by an external event and external people decided about her life, including her motherhood.
The Corinthian doll and the surrealist doll of Hans Bellmer: both obscene and disturbing toys
The Corinthian, on the other hand, is a sort of doll maker and the dolls are the human beings he kills and whose physiognomy he transforms with his knife.
This last thing is perhaps one of the elements that most differentiates the netflix Corinthian from the one in the comic. The Boyd Corinthian is almost a romantic character, a bohรฉmien eager to savor human life in every sense, moved by contrasts and ambiguities that make him decidedly more similar to the Second Corinthian of the comic than to the First. He looks at humanity with a curiosity that is sometimes almost paternalistic: ruthless, but not cruel. He embodies a type of socially well-integrated serial killer, the "unsuspected type", who knows how to contain his impulses when necessary. Most important, with him sex is not always synonymous with death.
The Corinthian of comics, on contrary, never escapes this binomial: in him, sex and death are always intrinsically linked because they are the same thing. He is always cruel and brutal, seeing humans as meat to be cut. Humanity is nothing but fresh clay in his artist's hands: shaped dolls to play with in his new dark stories.
