Falling in Love

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Falling in Love

Post by a_contemplative_life » Sun Feb 14, 2010 2:10 pm

One of the aspects of JAL’s novel that I very much enjoyed was how he portrayed love’s development between Oskar and Eli. I thought it would be interesting to go through the passages, big and small, which showed how their relationship began and deepened, and its impact on both characters.

WARNING: There are major spoilers for anyone who has not read the novel.

I'll start with their first meeting.

When Oskar first meets Eli on October 22, she interrupts a revenge fantasy that he is playing out against a tree. She stands behind him on the jungle gym, and his first vision of her is indirect--a blurry reflection on the blade of his knife. This seems very symbolic, and could be intended to foreshadow Oskar’s future knowledge that Eli is a creature of violence, and the role that violence will play in drawing the two of them together. The image is blurred because, although he sees Eli, Oskar does not truly understand what Eli is.

In the First Letter of St. Paul to the Corinthians, probably the most well-known passage of the New Testament that talks about love, Paul writes, "At present we see indistinctly, as in a mirror, but then face to face. At present I know partially; then I shall know fully, as I am fully known." In our fallen state, we cannot see and know God perfectly, and therefore our love of God will be imperfect. Likewise, too, in our relationships with one another, we cannot truly love someone until we know that person, really understand who they are and choose to love that person. So although at this point Oskar really does not know Eli, perhaps his blurred image of her points to later developments in the novel, when he will begin to understand who Eli is, yet still come to love Eli.

One would think that most boys, being caught in such a situation, would immediately hide the knife, but Oskar actually turns and steps toward Eli with his knife drawn. Why is not clear; perhaps he is still caught up in the emotions of his fantasy, or perhaps it is the result of some subconscious reaction to Eli’s presence. He experiences a strange moment in which he fears that he might stab Eli, realizes what he is doing, and then puts away his knife. Then it dawns on him that Eli was not frightened by what he did. Eli, of course, has no reason to be frightened, but Oskar does not know this.

Their initial exchange is stand-offish. Eli does not immediately answer Oskar when he says ‘hi,’ and Oskar recognizes right away how strange she appears, with her doll-like appearance, and because she is outside in the cold wearing only a thin sweater.

Because Oskar lies to Eli about what he is doing, Håkan’s act of murder becomes the first topic of conversation. Earlier, Oskar sees a photo of the murder victim in the newspaper, and thinks he looks like the bullies who are tormenting him at school. “He looked like a Jonny or Micke. Maybe there was now an Oskar in the Vallingby school who had been set free.” Oskar considers whether his violent “game” could have caused the murder. And, instead of being horrified at the thought, he thinks of it as a new power that he must learn to control.

From all of this it can be seen that Oskar and Eli are unknowingly linked by violence from the first moment that they encounter one another. Without knowing it, Oskar is talking to the beneficiary of the murder, and Eli does not understand that Oskar has interpreted her victim as being one of the bullies, and entertained thoughts that he might have somehow caused the murder.

There is an interesting description of Oskar’s body language after Eli tells him that she cannot be friends with him. He defensively folds his hands over his chest and thereby feels the knife inside his coat. Only after Eli turns his back on him does he muster the courage to say, "What makes you think I'd want to be friends with you? You must be pretty stupid." Eli does not let this pass, and when she returns to challenge his remark, Oskar wraps his arms tightly around himself, presses a hand against his knife, and stares down at the ground. Oskar does not like genuine confrontation, and draws comfort from the presence of his knife. His reaction fits perfectly with the passive/aggressive nature of his unfolding personality.

Oskar notices three other strange things about Eli before the end of their first meeting. She smells like an infected wound; she admits to not feeling cold because "I've forgotten how to"; and she is very agile and strong, being able to jump down from a height of more than two meters without harming herself, and slam open the apartment door with one hand. All is not as it seems!
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Re: Falling in Love

Post by PeteMork » Sun Feb 14, 2010 5:04 pm

a_contemplative_life wrote:...There is an interesting description of Oskar’s body language after Eli tells him that she cannot be friends with him. He defensively folds his hands over his chest and thereby feels the knife inside his coat. Only after Eli turns his back on him does he muster the courage to say, "What makes you think I'd want to be friends with you? You must be pretty stupid." Eli does not let this pass, and when she returns to challenge his remark, Oskar wraps his arms tightly around himself, presses a hand against his knife, and stares down into the ground. Oskar does not like genuine confrontation, and draws comfort from the presence of his knife. His reaction fits perfectly with the passive/aggressive nature of his unfolding personality
Nicely explained! JAL has clearly put a great deal of thought into the details of the novel; consequently, there are nuances that are next to impossible to capture on the screen. The two are hopelessly mixed together in my own mind, my having reread and rewatched both so many times I have lost count. The result is a cherry-picking and mixing together of the best of both, in my own mind. For example, immediately after this conversation, there is this:

in a pattern that is repeated again later in the book and film, he "attacks" her.
Is that strange smell coming from you?
"I guess so"
and then regrets it and, in a feeble way, trys to make up for it by empathizing with her:
Aren't you cold?
"No"
"Why Not?"
The book version of this conversation is the one I link to Oskar's attack on the ice where he offers his sock to Jonny aftwards (unlike the film), because the parallel is more striking. Oskar is, in spite of his lonliness, a kind, giving child; a quality that Eli recognizes the instant he strokes her cheek.
We never stop reading, although every book comes to an end, just as we never stop living, although death is certain. (Roberto Bolaño)

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Re: Falling in Love

Post by gattoparde59 » Mon Feb 15, 2010 11:54 am

A very good post. This has been done for the film several times, but I don't think anyone has tried to detail this for the novel.
a_contemplative_life wrote:"At present we see indistinctly, as in a mirror, but then face to face. At present I know partially; then I shall know fully, as I am fully known."
That is a good description of Eli in the novel. Eli is meant to be mystery that Oskar needs to understand. I also notice the theme of fantasy versus reality. Eli interrupts Oskar's fantasy by appearing in his knife blade! Simply by being there Eli has brought Oskar back to the real world.

If Eli is indistinct to Oskar, Oskar is immediately transparent to Eli. In the exchange Eli sizes up Oskar and quickly understands his real nature as timid and easily bullied. Eli has been at this for 200 years!

This also reminds me of fairytale traditions that usually begins with some kind of prohibition, "we can't be friends." Also to get back to the title of your post, this follows the conventions of a romance or romantic comedy where the couple that will fall in love are at first hostile to each other, even as they are secretly attracted to each other. What is Eli doing out in the courtyard in the first place? "We can't be friends?" As Oskar asks, who brought up the idea of being friends in the first place?

I'll break open the story and tell you what is there. Then, like the others that have fallen out onto the sand, I will finish with it, and the wind will take it away.

Nisa

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Re: Falling in Love

Post by a_contemplative_life » Mon Feb 15, 2010 1:01 pm

SECOND ENCOUNTER

Eli certainly piqued Oskar’s curiosity. He tries in vain to gather a little intelligence about her from the apartment itself, but the windows of her apartment are covered (“suspicious”), and there is no name either by the front door of the building, or on Eli’s door. He begins to think she’s strange because she comes from a family of drug addicts, even though he’s never actually met a drug addict. He then encounters Håkan on the stairs--“a short, stocky man who was half bald and smiled in an unnaturally wide way.” He concludes that Håkan is Eli’s father, and that he looks “sick.” Naturally, he then thinks that this explains Eli’s strangeness.

Of course, Oskar’s thinking about Eli, although natural enough, is false. There are later instances when this occurs, and it almost becomes a recurring theme in the novel. Because of her condition, Eli is a secretive, reclusive person. For her, attempting contact with strangers is fraught with risks; risks of exposure and death. She is, in this sense, a very “tough nut to crack,” but yet, crack she will for what Oskar offers her—a most pure, genuine, and heartfelt human love.

Oskar’s second encounter with Eli takes place on Friday, October 23. By this time, only a day after first meeting her, he has become so interested in Eli that he actually waits by his window, watching for her to leave the building. When he sees Eli come out, he pulls away from the window, lest she see him and realize that he has been looking for her, and he delays going down to the playground for a few minutes. He does not want Eli to realize just how interested he has become in her. Oskar lacks self-confidence, and he has to play it cool—after all, Eli might think that he’s a little strange, too. He foregoes crepes and watching TV with his mother and heads out, and in a small act of defiance toward her, does not wear a hat.

It is not easy to discern Eli’s motivations at this point in the story. Earlier in the day, she has a conversation with Håkan in which she attempts to motivate him to go back out and procure more blood. She tells him that she is still too “weak” to get it herself. Håkan does not relish the task and does not feel that Eli really loves him, so naturally, he is reluctant. The situation is not resolved, but in any event, Eli goes out.

Whether Eli stops at the playground to be alone, as she tells Oskar, or out of a genuine interest to see Oskar again, is not clear. And if the latter is true, the desires behind it are also unclear, because during their third encounter she will come very close to killing Oskar. There may, however, have been a combination of things going on inside Eli at this point: hunger, dissatisfaction with Håkan, loneliness, and probably boredom as well.

Still “playing it cool,” Oskar waits for Eli to approach him, itself a form of manipulation. He cannot find it in himself simply to go to her and offer a friendly hello. Who will make the first move is important to him, and Oskar does not want Eli to think that he’s weird, lonely, and desperate for friendship. So, he behaves as someone he’s not. Fortunately for both of them, Eli is the lonelier of the two, and breaks the ice.

Just as in the previous day, Eli is up high on the jungle gym. Oskar knows she is there, and finds her presence unnerving (“He felt a flicker of worry in his stomach but took no notice of her”). But not, apparently, unsettling enough to prevent him from engaging in a childish turf war over who has the superior right to be alone on the playground equipment.

In this meeting, Oskar’s impression of just how strange Eli is deepens. She is again out in the cold with only a sweater, the same one she wore yesterday. Although she looks “puny,” she again demonstrates her agility (“Oskar felt a quiver in his tummy when she hit the ground; if he had tried the same jump he would have hurt himself. But the girl landed as softly as a cat”). She stinks (to such a degree that Oskar almost vomits and must remove himself to the swings), and looks like she has mud in her hair, making one wonder about what sort of a person Håkan is, to be able to live with her. And she talks funny, “like a grown-up,” even though she’s apparently never heard of a Rubik’s Cube.

The most important thing that occurs in the second meeting is that Oskar redeems his initial act of unkindness (“take that”) by offering his Rubik’s Cube to Eli, and she accepts it. This is a key moment in their relationship, because Oskar retains ownership of the toy, thereby creating a reason for them to meet again, since the Cube must be returned. Appropriately enough for a friendship between two children, it is a toy that forms their first bond.
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Re: Falling in Love

Post by gattoparde59 » Mon Feb 15, 2010 5:37 pm

a_contemplative_life wrote:He foregoes crepes and watching TV with his mother and heads out, and in a small act of defiance toward her, does not wear a hat.
I never would have noticed the bit about the hat, but it goes back to the exchange with Oskar's mother before the first meeting. Yes Oskar is being a little rebel here, but I also notice that we go from Oskar's mom fretting over his being properly dressed for winter to Oskar fretting over Eli being properly dressed. Oskar's general sense from the the state of Eli's clothes and hygiene is that Eli really has no one to look after her.

Many parallel's between Oskar and Eli in these first two scenes.

I'll break open the story and tell you what is there. Then, like the others that have fallen out onto the sand, I will finish with it, and the wind will take it away.

Nisa

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Re: Falling in Love

Post by lombano » Mon Feb 15, 2010 6:58 pm

gattoparde59 wrote: This also reminds me of fairytale traditions that usually begins with some kind of prohibition, "we can't be friends." Also to get back to the title of your post, this follows the conventions of a romance or romantic comedy where the couple that will fall in love are at first hostile to each other, even as they are secretly attracted to each other. What is Eli doing out in the courtyard in the first place? "We can't be friends?" As Oskar asks, who brought up the idea of being friends in the first place?
I think this part relates more to the 'prohibition' thing than to romantic comedy conventions - my take on it is that Eli is stating what she sees a statement of fact - 'I am a vampire, you are a normal child, therefore friendship between us is simply not possible.' Of course Oskar sees it as a hostile statement, but I don't think Eli meant to be that.
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Re: Falling in Love

Post by moonvibe34 » Mon Feb 15, 2010 7:57 pm

lombano wrote:
I think this part relates more to the 'prohibition' thing than to romantic comedy conventions - my take on it is that Eli is stating what she sees a statement of fact - 'I am a vampire, you are a normal child, therefore friendship between us is simply not possible.' Of course Oskar sees it as a hostile statement, but I don't think Eli meant to be that.


i always thought Oskar and Eli's first meeting occured because of Eli's curiosity. her announcement that they could't be friends was her way of keeping a human away from a vampire and as lombano stated i do not feel the intent was hostile though Oskar certainly seemed to take it that way. thankfully puzzle loving and hungry little vampires tend to be very curious so the attempt to create boundries failed. ;)
"But dreams come through stone walls, light up dark rooms, or darken light ones, and their persons make their exits and their entrances as they please, and laugh at locksmiths."
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Re: Falling in Love

Post by a_contemplative_life » Tue Feb 16, 2010 3:58 am

THIRD ENCOUNTER

Oskar and Eli meet for the third time on the night of October 24. Oskar has remained curious about Eli; he stops and listens outside her door while delivering advertisements, but hears only a radio. He also considers whether Eli might have any friends, and concludes, correctly, that she does not.

Later, Oskar is home alone, rummaging through his apartment, “as if he were looking for something without knowing exactly what it was. A secret. Something that would change things. . . . Something unfamiliar.” It is not clear why he is doing this; perhaps he is unconsciously trying to understand himself a little better; trying to learn more about his own past so that he might change who he is.

In any event, he finds a photograph of his christening, and by the description of his parents in the photograph, it is revealed that they divorced when Oskar was two, and never remarried. This is an important fact about Oskar, and could explain some of his insecurity.

When Oskar meets Tommy outside, he asks him how Håkan’s victim had been killed; specifically, whether he had been stabbed. Oskar is apparently still wondering whether his stabbing of the tree might somehow have been transferred to Håkan’s victim. Tommy tells him that the boy had died from having his throat cut, not from being stabbed.

Before leaving her apartment, Eli has a conversation with Håkan. He refuses to go out and kill again for her, and, clearly disappointed, she tells him that she is going to go out and do it herself. Håkan does not appear concerned about Eli’s situation; he is more concerned about why Eli has decided to take a bath, something she does not normally do. Eli’s motivations for taking a shower are not explained; presumably, it was prompted by Oskar’s remark the previous night.

Eli is once again at the top of the jungle gym, and this time she invites Oskar to come up and join her. The ice has been broken between them, and with the Cube they now have something in common. For his part, Oskar needs no encouragement; evidently, he is now prepared to share the jungle gym.

Eli wastes no time in pointing out to Oskar that she has bathed, turning it into a playful jab that makes Oskar blush. Eli also demonstrates that she is courteous when she thanks Oskar for lending the Rubik’s Cube to her.

Oskar is quite taken aback when he realizes that Eli has solved his Cube without taking it apart. Now he begins to understand just how smart Eli must be.

Eli takes advantage of this in the conversation that ensues about her age and the fact that she does not know when she was born, and does not celebrate her birthday. She seems to take charge of the conversation. What ensues is a pivotal moment in their relationship:

“She stepped closer to him. Her breath wafted onto his face and the city of light in her eyes was extinguished when she stepped into his shadow. Her pupils were two marble-sized holes in her head.

“She's so sad. So very, very sad.

"`No, I never get any presents. Ever.’

“Oskar nodded stiffly. The world around him had ceased to exist. Only those two holes, a breath away. Their breaths mingled and rose, dissipated.

"`Do you want to give me a present?’

"`Yes.’

“His voice was not even a whisper. Only an exhalation. The girl's face was close.

“His gaze was drawn to her butter-knife cheek.

“That was why he didn't see her eyes change, how they narrowed, took on another expression. He didn't see how her upper lip drew back and revealed a pair of small, dirty white fangs. He only saw her cheek and while her mouth was nearing his throat he drew up his hand and stroked her face.

“The girl froze for a moment, then pulled back. Her eyes resumed their former shape; the city of light was back.

"`What did you do that for?’

"`I'm sorry .. . I--’

"`What did you do?’”

Eli, as a vampire, has through some power, manipulated Oskar’s sympathy for her plight so as to make him vulnerable to attack. Precisely when she formed the intent to take Oskar is not clear; it could be that it occurred when Oskar expressed his concern for her by asking whether she ever received any birthday presents. His sympathy for her now revealed, Eli realizes that she can capitalize on this. It is at this point that she moves very close to Oskar, somehow causing him to think that she is sad. In reality, however, Eli is not feeling sad; she is thinking about killing Oskar. The veil of darkness in Eli’s eyes is symbolic, demonstrating that she has ceased to be a pretty little girl, and has now become a predator. She asks Oskar if he would like to give her a present, but she is not thinking about a toy or a gift; she is thinking about Oskar’s blood. She is entrapping him.

The first physical contact between Oskar and Eli thus occurs at the precise moment when Oskar is in mortal peril. And it is his simple, human act of touching Eli’s cheek, to feel her smooth, silky skin, that completely derails Eli’s intentions and breaks her power over him. In one of the most beautiful scenes of the entire novel, Oskar thus saves himself from death at Eli’s hands, thereby overcoming a huge stumbling block to any form of love between them. By merely touching Eli, Oskar has unwittingly made her look at him not as an object, but as a human being. He awakens the human side of Eli.

This raises an interesting question: if she was prepared to kill him at this moment, what, exactly, was Oskar to Eli before he touched her? Apparently, not much; at most, perhaps, an interesting diversion. A plaything to alleviate her boredom? Something to be used for her own amusement, and then discarded? Or was she simply extra-hungry, frustrated, and so desperate for food that she was willing to kill a boy right in her own apartment complex?

After the spell is broken, Oskar continues to demonstrate his kindness. True to his word, he offers Eli his Cube as a present. But she declines.

Significantly, it is only after Oskar defeats Eli’s intentions that they tell each other their names. And it is fairly clear from the text that Eli finds the entire situation unsettling. She is not accustomed to telling anyone her name, and she feels uncomfortable and wants to get away. But two important things happen before she does. First, she looks Oskar “straight in the eyes,” perhaps for the first time really looking at Oskar as another person, not an object to serve her own purposes. One gets the sense that Eli realizes that Oskar, somehow, has exercised power over her, rather than the other way around as she had intended; she finds this confusing, but at the same time, interesting. Second, she commits to seeing Oskar the next day, thereby showing us that genuine human contact is something she desires.
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Re: Falling in Love

Post by gattoparde59 » Tue Feb 16, 2010 9:44 pm

Eli at her most sinister. A stark contrast with the way this scene plays in the film. I think she has planned this whole "date" with the intention of killing Oskar. She has already indicated she still is not confidant in her strength, what a better target than this young boy out alone at night. An easy body for Hakan to cart away. I think there is some indication that Eli is using her vampire glamour on Oskar. Eli goes on to play out the same "poor little me" scenario with Jocke.


You pointed this out earlier, but we know Eli is a vampire even if Oskar does not. Chilling.

That the scene is so chilling makes Eli's confusion and then the tentative exchange of names all the more touching. When they exchange names, I think is one of the most touching scenes in the novel.

Edit: I why do we get that picture of Oskar and his parents? Dad looks disconnected, and mom looks very protective, if you come near my baby I am going to hurt you!

I'll break open the story and tell you what is there. Then, like the others that have fallen out onto the sand, I will finish with it, and the wind will take it away.

Nisa

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Re: Falling in Love

Post by gary13136 » Tue Feb 16, 2010 10:59 pm

A good analysis a_c_l. Bravo. I thought I would toss in something I have thought for a while.

When Eli appears to be sad, I believe she is. She doesn't want to do this. After all, it's a lousy way to show appreciation for the loan of a Rubik's Cube. But Hakan won't help and she's starving. Plus Oskar is close at hand and vulnerable. But she's not enjoying this. Perhaps she is wishing that something would happen that might stop this.

Fortunately, Oskar's touching her cheek breaks the spell. In fact, it turns the tables in a sense. Before the touch, Eli is aggressive and Oskar is passive. With the touch, Oskar becomes the aggressor, and Eli, while not exactly becoming passive, has become disoriented. I think she had very carefully planned how she could get close to Oskar without making him scared. So she would have been very focused. But the touch wasn't planned for, and she completely lost focus. Probably Eli had used these tactics in the past, but this was the first time that a potential victim had suddenly gone on the offensive in a rather loving way.

It reminds me of a saying which I believe comes from a poem by Robert Burns. I'll use the English paraphrase:

"The best laid plans of mice and men, go oft awry."

Also the best laid plans of little vampires, it seems. ;)
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