Rosemary's Baby Recognisable Gothic Conventions

Rosemary's baby employs a number of recognisably gothic conventions, but is ultimately a novel that is unique to the late twentieth century. Investigate the ways in which Ira Levin incorporates a blend of techniques to create a modernised style of horror.

‘Rosemary's Baby' uses a wide range of almost instantly recognisable gothic conventions, which help to really push the horror of the story. Levin, however, tweaks these conventions slightly by adding in more progressive and modern elements into the story which enhances the story's 'realness' by maintaining relevance to a more modern audience. Hutch is the ‘modern' male, his intellect and calmness is unheard of when compared to the traditional gothic male and this is why he is so essential

to uncovering the Castevet’s motives. Likewise, Minnie adopts a position that is the opposite of the normal gothic woman, she is quite progressive and due to this adopts a position of power.

The setting is updated considerably as instead of decrepit buildings Levin adopts contemporary settings, which only magnifies the horror due to the normality and thus confronts the reader.

When comparing the novel with others in the gothic horror genre, it is evident that Hutch is the polar opposite compared to his traditional gothic counterparts. The traditional gothic male can be considered to be someone headstrong, determined and driven by passion. Despite these traits which in some circumstances are admirable, they are the exact reason that these individuals are deeply flawed. Hutch, however, is never presented by Levin to be the traditional gothic male, in fact, the opposite, he is logical, calm and offers a more thoughtful presence. Hutch questions and analyses what is occurring. The educated and logical character in Hutch only

helps to appeal to a more educated modern audience. Numerous readers may wish that if they were placed in a situation such as this, they would act like Hutch. Hutch's meeting with Roman and their discussion of Rosemary's pregnancy only serves to highlight his logical and analytical demeanor, "I can't really think of anything I'd be less suspicious of; they're surely manufactured under every imaginable safeguard" (Levin, 2010. p.125). Hutch is not satisfied with Rosemary's condition, in fact, he is concerned and the reader can sense his suspicion. He is analysing Roman during their conversation, he is piecing together information and demanding to know the circumstances surrounding her pregnancy. In some ways, Hutch could be considered to be the only ‘normal' male the reader encounters. This normality and link to sanity that Hutch provides, not only to Rosemary but also the reader, stems from the fact that Hutch is a polar opposite to the gothic male. While Hutch reassures the reader his inclusion simultaneously raises more horror. Despite an intelligent individual assisting her, Rosemary couldn't escape the Castevets.

Minnie Castevet, when compared to other gothic females, displays strikingly different characteristics and presents quite a progressive image, fitting due to the modern blend of horror created.

The powerful figure that is introduced cannot be helped but to be compared to her age. Not only is this power a juxtaposition of Minnie's age, it is in complete contrast compared to other gothic women. She is not frightened nor possessed by a fascination of the unknown world of the preternatural. She seems to be a commanding figure in this domain. Minnie is neither an unempowered victim of physical nor emotional abuse, as is the gothic norm, she is the abuser to Rosemary. Minnie and Roman Castevet’s relationship has no elements of abuse, which the reader would anticipate in a traditional gothic novel. They seem to be a partnership, both respecting each other and working together relentlessly towards their goal of bringing about the antichrist. This relationship, as well as being progressive for the time period and appropriate for modern times, lies in stark contrast compared to the typical female-male dynamic in a gothic novel. An example of the traits Minnie exhibits can be seen when she ‘gives' Rosemary the Tannis root, "Rosemary… said, It's lovely but I can't accept such a- You already have, Mrs. Castevet said, darning a brown sock and not looking at Rosemary. Put it on" (Levin, 2010, p.68). Minnie's commanding nature is clear to see, as this exchange is not merely an offer. The

Tannis root must be taken, it must be worn in the form of a charm. This forcefulness is abrupt, compared to the usualgiven the nature of traditional gothic women, but that abruptness forces the reader to realise just how different Minnie is compared to the norm. Not only is Minnie forceful in her desire to ensure Rosemary has the antichrist, Minnie shows a complete disregard and seemingly nonchalant reaction to giving out Tannis root or ‘devils fungus' and the horror to come as a result. It appears that Minnie feels like she is in complete control, not only of the preternatural world but also of Rosemary. Minnie forces the reader to hesitate and ask, how is a woman in a predominantly Gothic novel such a commanding figure? That is why Rosemary's baby is so unique, typically a woman would not be so commanding, forceful and in complete control not only of herself but others.

Another key way in which the novel diverges from traditional gothic conventions and creates a modernised style of horror is the novel's setting and the architecture. The reader can clearly see the fusion between old traditional gothic elements in contrast to the new elements created by Levin. Admittedly gothic elements are included, such as the Bramford building while not being exactly either old nor decrepit, especially by gothic standards, harbourings great horror and mystery. However, there are also clear differences. The architecture of the city is contemporary, due to the setting being in a growing New York City in the 1960s. Of course in a growing metropolis such as NYC, there is no real traditional gothic architecture. Instead, the reader is greeted with imagery of mostly modern apartment buildings (except the Bramford) as well as normal places such as department stores. During Rosemary's trip to the forest away from Guy is in a secluded location which would expectedly be a site of horror, however, Levin creates a paradox by means of her safety. "She left on the morning of Saturday, October 16th, and stayed five days at the cabin. The first two days she never once thought about Guy" (Levin, 2010. p.98), typically a woman by herself coupled with spending in the wilderness would lead to disaster, however, Rosemary actually feels safe and at ease. Finally, she has a place to gather her thoughts without being manipulated and process her feelings. This response lies in stark contrast to the behaviour this trip would likely elicit, the reader would expect her to be feeling helpless as well as being scared of a lurking danger. "Traffic on the Saw Mill River Parkway was bottlenecked by a three-car collision, and it was close to one o'clock when she parked the car" (Levin, 2010, p.101) Perhaps the most important thing about this quote and the setting presented is just how mundane and normal it is. Nothing apart from the Bramford is even slightly gothic, everywhere else presented is normal. This is not accidental, however, this very normality only contributes to the readers feeling of terror. After all, most readers don't live next to places that resemble gothic settings. It's the fact that if such an event could happen in a sprawling city so modern surely it could happen anywhere? The setting and the behaviour it elicits is very atypical, the trip to the forest should've spawned into horror while the normality of the city would generally harbour a feeling of protection.

The adaptations to both Hutch and Minnie and their traits go against typical gothic horror gender roles alongside the hidden horror lurking under the guise of normality in the setting of the novel co-exist with traditional gothic conventions which only serves to make Rosemary's baby increasingly relevant to modern society. In many ways, these tweaks to gender roles and setting coincide with modern times and thus only makes the novel even more horrifying.