THE FEMALE PAEDOPHILE

Paedophilia isn’t something I spend a great deal of time thinking about. I know that some people do. They probably have kids and grandkids, so I suppose they are bound to. I know when I was a kid, my mum always told me that if a strange man tried to talk to me, then I should run and find a lady and tell her. Then along came Myra Hindley, in the 1960’s, and more recently, Vanessa George.


I guess my mum was naïve, I am sure that there have always been predatory women around. You just don’t hear about them very often. But both women have become archetypes of evil, because they stepped out of the traditional role of women as nurturers, instead embracing, and seemingly relishing, doing harm to children.



It’s not good enough to say that both women were under the influence of charismatic men. They knew right from wrong. It seems that some dark, latent, fascination was drawn from them, by the compelling influence of the men who came into their lives. Without those men, maybe the two women would have led quiet suburban lives; but we just don’t know.


Myra Hindley was working quietly in an office, in the 1960’s when she met Ian Brady. He introduced her to the writings of the Marquis de Sade and Adolf Hitler. They were lovers, but lovers who embarked on a spree of rape and murder. Myra’s role was to lure and abduct. Ian Brady raped then murdered the children that she procured for him. He sucked the life out of them like a greedy vampire. They buried their poor little violated remains on bleak Saddleworth Moor.



In 2009, Vanessa George, a mother of two, and a worker in a children’s nursery, appeared in court, having been charged with seven offences, including two of sexual assault by penetration and two of sexual assault by touching children in her care. She was also charged with making, possessing and distributing indecent images of children. Vanessa George, 39, was arrested after indecent images of children taken at Little Ted’s Day Nursery in Plymouth, were found on a computer disc seized by police from a suspected paedophile in Manchester. Police said that the photographs included pictures of children’s torsos taken on a camera phone at the nursery, where Vanessa George had worked for the past two years.


So far, none of the children has been identified, and the officer leading the investigation said that some of them might never be. Parents of the 64 children, aged between 2 and 5, have been asked to complete a questionnaire and list any features that could help to identify individual children from the images.



Russ Middleton, the head of Plymouth CID, said: “At this time we have been unable to identify any images of individual children and it is right to say some images may never be identified.” The number of photographs being examined by the computer experts could eventually run into thousands, Mr Middleton said, though he could not say how many had been taken in the nursery.



He added: “We have specially trained officers looking at the images. We have a large number taken from laptops and PCs but the starting point was from a camera phone. Some of these images were clearly taken inside the nursery but it is impossible to say where others were taken.”


Vanessa George’s arrest followed that of Colin Blanchard, who appeared at Trafford Magistrates’ Court charged with possessing and distributing indecent images.


Officers searched a caravan that Mrs George owns at Harlyn Bay near Padstow, Cornwall, in addition to the family home in the Efford area of Plymouth. Police said that her husband, Andrew, and two teenage children had been taken into “protective care”.


Police will be speaking to the nursery’s 15 other members of staff but say they are not looking for anyone else in connection with the investigation.”


Vanessa George still refuses to say which children she abused.


Paedophilia isn’t a topic that sits easily with writers. Perhaps there is a fear of being identified, associated with the crime, let alone the idea of finding a someone to publish it. But a paedophile with a female accomplice? Myra Hindley had Ian Brady, Vanessa George’s mentor was Colin Blanchard.

From Wiki

Then there is also the case of “Marc Dutroux a Belgian serial killer and child molester, convicted of havingkidnapped, tortured and sexually abused six girls during 1995 and 1996, ranging in age from 8 to 19, four of whom he murdered. He was arrested in 1996 and has been in prison ever since. His widely publicised trial took place in 2004. He married at the age of 19 and fathered two children; the marriage ended in divorce in 1983. By then he already had had an affair with Michelle Martin. They would eventually have three children together, and married in 1989 while both were in prison. They divorced in 2003, also while in prison."


Michelle Martin was complicit and indulged in Dutroux’ atrocities.


Henry James anticipates this type of insidious, dark exchange in 1898, with his novella, “The Turn of the Screw”.


“The Turn of the Screw”, is essentially a ghost story. The subtle indications of paedophilia are there, but in a more “creeping up behind you”, dark manner than in Vladimir Nabokov’s “Lolita”, which tackles it head on.


A young governess, is sent to a country house to take care of two orphans, Miles, aged ten, and Flora, aged eight. Soon after her arrival, Miles is expelled from boarding school. Although charmed by her young charge, she secretly fears there are ominous reasons behind his expulsion.


With Miles back at home, the governess starts noticing ethereal figures roaming the estate's grounds. Desperate to learn more about these sinister sightings she discovers that the suspicious circumstances surrounding the death of her predecessor, Miss Jessel, hold grim implications for herself.


As she becomes increasingly fearful that malevolent forces are stalking the children the governess is determined to save them, risking herself and her sanity in the process.


Peter Quint and Miss Jessel are the bad guys in “The Turn of the Screw”.


Peter Quint had been a servant at the house at Bly; Miss Jessel was the children’s previous governess. They had an intense erotic interest in one another. Both are now dead; Peter Quint in some sort of brawl. Miss Jessel, under strange circumstances, after she left Bly.


It is much more than a ghost story, “The Turn of the Screw”, is an enthusiastic romance of children and sex. The implication that Miles, the young ward of an impressionable governess, is sexually aware, sexually experienced, and sexually hungry has its draw. Titillating in its inappropriateness, the novel suggests through metaphor and silences what was, and still is, unmentionable.



A dialogue between the narrator and the housekeeper, Mrs Grose, emphasises this;
Mrs Grose says that she was afraid of Peter Quint. “I daresay I was wrong, but, really I was very afraid.”
“Afraid of what?”
“Of the things that man could do. Quint was so clever -- he was so deep.”
I took this in still more than, probably I showed. “You weren’t afraid of anything else? Not of his effect --?”
“His effect?” she repeated with a face of anguish and waiting while I faltered.
“On innocent little precious lives. They were in your charge.”


So the new governess, has strong suspicions that Peter Quint has corrupted young Miles, in addition to seducing and corrupting Miss Jessel.


Peter Quint and Miss Jessel haunt the house at Bly, they also haunt the children’s new governess. It seems that even in death the ghosts want the children for themselves.


When Mrs Grose and the narrator next converse they speak of the children as their darlings, their little dears. But Quint and Jessel, even as ghosts are still a threat. They narrator is certain that Quint and Jessel want to possess the children.


“They’re not mine -- they’re not ours. They’re his and hers!”
“Quint’s and that woman’s?”
“Quint’s and that woman’s. They want to get them.”


Poet and literary critic Craig Raine in his essay on Sex in nineteenth-century literature states quite categorically his belief that Victorian readers would have identified the two ghosts as child-molesters.


Mrs Grose tells the governess about Quint’s relationship with Miles;
“It was Quint’s own fancy. To play, with him I mean -- to spoil him.” She paused a moment; then she added; “Quint was much too free.”


Psychoanalytically, the governess, who is alluded to as being sexually inexperienced and sexually repressed, has attached the image of raw, animalistic sexuality with the ghost of Peter Quint, which explains why she is fervent in her efforts to keep this ghost away from the young and impressionable Miles. The housekeeper, Mrs Grose, early in the novel, implies that Peter Quint, who acted as master of the house at times, and the young Miles may have engaged in some man-boy intimate contact, and thus the strange behaviour of Miles can be read in this manner.


Quint represents a scary threat: sex. We know that he seduced the unfortunate Miss Jessel; Quint is a destroyer of young ladies, and that he spent far too much time alone with young Miles. Quint is described as handsome but dastardly, and he is seductive and frightening in equal measure. Basically, Peter Quint stands for everything the Governess is afraid of, and this sense of menace is his most distinguishing characteristic.


The narrator tells Mrs Grose about the ghostly vision that she’d had of Miss Jessel.
She describes her as “handsome, but infamous.”
Mrs Grose replies; “Miss Jessel was infamous…they were both infamous.”


But what is it that the governess is so afraid of? It seems that her entire focus is on the “corruption” of the children -- she is certain that they were corrupted by Quint and Jessel when they were alive and that they continue to be corrupted now that they are ghosts. Before she even knows about Quint, the governess guesses that Miles has been accused of corrupting other children. Although corruption is a euphemism that permits the governess to be vague about what she means, the clear implication is that corruption means exposure to the knowledge of sex. For the governess, the children’s exposure to the knowledge of sex is a far more terrifying concept than confronting the living dead, or of being killed.


In the final chapter, Miles tells the narrator the reason he was expelled from school.


“I said things.”

When asked how many boys he had “said things” to, he replies;

“No -- only a few. Those I liked.”

Then later:
“…they must have repeated them. To those they liked.”

The narrator asks; “What were these things?”


Events take over and we never find out for sure. Although we share the narrator’s suspicions.

Consequently, her attempt to save the children takes the form of a relentless quest to find out what they know -- to make them confess, rather than predict what may happen to them in the future. Her fear of innocence being corrupted seems to be a big part of the reason she approaches the problem indirectly -- it’s not just that the ghosts are unmentionable, but that what the ghosts have said to them or introduced them to that is unspeakable.


But what the hell is going on with this current governess? She is the narrator and we only ever see things from her point of view. Is she reliable? Can the reader trust her? At times her narration seems to border on the hysterical. She describes the children as “little dears”. “Our sweet darlings”. But just pages later, she hints that they are duplicitous; colluding with the ghosts. And what about her own relationship with the children, especially Miles? On their walk to the church, their dialogue reads like an adult flirtation.


“I could say nothing for a minute, though I felt, as I held his hand and our eyes continued to meet, that my silence had all the air of admitting his charge and that nothing in the whole world of reality was perhaps at that moment so fabulous as our actual relation.”


Then later, the narrator is so overwhelmed, she cannot bring herself to follow Miles into the church.


“…it was too extreme an effort to squeeze beside him into the pew; he would be so much more sure than ever, to pass his arm into mine and make me sit there for an hour in close, silent contact with his commentary on our talk. For the first minute since his arrival I wanted to get away from him.”


Let’s not forget that Miles is a ten year old boy and the governess is a woman in her twenties. Does she have an infatuation with Miles? She speaks of their relationship as if she is violently, sexually attracted to him. Is she as guilty in her secret thoughts of the sin that she condemns Quint and Jessel for? Or maybe she is just flustered around males; she is seduced by Miles -- she continually tells us of his goodness; but it is plain that he makes her nervous. She has certainly been attracted to Miles’ uncle, when he interviewed her for the position of governess in Harley Street. And Peter Quint’s raw, animalistic sexuality terrifies her. It’s as if she can scent Quint’s musky, relentless, sexual arousal. Quint is primal, feral. He takes what he wants.


Henry James clearly knew what he was doing, when he created his characters and this malevolent situation. Never is he explicit, he lets his words work on us, like burrowing maggots. What we, as readers can imagine is vastly more frightening and haunting than what he, the author, could have ever committed to the page.


Perhaps James is asking us to consider; what is the source of evil? We know that evil exists, but where does it come from? He "turns the screw" on the conventional notion of evil, by introducing the innocence of children.


Miss Jessel, Myra Hindley, Vanessa George, Michelle Martin. What are we to make of them?


Paedophilia is silenced. Okay, these days we talk a lot about it. We babble and say nothing. When we try for a constructive dialogue, we end up screaming at each other. We panic.


What is less admissible, more unspeakable than paedophilia? And what then is more silenced than female paedophilia?