1) Les Travailleurs de la MerThe French novel that suggests itself in connection with The Eye of Storm would naturally be La Chatreuse de Parme, but there are also several points of narrative that reveal debt to Hugo's Les Travailleurs de la Mer (1866). The first relates to of Odilon Redon, which itself seems to have derived from Hugo's account of King of Auxcriniers: Imagine spectral fish with face of human being. To get rid of him he must be exorcized or fished (Hugo 1:21). We first encounter skiapod when Elizabeth Hunter returns to Kudjerie to nurse her dying husband:She quickly turned pages to escape her unwilling fascination by reaching end of book; when she became spellbound by artist's image of what he called skiapod: not her own actual face, but spiritual semblance which will sometimes float out of looking-glass of unconscious. Unlike most of other monsters in book, this half-fish halfwoman appeared neither allied to, nor threatened by, death: too elusive in weaving through waters, her expression practically effaced mystery; or was it one of dishonesty, of cunning? (White, Eye 194)Redon's name for his image is something of misnomer since skiapods of mythology are monopodal humanoids that use their large single feet as sunshades, whereas his aquatic invention is footless, skull-like face tipping body of something resembling black moor goldfish. However, it's possible he read pous (foot) simply as metonym for locomotion, allowing all fish to qualify as monopods, and shadowy ones, like creature in hand, as skiapods. Nothing in artist's image fixes gender: Elizabeth herself makes it female, turning it into her shamanistic psychopomp in process. Her duality as mystic and hard-edged society woman registers in ambiguous phrase a practically effaced mystery. On one hand, Redon's artistic practice has made face (facies) out (ex) of mystery-given it tangible form, in other words-but has, in process, all but obliterated it (effacer), since mysteries are by definition ineffable. This brings us back to Hugo: Imagine spectral fish with face of human being. To get rid of him he must be exorcized or fished up. The metier that Elizabeth attributes to skiapod-the deep waters that are the looking-glass of unconscious-are also inhabited by other monsters spawned by daylight actions of superego. This has marked resemblance to Hugo's meditation on same phenomenon:Some phantom creation ascends or descends to walk beside us in dim twilight: some existence altogether different from our own, composed partly of ourselves, partly of something else, quits his fellows and returns again, after presenting himself for moment to our inward sight; and sleeper, not wholly slumbering, nor yet entirely conscious, beholds around him strange manifestations of life, strange vegetations-pale spectres, terrible or smiling, dismal phantoms, uncouth masks, unknown faces, hydra-headed monsters, undefined shapes, reflections of moonlight where there is no moon, vague fragments of monstrous forms, things which come and go in troubled atmosphere of sleep, floating forms of darkness, all those mysteries to which men give name of dreams, and which are, in truth, only approach of invisible realities. Dreams are aquarium of night. (Hugo 1: 40)Related to this are crucial nights in Elizabeth Hunter's existence as an invalid, nights when her false diurnal identities are sloughed, setting timed history in abeyance, and opening up an avenue to transcendence. White stresses liminal nature of this world, emblematized by an intermediate light that effaces temporal divisions: Thus placed they were exquisitely united. According to light it was neither night nor day. They inhabited world of trust, to which their bodies and minds were no more than entrance gates (White, Eye 11). …