Monsters, sex, and (dis)ease: Exploring HIV/AIDS-‘positive’ narratives in Laurell K. Hamilton’s Anita Blake, Vampire Hunter series.

Dissertation Proposal submitted by

Jennifer Dumoulin Ph.D. Candidate Department of Communication

Supervised by Professor Florian Grandena

University of Ottawa

January 2019

Abstract

In the world of Anita Blake, vampires, werewolves, and zombies don’t just hide in their coffins. Among other things, they go to school, have steady jobs, run successful businesses, give witness testimony, and have romantic relationships. And yet, preternatural characters are treated differently from – and by – the human characters in the Anita Blake: Vampire Hunter series.

They’re often feared and treated as dangerous, viewed as a disease and as contaminated, and seen as something to be controlled or exterminated.

The treatment of preternatural characters in the Anita Blake series seems, on the surface, to parallel the treatment of people living with disability, disease, and illness in the real-world, and in particular, people living with HIV/AIDS. This similarity is, in and of itself, not surprising

– many scholars have called attention to similarities between HIV/AIDS and vampires, werewolves, and zombies in the context of disease transmission, bodily transformation, and identity metamorphosis. Despite this differential, discriminatory, and stigmatizing treatment, many preternatural characters in the world of Anita Blake do not merely survive, they thrive.

Using the Anita Blake series as its lens, this study examines how the series contributes to the

HIV/AIDS narrative and, ultimately, what we can learn from it in the context of changing perceptions around how we as a society and as individuals treat people living with disability, disease and illness.

Keywords:

HIV/AIDS, Identity, Monsters, Anita Blake, Social Constructionism, Qualitative Research

1 Overview

First and foremost, I would like to acknowledge that I recognize that I still have a lot of work – and a lot of reading! – to do on various topics that have emerged in the course of preparing this research proposal.1 The preparation of my proposal has helped to focus my thinking on my doctoral research project and has influenced how my topic will be approached. I originally conceptualized the project as focusing on the monster-as-metaphor, however, further research and reflection has led to a reframing of the project that emphasizes the discourse surrounding HIV/AIDS, which culminates in the analysis of monster-as-metaphor-based disease and illness narratives.

With that said, this proposal begins by providing a brief overview of the Anita Blake:

Vampire Hunter series, which serves both as the inspiration for and case study of my doctoral research project. Then, a review of the scholarly literature on the representation of disease, illness and disability in the media is undertaken, with an emphasis on HIV/AIDS, that examines the connection between representation and lived experience, the tendency to victim blame and behaviour shame, the phenomena of othering, and the connection between otherness and stigmatization, discrimination, and the demonization of disease. Following this, we shift our attention to the literature on monster metaphors, which considers why we use monster metaphors, how monsters metaphors have been interpreted, and, finally, the impact of monster metaphors on the formation of group and individual identities. The third section of the literature review looks at the connection between monster metaphors and the identity and lived experience of people living with disease, disability and illness, and in particular those living with HIV/AIDs.

1 For example, my understanding of the concept of social constructivism and the field of disability studies will be greatly expanded upon during the course of preparing my dissertation. As presented in my Research Plan, the development of this theoretical foundation will inform the first and second chapters of my research project.

2 Following the review of literature, the four research questions that will guide the case study on the Anita Blake: Vampire Hunter series are laid out and a preliminary methodology is established. The methodology, like the review of literature will be more fully developed during the drafting of the methodology chapter of my dissertation. The code book, in particular, will only be developed following an extensive and systematic review of the literature on HIV/AIDS and monster metaphors. The research design section concludes with predicted limitations and delimitations, while also proposing an additional – creative writing – project. The conclusion section of this proposal explains why the Anita Blake series merits study from an HIV/AIDS perspective, and is followed by the required Research Plan and Timelines sections, an Annex with a list of the novels, novellas, and graphic novels that will be examined, and, finally, an

Annex with a tool that will be used to stay motivated and on-track during the dissertation research and drafting process.

3 Introduction

“Honestly, when people began to tell me how important the books and characters were to their everyday lives, I was amazed and a little overwhelmed. I wrote stories about vampires, zombies, and ghouls, oh my! I really didn’t think about cultural relevance, or that my fiction could have such an impact on the real world.” - Laurell K. Hamilton 6 June 2014, SuperSpeak

First published in 1993, Laurell K. Hamilton’s Anita Blake series now contains 26 novels, six novellas, and nine graphic novels.2 In spite of its longevity, or perhaps because of it, the

Anita Blake series is extremely polarizing (Allen, 2013). This is likely because the series tests the confines of several literary genres – romance, fantasy, horror, crime, and erotica – and challenges societal norms, both inside and outside the series, by playing with the boundaries of ‘traditional’ intimate relationships.

Told from the perspective of its protagonist, the Anita Blake series begins in present-day

St. Louis, two years after vampires are granted legal citizenship status in the United States. In the first novel, Guilty Pleasures, we follow Anita as she becomes immersed in the preternatural community when she is recruited by Nikolaos, the Master (Vampire) of the City, to solve the murder of several powerful members of her flock (vampire group). A preternatural being of sorts herself, Anita is an animator – zombie raiser – by trade and a necromancer – a person with an innate ability to control the (un)dead – by birth. This rare skill set combined with formal post- secondary education in preternatural biology allows Anita to consult with the Regional

Preternatural Investigation Taskforce (RPIT) – a division of the St. Louis Police Department specializing in supernatural crimes.3

2 A detailed list of the novels, novellas, and graphic novels has been included as Annex 1 to this research proposal. 3 For the purpose of this research proposal, the terms ‘preternatural’ and ‘supernatural’ have the same meaning and will be used interchangeably.

4 This is only the beginning for Anita, whose work leads her to integrate further and further into the preternatural community. She becomes the human servant of Jean-Claude, the new

Master of the City, at the end of the first novel (Guilty Pleasures); she dates Richard Zeeman, the future Ulfric – king – of the St. Louis werewolf pack in the third (Circus of the Damned); in the sixth (The Killing Dance), she ties herself metaphysically to both Richard and Jean-Claude to save their lives and form the first triumvirate of power of the series. With this metaphysical binding, Anita, Richard and Jean-Claude begin to share each other’s abilities. Over time, Anita creates a second triumvirate of power with Nathaniel Graison, a wereleopard, and Damian, a vampire rescued from Ireland (Incubus Dreams). She becomes Nimir-Ra – queen – of the local wereleopard pack after she kills their leader (Burnt Offerings) and takes a wereleopard – Micah

Callahan – as her partner, lover, and Nimir-Raj (Narcissus in Chains). She also survives several shapeshifter attacks and comes to carry multiple strains of lycanthrope as a result (Narcissus in

Chains).

Anita’s evolution and immersion into the preternatural community creates tensions as she struggles to maintain her ties to the ‘human world’. We learn early on that animators have been ex-communicated by the Catholic Church (Guilty Pleasures). In the ninth novel (Obsidian

Butterfly), when consulting on a series of murders in New Mexico, Anita repeatedly clashes with local law enforcement who accuse her of being a witch and performing black ‘death’ magic. This treatment continues even after Anita is grandfathered in as a federal marshal. In the eleventh book, Cerulean Sins, her relationship with the head of the RPIT breaks down when his personal opinion about her romantic life is made public. In a heated discussion with Anita, Sergeant

Rudolph “Dolph” Storr says:

“You’re either one of us, or you’re one of them, Anita.” “One of what?” I asked. I was pretty sure of the answer, but I needed him to say it out loud. “Monster,” he said, and it was almost a whisper.

5 “Are you calling me a monster?” I wasn’t whispering, but my voice was low and careful. “I’m saying you’re going to have to choose whether you’re one of them, or one of us.” He pointed to Jason [a publicly ‘out’ werewolf] when he said them. “You join Humans against Vampires, or some other right wing group, Dolph?” “No, but I’m beginning to agree with them.” “The only good vampire is a dead vampire, is that it?” “They are dead, Anita.” He took that step closer, that Zerbrowski’s movement had given him. “They are fucking corpses that don’t have enough sense to stay in their godforsaken graves.” “According to the law, they’re living beings with rights and protection under the law.” “Maybe the law was wrong on this one.” - Cerulean Sins, p.263

In addition to Anita, several other characters face discrimination and dehumanizing treatment because they’re viewed as something other – something less – than human. In the fourth novel, Lunatic Café, the husband of a werewolf tells Anita how his wife would lose her job as a butcher if people found out who – or what – she was. In the seventh novel, Burnt

Offerings, an injured werewolf and an injured wereleopard are placed in an isolation ward at a hospital and are physically segregated from other patients. In the twentieth novel (Hit List), a member of the police force injured by a werelion while on duty is told that she might lose her job if she tests positive for lycanthropy.

“We don’t want to get it” – The ‘real’ fear of disease transmission

Zebrowski’s screams filled the echoing silence. The leopard was on him, slashing at him. […] There was a lot of blood. I fell to my knees beside him. I laid the Browning on the ground and searched for the big pulse in his neck. It was there, thready, but there. I wanted to cry with relief, but there was no time. There was a black stain of blood near the lower center of his body. I pulled his coat back and nearly threw up on him. Wouldn’t he have laughed at that? The cat had damn near eviscerated. His intestines bulged out at the tear. …

“Get over here and help me stop the bleeding.” He just looked at me, sort of shamefaced but neither he nor [Officer] Kirlin move to help. “What the fuck is the matter with you two? Help them.”

“We don’t want to get it.”

“It?”

“The disease,” he said.

- Lunatic Café, p. 324-325, Emphasis added.

6 In Anita Blake, lycanthropy is transmitted through bodily fluids when the infected person is in their animal or hybrid form. Like vampirism, it’s thought that lycanthropy can be also transmitted by contaminated blood when in human form. The ‘infection rate’, however, regardless of the mode of transmission is not one hundred percent; that is, not everyone who is bitten by a vampire or scratched by a werewolf becomes one. In the case of lycanthropy, some people seem to have a natural immunity while others are able to counteract the spread of the virus through inoculation, if the virus is caught early and if the right strain of the vaccine is used.

Similarly, in all but rare instances, it takes several bites for a person to become a vampire and it’s possible to ‘cleanse’ the bites using holy water before the transformation process is complete.

It’s not surprising that the narrative surrounding the transmission of vampirism and lycanthropy, generally, and in Anita Blake in particular, conjures up images of infectious and transmittable diseases such as HIV/AIDS. All of the conditions are transmitted through the exchange of bodily fluids; the risk of exposure to either virus can foster fear and anger towards those infected; and, those living with the ‘disease’ often face discrimination, stigmatization and dehumanizing treatment (see e.g. Shapiro et al., 1992). In addition, in Anita Blake, both vampirism, and the risk of Vlad Syndrome, and lycanthropy, and the risk of Mowgli Syndrome, can result in birth defects in an unborn child or in the death of its infected mother. Similarly, while rare, the perinatal transmission of HIV/AIDS can result in the infection of an unborn child.

Furthermore, the highly and overtly sexualized nature of the Anita Blake series inevitably links vampirism and lycanthrope to HIV/AIDS, a disease frequently associated with ‘deviant’ sexual and other behaviours (Frankenberg, 1992). Over time, sex, rather than crime, increasingly takes a prominent role in the Anita Blake storyline. A preliminary reading of the 2016, 700-page release, Crimson Death, suggests that more than half of the book is dedicated to sex and

7 relationships, rather than supernatural crime and vampire hunting.4 As the series progresses, the number of Anita’s sexual partners also grows and the nature of her sexual relationship changes.

Monogamy, which featured prominently along with abstinence at the beginning of the series, becomes impossible – and arguably, undesirable – in the supernatural world.

Vampires, Werewolves, Sex and HIV/AIDS

This proposed study is not the first to suggest that vampires and werewolves can function as a metaphor for HIV/AIDS. Sanna (2011), for example, in his study of Ginger Snaps:

Unleashed, identified several narrative tropes, including the description of lycanthropy as a blood disease and the use of curative drugs to delay the onset of its symptoms, as indicators of

HIV/AIDS. Similarly, Lawrence (1996) notes that the method of infection and the use of the werewolf as a sexual symbol speaks to lycanthropy as a metaphor for the spread of HIV/AIDS.

In the context of vampires, Guerroro (1990) and (Tyree, 2009-10), among others, call attention to the method of transmission of vampirism – through bodily fluids or “polluted blood” – which often occurs during sex or in a sexualized manner as a metaphor for the transmision of

HIV/AIDS. Nixon’s (1997) oft-cited study of the film The Hunger highlighted “the presence of nightclubs and leather bars, anonymous sex with ambiguously-infected strangers […] and same- sex sexuality” as indicators of HIV/AIDS narratives that linked the disease to promiscuity and homosexuality (p.423).

Despite its longevity, there has not yet been any in-depth study of the Anita Blake series in the context of HIV/AIDS. First published in October 1993, the Anita Blake series now contains twenty-six full-length novels, six novellas and nine graphic novels. A keyword search

4 Crimson Death, the twenty-fifth novel in the Anita Blake series was published in October 2016. The twenty-sixth, Serpentine, was published in August 2018.

8 for “Anita Blake”, conducted on June 27, 2018, found 10 scholarly works that have considered the series from the perspective of gender (Fletcher, 2002; Fusco, 2017; Guyant, 2011; Holland-

Toll, 2004; Woan, 2004), religion and spirituality (Gilpin, 2012; Kelso, 2008), feminism and

Gothic culture (Veldman-Genz, 2011; Duda, 2008), and genre (Ndalianis, 2012). Thus, this proposed research project attempts to fill this gap by considering, first, how HIV/AIDS is portrayed in the Anita Blake series and, second, how – and whether – the Anita Blake series contributes to the narrative surrounding HIV/AIDS.

Literature Review

Part I – Let’s talk about HIV/AIDS

Diseases, notes Crimp, (1988), “[do] not exist apart from the practices that conceptualize

[them], represent [them], and respond to [them]” (p.3). They have complex social histories that extend beyond mere biology which are essential to understanding their causes and shape treatment and prevention strategies (Brandt, 1987, vii; Radley, 1997, p.53). Language is a central component of these histories and, ultimately, to the meaning of illness, disease and disability

(Lupton, 2003, p.5). Among other things, language allows us to express when we feel sick or when we’re in pain, it informs the relationship between a medical professional and a patient seeking treatment, and it identifies modes of transmission and those at-risk (ibid).

Victim-blaming and behaviour shaming

At both the individual and the societal level, illness, disease and disability are often intertwined with concepts of punishment and morality – they are thought to be the consequence of bad, negligent, or irresponsible behaviour or the result of one’s corrupt or questionable

9 character (Sontag, 1991, p.47). This is particularly evident where the cause of an illness, disease or disability is unknown because of the absence of a scientific explanation for why a person or a group has fallen ill breeds fear and uncertainty (Sontag, 1991, p.6). Such judgment-based narratives condemn not only the acts of the affected/infected individual, but also those of the larger group to which they belong. From this perspective, the affected/infected individual or group is not only to blame for their infection but is also being punished by it (MacKinnon, 1992, p. 165).

The transmission of HIV/AIDS, for example, has been linked to so-called deviant or unsafe acts, and associated primarily with several identifiable, at-risk groups – intravenous (IV) drug users, homosexual men, and prostitutes – where the risk of transmission is perceived to be higher (see e.g., Peters, 2013, p. 159). In the case of IV drug users, HIV/AIDS is contracted by the individual as result of his addiction to and consumption of illegal, toxic substances, through the sharing of needles. Similarly, homosexual men and prostitutes, who are seen as more promiscuous than other segments of the population and are perceived to engage in ‘hedonistic’ sexual behaviour, contract HIV/AIDS as a result of the quantity and nature of their sexual activity (Joffe, 1997, p. 141; Lupton, 2003, p. 127).

Victim-shaming and behaviour-blaming narratives isolate those affected by or infected with disease from those who are not. The groups and individuals as well as the behaviours associated with disease transmission are easily condemned (Derlega et al., 2010; Sayles et al.,

2007). Fear of infection, of contamination, and, ultimately, of death furthers this segregation, physically and socially separating the ill and diseased from the uninfected (Bogart et al., 2008;

Herek & Capitanio, 2002; Sayles et al., 2007).

10 Outbreak and otherness

Pandemic and plague discourses promote fear because they position illness and disease as incurable, unconstrained, and inevitable (Sontag, 1991, p.150). This fear creates the perception that some kind of border is needed between the uninfected and the infected (MacKinnon, 1992, p. 161). The effect of this separation is two-fold. First, it creates the perception that the threat of infection has been reduced or neutralized, and, second, it enables rituals of exclusion and stigmatization (Joffe, 1997, pp. 145-148).

Othering, “the act of dissociating oneself from others” (Ranjbar, McKinlay, & McVittie,

2016, pp. 214, emphasis added), is common in HIV/AIDS discourse. Others, argues Joffe (1997), in the context of pandemics and incurable diseases, includes three groups: “out-groups within the society”, “people from other continents”, and those who engage in “practices which are deemed alien and perverse within the culture” (p.136). These groups are often associated with and blamed for disease spread and transmission.

Part II - Monsters as metaphors

Monsters, in various shapes and forms, have always been a part of popular culture.

Invoking the imagery of the monster signals that someone or something is morally reprehensible, or culturally and socially unacceptable. In this way, monsters help us define the boundaries of humanity and human nature (Day, 2002, p.5). They also provide an explanation for what would otherwise be inexplicable and help us justify what would otherwise be horrendous and unspeakable.

Zombie narratives, for example, have been linked to the paranoia and survivalist culture emerging from societal threats such as terrorism and global migration (Frost, 2012; Wetmore,

11 2012), consumerism and capitalism run-rampant (Skal, 1993), and the overly complacent

‘slacker’ generation (Abbott, 2016). The opening scenes of many novels, television series’ or films often feature the main characters in scenes of utter chaos complete with ambulances, sirens, explosions, and human bodily devastation (i.e. Dawn of the Dead, World War Z) that signal the outbreak of the zombie pandemic or waking up alone and isolated in a world of devastation littered with destruction, abandoned and ruined vehicles, with no other signs of human life (i.e.

28 Days Laters; I Am Legend; Walking Dead) which tell the audience that the pandemic is widespread and inescapable.

Monsters are not, however, always something to be feared. Teras, the Greek root for monster, notes Graham (2002), refers to something that is “both abhorrent and attractive, […] awful and aweful, […] taboo and desire” (p.53). In this way, as a society and as individuals, monsters simultaneously repel and draw our gaze. The vampire figure, whose portrayal Kane

(2006) argues has transitioned from villian to object of seduction to sympathetic hero, remains an example of an archetype that sits at the intersection of this paradox. Indeed, several vampire narratives, such as those of Dracula and those in the Anita Blake universe, even suggest that some vampires have to power to enthrall, hyptonize and control the minds of humans! It is this fascination with vampires, and monsters more broadly, that makes them a powerful tool for exploring societal tensions and taboos.

Otherness and the exploration of (un)natural identities

Monsters, notes Cohen (1996), allow for “the formation of all kinds of identities – personal, natural, cultural, economic, sexual, psychological, universal, [and] particular” (p.19).

They articulate our deepest darkest, fears as well as our deepest, darkest desires, and in so doing

12 provide a mechanism for exploring behaviour that might otherwise be taboo, unnatural, or in opposition to the ideological status quo (Benshoff, 2015, p. 117). The monstrous figure therefore often sits outside of ‘normal’, providing a frame of reference for identifying what is ‘normal’ and

‘natural’ by showcasing what is not.

Shapeshifter narratives, for example, usually culminate in a marked physical transformation of the affected person for a specified period of time during which the shapeshifter is easily identifiable. Physical markers such as excess body hair and animalistic hands and facial feaures visibly signal that the monster is different, and create an ‘us/them’ dichotomy based on the notion of otherness and a process of negative identity formation (Bourgault du Coudray,

2002). Several other scholars have called attention to this classification of us-them, human- monster as a popular theme in werewolf narratives (Weaver, 2010).

These us-them, human-monster, dichotomies position one group – “us”, “human”,

“normal” – against the other – “them”, “monsters”, “the abnormal” – and function to justify the differential, dehumanizing or violent treatment of that other group. Wonser & Boyns (2016), for example, argue that the portrayal of zombies in pandemic-related narratives as less than human and as monsters permits ‘uninfected’, human characters to ridicule, embarrass, torture, and physically attack the zombies (p.639). This is further demonstrated in narratives where human characters physically isolate themselves from their monstrous counterparts.

Deviance or (dis)ability

Vampires, argues Jones (1997), cannot be reduced to a single metaphor. They are, instead, a “floating category” that defies socio-cultural norms and behaviours (Fink, 2010, p.

417). Kane (2006), for example, identified parallels between drug addiction and vampirism in the

13 film The Lost Boys (p.91). Nixon’s (1997) study of The Hunger linked vampires to promiscuity and homosexuality, and Tyree (2009-10) has argued that vampire bites involve “illicit intimacy” through “the gamut of marginalized sex acts [including] premarital hook-ups, gay and bisexual relationships, adultery, cheating, polygamy, S&M, the seuxality of children and hovering specter of quasi-willing sexual violence” (p.31). This notion of vampires as deviants, sexual or otherwise, persists throughout the genre (Weinstock, 2012, pp. 20-54).

Contemporary representations of the vampire, such as Blade and Buffy the Vampire

Slayer’s Angel, follow the vampire hero as he struggles against his monstrous – deviant – nature to feed on humans. When he inevitably gives in to his vampiric side, he morphs from a youthful, attractive man into an animalistic version of himself with marked physical attributes including longer nails, longer teeth, and a raised forehead. The vampire is perceived as an addict, who lacks control, with an insatiable and indiscriminate appetite (Freeland, 2000).

Fink (2010), in contrast, in their study of Octavia Butler’s Fledging, argues that it is vampirism, or deviancy, that actually sustains the novel’s characters physically as well as socially. Abbott (2016) has also identified several instances where vampiric transformation heals a dying person, such as in Twilight: Breaking Dawn, Part I and Underworld, or where the blood of a vampire is ingested by an injured or wounded person because of its known healing properties, such as in True Blood, The Vampire Diaries, and The Originals (p.56).

Similarly, in mutant narratives, such as those found in the X-men and Avengers series’, difference is what makes a character physically, psychologically or emotionally strong. When framed or perceived as enabling, possessing extraordinary abilities and qualities positions mutants as superheroes to be celebrated rather than monsters to be feared or pitied. Ilea (2009) draws parallels between mutant-positive narratives in the X-men series, and disability-positive

14 narratives where, for example, Down Syndrome is viewed as strength that removes undesirable characteristics such as anger and malice, rather than a weakness (p.177). Like vampirism, however, when framed or perceived as disabling, possessing extraordinary abilities and qualities positions mutants outside traditional notions of normalcy, or ordinary, and offers an explanation for why many characters attempt to ‘pass’ as human. Hopkins (2009) draws parallels between this on-screen phenomena and the real-life experience of homosexuals and light-skinned

African-Americans (p.8).

Part III – Monsters as metaphors for HIV/AIDS

Weaver (2010) identifies two types of monster metaphors in the context of disease: the medical model, or the direct metaphor, and the social model, or the indirect metaphor. The medical model defines ability and dis-ability in relation to the body, calling attention to how the disabled, diseased or ill person is cognitively or physically different from the un- infected/affected – or ‘normal’ – person (p.71). From this perspective, the ‘condition’, and by extension the person affected, is viewed as a problem to be cured, rehabilitated, or eliminated

(Davis, 2006, p.3; Ilea, 2009, p.71). The social, or indirect, model understands illness, disease and disability as the societal response to the affected/infected person by framing the social conditions, institutional structures and physical or communication barriers that limit the participation of that person as the problem to be remedied rather than the person – or his condition (Davidson, 2006, p. 119).

The link between monsters and illness, disease, and (dis)ability – whether celebrated or feared – is reinforced by the use of scientific imagery in contemporary literary and visual representations of the monster figure (Abbott, 2016). 28 Days Later, The Walking Dead,

15 Twilight: Breaking Dawn Part I, World War Z, and The Vampire Diaries are but a few examples where the main character undergoes some kind of transformative experience in a hospital or laboratory setting. In I Am Legend and The Hunger, microscopes are used to examine vampire blood cells to show audiences visually how vampire DNA differs from human – or non-vampire

– DNA.

In addition to scientific imagery, the use of scientific language – referring to monsters as

“a disease”, “a virus”, “a genetic aberration”, “a genetic experiment”, or “a super race”, for instance – links monsters to the disease pandemics and genetic manipulation and their corresponding social anxieties and societal tensions (Abbott, 2016, p. 50). Outbreak or pandemic narratives are commonly found in zombie and vampire narratives. On- and off-screen, they follow a formulaic plot: first, an emerging infection is linked to a series of unexplained deaths; then, the focus shifts to transmission, where the spread of the virus is tracked locally as well as globally through the use of maps, satellite imagery, and the like; finally, the outbreak narrative culminates with a demonstration of how the virus and infected are treated, cured, or destroyed, and, ultimately, contained (Wald, 2008, p. 2). Abbott (2016) found that scientific language and imagery are used to prove the existence of monsters because it “[reduces them] to a set of familiar and rational concepts that make sense within our real world” (p.44). From this perspective, it becomes possible to understand monsters, or at least the existence of monsters, through science and disease narratives, and monsters, in effect, become a metaphor for – and of – disease.

Metaphor: A help or a hindrance?

16 Sontag (1988) argues that the use of metaphors in disease narratives is problematic because they impose meaning onto disease and deform the experience of having – or living with

– disease “with very real consequences” (p.99). Like any identity narrative, monster metaphors can shape perceptions of and influence the treatment of those who are different, or Other. In her work on Alzheimer’s Disease, Behuniak (2011) concludes that when patients with Alzheimer’s disease are perceived as zombies, un-human, or as the living dead, they are marginalised and treated differently by society and by the medical community.5

As a metaphor for sexual deviancy, the link between vampires and HIV/AIDS is not a far one to bridge. As mentioned above, among other commonalities, the end result of a vampire bite, like the outcome of HIV/AIDS, is death. Vampires blur the boundary between life and death – they die as humans and are re-born with a new identity, and a new life, as a vampire (Creed,

1993, p. 69).6 Similarly, a diagnosis of HIV/AIDS, particularly before the introduction of polytherapies when the disease was classified as acutely fatal rather than chronic, results in one’s social death followed by a ‘re-birth’ with a new identity as a person living with disease that will culminate in one’s physical death (Sontag, 1991, p. 119; p. 127). This change in identity has repercussions on the social status, relationships and experience of the person living with disease

(Radley, 1997, pp. 56-57).

Fink (2010), however, offers an alternative reading of the vampire as a metaphor for

HIV/AIDS. When read from an HIV/AIDS perspective, Fink argues that vampirism in Butler’s

Fledging creates what is essentially “a community of HIV-positive beings who do not develop symptoms of AIDS” and “whose practices of exchanging blood and sex lead not to death but to

5 In the case of Alzheimer’s patients, for many, the final stages of the disease strip away or alter mobility as well as the ability to speak. 6 A similar transformation occurs in the context of werewolves and other shapeshifters. Even if the accompanying mythology permits re-transformation (that is, shifting back and forth between human and animal forms), the animal form is always present, just below the surface of the skin.

17 sustaining one another’s physical and emotional well-being” (p. 424-425). Similarly, Tyree

(2009-10) argues that HBO’s True Blood offers “an unusual kind of horror” by showcasing harm inflicted on rather than by vampires (p. 34, emphasis in original). The vampire metaphor, like all monster metaphors, therefore has the potential to showcase monsters, and by extension those living with disease, disability, and illness, in a ‘positive’ light.

Part IV – Research Questions

The monster figure has been, and will always be, a common feature in popular culture.

Although their meaning continues to evolve, the ubiquity and popularity of monsters makes them a useful lens through which to examine how we express societal fears and tensions. In particular, the ‘medicalized monster’, imbued with the characteristics, symptoms, and behaviours frequently associated with disease, disability, or illness, and surrounded by the imagery and language of hospitals, science, and medicine, seems to provide a window into the lived experience, treatment, and perceptions of a person living with disease, disability or illness.

Despite the existence of a wealth of scholarly literature exploring the use of monster metaphors, and in particular vampires and werewolves, as a tool for discussing HIV/AIDS, the long running Anita Blake: The Vampire Hunter series has yet to be critically examined in this context. In order to address this deficiency, my doctoral dissertation shall answer the following research questions:

1 – a. To which extent, can the Anita Blake, the Vampire Hunter series be read from an

HIV/AIDS perspective?

1 – b. How is the HIV/AIDS narrative constructed by the social, cultural, and legal

structures found within the series?

18 2 – a. How do the main characters, in particular the protagonist, navigate this HIV-

‘positive’ or HIV-‘negative’ environment?

2 – b. What does the experience of the characters in Anita Blake tell us about the real-

world experience of people living with HIV/AIDS?

Methodology

Research Design

My dissertation research will feature a two-tiered study, rooted in content analysis. First,

I will examine the world of Anita Blake from the perspective of HIV/AIDS and assess whether it is HIV ‘positive’ (favourable) or HIV ‘negative’ (unfavourable). Second, I will consider the social, physical, and psychological experience of the main character, Anita Blake, as someone who moves through the process of living with illness and disease, and in particular, living with

HIV/AIDS, from a social constructivist perspective. A detailed breakdown of how this methodology will be implemented is provided below for each research question.

RQs 1-A and 1-B: Is the world of Anita Blake HIV-‘positive’ or HIV-‘negative’?

The Anita Blake series is premised on an ‘alternate history’, where, for example, Vlad

Tepes (‘Dracula’) existed. It also features an alternate set of evolving laws, governing structures, and societal norms. As the series progresses, we learn more and more about this history and we see changes take place in the legal and social realms of the world of Anita Blake.

To answer Questions 1-A and 1-B, the alternate history and the evolving legal framework of the series will be documented using a timeline. This mapping will be time-intensive, but will allow for a comparison between the evolution of the law and societal attitudes towards People

19 Living with HIV (PLHIV) and People Living with AIDS (PLAIDS), a timeline of which will be developed from the literature on the history of HIV/AIDS in North America. Particular attention will be paid to the legal cases surrounding the criminalization of the transmission of HIV/AIDS because disease transmission is a prominent characteristic that overlaps with the metaphor of vampires and werewolves.

The Anita Blake series also features a complex web of social structures between similar and differing groups (humans and, for lack of a better word, non-humans) and sub-groups

(including law enforcement and civilians, vampires and lycanthropes). In addition to differing social structures and interests, inter- and intra-group dynamics are ripe with discriminatory or preferential treatment, related to race and gender, and other power dynamics including the internal, hierarchical governing structures of human, vampire, and lycanthrope groups and sub- groups.

At this stage, it is not yet known how – or if – each of these variables will contribute to the potential HIV/AIDS narrative within the Anita Blake series. It also not known whether it will be possible to adequately catalogue or account for all of these variables in a doctoral dissertation

– each aspect of the series could, very well, present a distinct research project. The diverse and high number of sub-groups also raises questions regarding the number of secondary characters that will be examined in the course of this study.7

In spite of these uncertainties, a preliminary reading of the series suggests that it will be possible to identify lead characters in each group and sub-group, and analyze their characteristics, roles and treatment in the series. Factors that will be considered in this analysis include the gender, race, sexual preference, sub-group, age, abilities (or lack thereof) and

7 At this stage of the research project, the exact number of sub-groups and secondary characters in the series is presently unknown.

20 position of characters within the Anita Blake universe. A coding system will be used to identify inter- and intra-group relationships, as well as sexual and non-sexual relationships. Sexual and non-sexual relationships will be further broken down into categories of consensual/non- consensual sex, same-/opposite-sex, and ‘romantic’/sex-only relationships. Any changes to the character’s status – i.e. if they contract lycanthrope and transition to a new or different group – will also be documented. These changes will subsequently be compared to changes in groups and group dynamics to identify any correlation between them, and will facilitate a comparison between the treatment of characters within the series, medically, socially, psychologically, and the real-world treatment of PLHIV/PLAIDS outside of the series.

RQs 2-A and 2-B: What does the experience of the main character, Anita Blake, tell us the experience of those living with disease, disability, and illness, and in particular with

HIV/AIDS?

Like the book series, the second part of this research project will focus on the main character, Anita Blake, and will track her evolution and development – (meta)physically, attitudinally and relationally – throughout the series. In addition to tracking Anita’s physical transformation and acquisition of abilities, the evolution of her relationships with and perception of vampires, lycanthropes and other preternatural beings will also be mapped out and analyzed.

A coding system will be used to identify indicators of Anita’s transformation which will be compared to real-world indicators of the physical, psychological and social progression of disease and, in particular, of HIV/AIDS.

21 Case selection

The Anita Blake series has been selected as the lens for examining the use of monsters as a metaphor for HIV/AIDS for three reasons.

First, the series is long running and spans two similar but distinct mediums. The long running nature of the series will allow for the tracking and analysis of character and environmental (social, medical, and legal) development within the series. Furthermore, the publication of the series as graphic novels will facilitate a comparison between the text and visual representation of the series that will be used to validate the findings of the text-only analysis.

The second reason that the Anita Blake series has been selected as a case study is that the series is it challenges literary and societal norms both inside and outside the series, to a greater or lesser extent positioning the series itself as “Other”. Allen (2013) finds that Anita Blake tests the boundaries of several literary genres – romance, fantasy, horror, crime and erotica – as well as the boundaries of traditional, monogamous relationships.

Finally, the third reason that the vampires series has been selected is because it openly discusses – and, eventually, celebrates – sexual deviance and sexual difference. The recurring link between HIV/AIDS and sexual deviancy, as well as the link between vampires and sexual deviancy, in scholarly literature coupled with the prominent sexualized nature of the Anita Blake series merit further investigation.

22 Delimitations

In the interest of completing this research project, and in recognition that limited resources exist for the purpose of data collection and analysis, one delimitation has been set related to data sources.

Data sources: The Anita Blake series continues to grow. In August 2018, Serpentine, was released. There is a strong possibility that a twenty-seventh novel will be released prior to the completion of the proposed research study. In the interest of timeliness, data collection will be limited to the twenty-six full-length novels, six novellas and nine graphic novels that have been published as of August 2018, up to and including Serpentine. A full list of these sources can be found in Annex 1, The Anita Blake: Vampire Hunter series, to this proposal.

Limitations

At this time, two limitations of the proposed research project have been identified: time, and bias (or at the very least, the potential for bias). Each limitation will be elaborated on below.

Time: The constraint of time is a concern for all researchers, irrespective their level or discipline of study. Due to the large amount of data expected to be collected in the course of this study, a detailed coding system will be developed and implemented to systematically categorize and subsequently analyze the data collected from the Anita Blake novels, novellas, and graphic novels.

Bias: In addition to conducting research on Anita Blake. I am long-time fan of the series.

I have been reading the series since I was 13 years old, which means that by the time I conclude my dissertation, I will have been reading the series for more than 20 years. As such, the development and implementation of a detailed, systematic coding system based on existing

23 HIV/AIDS narratives and real-world indicators from medical, cultural, and legal literature will help to maintain the objectivity, verifiability, and replicability of the study. Finally, the validity of the coding system will also be tested using one or two third-party researchers who will be asked to read and code one chapter of a novel and one graphic novel. Both researchers will be asked to code the same materials.

Additional project – A comprehensive guide to Anita Blake

In addition, as is discussed in the Research Plan below, this work will also facilitate the development of a comprehensive, authoritative guide to the Anita Blake series (similar to Buffy the Vampire Slayer’s The Watcher’s Guide).

Conclusion

Through a detailed, systematic and critical examination of the Anita Blake: Vampire

Series, this proposed doctoral research project will address a gap in the scholarly literature by considering how and to what extent this longstanding book and graphic novel series contributes to the HIV/AIDS narrative in popular culture. It is my hope that the complex web of social structures present in the Anita Blake series, when combined with the evolution of the legal and institutional framework in this alternate universe and the evolution of Anita Blake herself, will be found to demystify HIV/AIDS myths and misconceptions by challenging common perceptions of the disease.

24 Research Plan

Introduction

Chapter 1 History of HIV/AIDS – Medical and Legal Evolution of the discourse surrounding HIV/AIDS (What was actually said)

Chapter 2 Health communication – How we talk about disease/illness

Chapter 3 Theories of communication (Social Constructionism, Representation)

Chapter 4 Monsters

Chapter 5 Anita Blake – Case Study – Methodology

Chapter 6 Anita Blake – Case Study – Findings

Chapter 7 Anita Blake – Case Study – Discussion

Conclusion

25 Research Timeline

I hope to complete my doctoral research project in 2 to 2 ½ years by April 2021, assuming that I am successful in defending my dissertation proposal by December 2018. A detailed breakdown of my benchmarks for achieving this is provided below:

Task Timeline Proposal defence January 2019 Re-read Anita Blake series February 2019 Research and completion of literature review chapters 31 October 2019 Finalize methodology and develop classification systems and 31 January 2020 indicators Test methodology with independent coders 15 March 2020 Read Anita Blake series, implementing the methodology 31 August 2020 Analyze data collected and explain findings 31 December 2020 Additional review of literature 31 January 2021 Revisions to final draft of dissertation 15 March 2021 Submit dissertation to Department and to Committee 31 March 2021 Dissertation Defence May 2021 Revisions to Dissertation Summer 2021 Completion of program Summer 2021 Graduation Fall 2021

I believe that this timeline is ambitious but reasonable and realistic. I also think that it will allow me to pursue other opportunities and passions related to the Ph.D program that will enhance my experience and employment prospects as a doctoral graduate. In addition to my doctoral research, while completing my dissertation, I also hope to:

• Continue to compete with the University of Ottawa Gee-Gees Varsity Cross Country and

Track & Field teams;

• Participate in the Experience at Comic-Con field study program offered by Radford

University in July 2019;

• Teach 1 to 2 classes per year, maximum one per semester;

26 • Complete the Certificate in University Teaching program, beginning in September 2018;

• Present at 1 to 2 academic conferences per year; and

• Publish 1 to 2 scholarly articles per year.

In addition to the above, in order to sustain my interest as well as my motivation to complete my dissertation in a timely manner – something that I have been advised can be a challenge after many months (and years!) of working on the same project – I have begun work on a tattoo featuring artwork from the Anita Blake graphic novels to mark the completion of milestones in the doctoral program and dissertation process. To date, two pieces have been completed – see Annex 2 to this dissertation proposal – and a third will be scheduled following the successful completion of my proposal defence. I have previously used this strategy during the pursuit of my law degree, which I completed in April 2015, and during my articles with the

Department of Justice Canada, which I completed in June 2016.

27 Annex 1 – The Anita Blake, The Vampire Hunter Series

Novels 1. Guilty Pleasures (1993) 2. The Laughing Corpse (1994) 3. Circus of the Damned (1995) 4. Lunatic Café (1996) 5. Bloody Bones (1996) 6. The Killing Dance (1997) 7. Burnt Offerings (1998) 8. Blue Moon (1998) 9. Obsidian Butterfly (2000) 10. Narcissus in Chains (2001) 11. Cerulean Sins (2003) 12. Incubus Dreams (2004) 13. Micah (2006) 14. Danse Macabre (2006) 15. The Harlequin (2007) 16. Blood Noir (2008) 17. Skin Trade (2009) 18. Flirt (2010) 19. Bullet (2010) 20. Hit List (2011) 21. Kiss the Dead (2012) 22. Affliction (2013) 23. Jason (2014) 24. Dead Ice (2015) 25. Crimson Death (2016) 26. Serpentine (2018)

Novellas 1. “Magic Like Heat Across My Skin”, in Out of this World (2001) 2. Strange Candy (2006) a. “Those Who Seek Forgiveness” b. “The Girl Who Was Infatuated with Death” 3. Beauty: An Anita Blake, Vampire Hunter Outtake (May 2012) 4. Dancing: An Anita Blake Novella (September 2013) 5. Shutdown (October 2013) 6. Wounded (December 2016)

Graphic Novels 1. Laurell K. Hamilton's Anita Blake, Vampire Hunter: The First Death 1–2 (7 & 12/2007) 2. Anita Blake Vampire Hunter: Guilty Pleasures 1–12 (12/2006–8/2008)

28 3. Guilty Pleasures Handbook (2007) 4. Anita Blake: The Laughing Corpse – Animator 1–-5 (10/2008–2/2009) 5. Anita Blake: The Laughing Corpse – Necromancer 1–5 (4/2009–9/2009) 6. Anita Blake: The Laughing Corpse – Executioner 1–5 (9/2009–3/2010) 7. Anita Blake: Circus Of The Damned – The Charmer 1–5 (5/2010–10/2010) 8. Anita Blake: Circus Of The Damned – The Ingenue 1–5 (1/2011–5/2011) 9. Anita Blake: Circus Of the Damned - The Scoundrel 1–5 (9/2011–5/2012)

29 Annex 2 – Anita Blake Tattoo

One tool that I will use to stay motivated and on track while researching and writing my dissertation is to mark the completion of major sections in the process with a new addition to my

Anita Blake, The Vampire Hunter tattoo. The tattoo is based on the artwork found in the graphic novels. The first component of the tattoo, Anita Blake, was undertaken in June 2017, following the completion of the required coursework for my doctoral program. The second component, one of Anita’s romantic interests, the vampire Jean-Claude, was completed in September 2017 after I successfully defended by my comprehensive exams. A third sitting will be scheduled in the

Winter 2019 semester following the completion of my dissertation proposal. Additional sittings will be scheduled while I undertake my dissertation research, adding in various other aspects of the novels including images of zombies, gravestones, and werewolves.

Image 1: Tattoo of Anita Blake, the vampire hunter, Image 2: Tattoo of Jean-Claude, master vampire, adapted by Barry Buteau at Golden Wave Tattoo in adapted by Barry Buteau at Golden Wave Tattoo in Ottawa, ON, in June 2017 Ottawa, ON, in September 2017

30

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