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978–0–230–37013–5 Copyrighted Material – 978–0–230–37013–5 Copyrighted material – 978–0–230–37013–5 Editorial matter, selection and Introduction © Deborah Mutch 2013 All remaining chapters © their respective authors 2013 All rights reserved. No reproduction, copy or transmission of this publication may be made without written permission. No portion of this publication may be reproduced, copied or transmitted save with written permission or in accordance with the provisions of the Copyright, Designs and Patents Act 1988, or under the terms of any licence permitting limited copying issued by the Copyright Licensing Agency, Saffron House, 6–10 Kirby Street, London EC1N 8TS. Any person who does any unauthorized act in relation to this publication may be liable to criminal prosecution and civil claims for damages. The authors have asserted their rights to be identified as the authors of this work in accordance with the Copyright, Designs and Patents Act 1988. First published 2013 by PALGRAVE MACMILLAN Palgrave Macmillan in the UK is an imprint of Macmillan Publishers Limited, registered in England, company number 785998, of Houndmills, Basingstoke, Hampshire RG21 6XS. Palgrave Macmillan in the US is a division of St Martin’s Press LLC, 175 Fifth Avenue, New York, NY 10010. Palgrave Macmillan is the global academic imprint of the above companies and has companies and representatives throughout the world. Palgrave® and Macmillan® are registered trademarks in the United States, the United Kingdom, Europe and other countries. ISBN 978–0–230–37013–5 This book is printed on paper suitable for recycling and made from fully managed and sustained forest sources. Logging, pulping and manufacturing processes are expected to conform to the environmental regulations of the country of origin. A catalogue record for this book is available from the British Library. A catalog record for this book is available from the Library of Congress. 10 9 8 7 6 5 4 3 2 1 22 21 20 19 18 17 16 15 14 13 Printed and bound in Great Britain by CPI Antony Rowe, Chippenham and Eastbourne Copyrighted material – 978–0–230–37013–5 Copyrighted material – 978–0–230–37013–5 Contents Acknowledgements ix Notes on Contributors x Introduction: ‘A Swarm of Chuffing Draculas’: The Vampire in English and American Literature 1 Deborah Mutch 1 Blood, Bodies, Books: Kim Newman and the Vampire as Cultural Text 18 Keith Scott 2 Buffy vs. Bella: Gender, Relationships and the Modern Vampire 37 Bethan Jones 3 ‘Hell! Was I Becoming a Vampyre Slut?’: Sex, Sexuality and Morality in Young Adult Vampire Fiction 55 Hannah Priest 4 Consuming Clothes and Dressing Desire in the Twilight series 76 Sarah Heaton 5 Whiteness, Vampires and Humanity in Contemporary Film and Television 93 Ewan Kirkland 6 The Vampiric Diaspora: The Complications of Victimhood and Post-memory as Configured in the Jewish Migrant Vampire 111 Simon Bacon 7 Vampires and Gentiles: Jews, Mormons and Embracing the Other 128 Clare Reed 8 Transcending the Massacre: Vampire Mormons in the Twilight Series 146 Yael Maurer vii Copyrighted material – 978–0–230–37013–5 Copyrighted material – 978–0–230–37013–5 viii Contents 9 The Gothic Louisiana of Charlaine Harris and Anne Rice 163 Victoria Amador 10 Matt Haig’s The Radleys: Vampires for the Neoliberal Age 177 Deborah Mutch References 194 Index 210 Copyrighted material – 978–0–230–37013–5 Copyrighted material – 978–0–230–37013–5 Introduction: ‘A Swarm of Chuffing Draculas’: The Vampire in English and American Literature Deborah Mutch In Matt Haig’s novel The Radleys (2010), Alison Glenny of the Unnamed Predator Unit meets DCS Geoff Hodge to take over his investigation into the murder of a teenage boy. He is understand- ably incredulous when she explains that the murder was committed by a vampire and the bluff Yorkshireman articulates his incredulity through frameworks of police practice and popular culture: So, love, let me get this right. You come in here, talking like some- thing off CSI: Transylvania and expecting me to believe in the exis- tence of a swarm of chuffing Draculas living all over the shop, and then say there’s nowt we can do to stop them? (Haig, 2010, p. 234) Hodge the policeman views the vampire as a threat and his instinct is to halt or neutralize it; Hodge the twenty-first century Westerner processes the information through the fictions of television, film and literature. His reference to the popular American television series CSI: Crime Scene Investigation and its spin-off series CSI: Miami and CSI: New York (2000–present) blurs the boundaries between his work and the fictional investigations of popular culture, between intelligible reality and the fantastic that Glenny presents to him. His attempt to grasp the concept of a vampire as the murderer and as a part of his reality similarly reaches into the realm of fiction, this time using Bram Stoker’s 1897 novel as his frame. Over one hundred and ten years after the publication of Stoker’s text, his eponymous character is still synonymous with the vam- pire: Hodge can generalize the proper noun and still be sure he is 1 Copyrighted material – 978–0–230–37013–5 Copyrighted material – 978–0–230–37013–5 2 The Modern Vampire and Human Identity understood. Christopher Frayling, in Vampyres, Lord Byron to Count Dracula, describes Stoker as ‘the most successful horror novelist of all time’ (Frayling, 1992, p. 4) but much of his success has been achieved through the visual adaptation of the novel, its plot and characters to stage and film productions. The character of Dracula is, as Roxana Stuart observes, ‘one of those creations that transcends the work in which it is presented’ (Stuart, 1994, p. 181). Geoff Hodge may be refer- ring to Stoker’s novel but it is just as likely – perhaps more so – that at the mention of vampires his thoughts fly to the classic cinematic depictions of Stoker’s Count. F. W. Murnau’s 1922 Nosferatu is criti- cally acclaimed as a ‘masterpiece of German expressionist cinema’ and is responsible for the recent tradition of the vampire’s fatal allergy to sunlight (p. 219, p. 220) but Tod Browning’s 1931 film, Dracula, cre- ated the visual signifiers now associated with the vampire. Bela Lugosi had refused to wear the fangs Universal Studios had wanted but he agreed to the hairpiece ‘that added a slight widow’s peak to his some- what thinning hairline’ (Skal, 2004, p. 186). Browning also clothed the Count in the full evening dress first used in Hamilton Deane’s 1924 stage production where the high-collared cape was a device to hide actor Raymond Huntley’s disappearance through a trap door (Skal, 2004, p. 111; Stuart, 1994, pp. 195–6). The widow’s peak and the cape have become so closely associated with the vampire that they can be set onto a purple puppet (The Count, Sesame Street) or a green cartoon duck (Count Duckula) and viewers who have never seen the film, nor even know of Browning, will make the connection. The ubiquity of Stoker’s vampire and Browning’s images do not mean that the cultural, literary or filmic vampire is as calcified as the former human being whose body is locked in stasis at the point of transformation. Rather, Stoker’s text has become the touchstone against which we measure the vampires of our time. As William Hughes has argued: It appears seemingly impossible . to talk about the vampire without making at least tacit reference to Dracula as a pivotal text. Yet such a presupposition may form the basis of a reciprocal mode of discourse on the vampire, where reference to Dracula, and to the interpretation of Stoker’s novel, may serve to illuminate a wider range of vampire fictions through their shared or conflict- ing implications. (Hughes, 2001, p. 144) Copyrighted material – 978–0–230–37013–5 Copyrighted material – 978–0–230–37013–5 Deborah Mutch 3 Dracula may be the touchstone against which we now measure both previous and subsequent vampires but the myth and fiction of the vampire has for centuries enabled human beings to explain their condition and experiences. Montague Summers traced the pres- ence of the vampire in human cultures back into antiquity where Greek legends told of dead heroes being energized by drinking fresh blood (Summers, 2001, p. 28). These legends differed from what we understand as ‘vampire’ today only in the tangibility of its form: the ancient vampire was more likely to be a ghost rather than a dead body, but one which could still cause material harm (p. 64). David Punter similarly noted that stories of the vampire are pres- ent in cultures across the globe but observed that vampires are most often associated with Eastern Europe where they ‘functioned primar- ily to explain the spread of disease and sudden death in the com- munity’ (Punter and Byron, 2004, p. 268). Paul Barber, in Vampires, Burial and Death, opens his study with an explanation of his focus primarily on the European vampire, rather than those found in the myths of China, Indonesia and the Philippines for example. It is, he states, because of the availability of written accounts (Barber, 1988, pp. 1–2). Western Europeans became interested in the phenomenon of the vampire during the late-seventeenth and early-eighteenth centuries as reports emerged from Eastern Europe of a series of vampire ‘epidemics’: ‘Istria (1672), East Prussia (1710 and 1721), Hungary (1725–30), Austrian Serbia (1725–32), East Prussia (1750), Silesia (1755), Wallachia (1756) and Russia (1772)’ (Frayling, 1992, p. 19). The word ‘vampire’ has been widely assumed to originate in these areas which experienced these ‘epidemics’ but, as Katharina M. Wilson shows in her etymology of the word, ‘the earliest recorded uses of the term vampire appear in French, English, and Latin, and they refer to vampirism in Poland, Russia, and Macedonia’ (Wilson, 1998, p.
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