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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

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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

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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

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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 existence 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 vampire: Hodge can generalize the proper noun and still be sure he is

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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, created 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)

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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 presence 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 present in cultures across the globe but observed that vampires are most often associated with Eastern Europe where they ‘functioned primarily to explain the spread of disease and sudden death in the community’ (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. 9), and Frayling observes that the word ‘vampire’ was first recorded in English in 1732 when the ‘epidemics’ were at their height (Frayling, 1992, p. 27). The word, which has long been associated with the East, is actually a Western creation used to articulate the events of the East. Just as the vampire contains two opposing states within one body (life and death), Western Europe became fascinated with the vampire as the philosophers of the Age of Reason were trying to rid humanity of superstition (Frayling, 1992, pp. 19–36) and the vampire remains

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4 The Modern Vampire and Human Identity a body of contradictions and oppositions encompassing the human condition. Ernest Jones, in his classic psychoanalytical reading of the vampire in On The Nightmare, considers the interaction between vampire and human along the continuum of life, death and undeath:

A continued relation between the living and dead may be regarded in two ways, and each of these from the obverse and reverse. On the one hand it may be desired, and this may result either in the living being drawn to the dead or in the dead being drawn back to the living; on the other hand it may be feared, which may also have the same two effects. In the Ghoul idea a living person visits the body of the dead; the Vampire idea is more elaborate, for here the dead first visits the living and then draws him into death, being re-animated himself in the process. ( Jones, 1931, p. 99)

The relationship between the living human and the undead vampire has always been one of positions on a continuum; the vampire is, after all, a former human. Vampire and victim oscillate between life and death, weakness and strength, desiccation and engorgement as human and vampire engage in a continuous cycle of creation and destruction. The primary fear generated by the vampire is that of the destruction of the human and the creation of the vampire, a fear which drove the villagers of Eastern Europe to exhume and ritually destroy the bodies of the presumed vampires. Two of the most famous and influential cases of presumed vampirism are those of the Serbians Peter Plogojowitz of Kisilova (Barber, 1988, pp. 5–6) and Arnod Paole of Medvegia (Barber, 1988, pp. 15–20; Frayling, 1992, pp. 20–3). In each case the dead man was thought to have caused a series of deaths in their respective villages; both were exhumed and found to be in a state of preservation, having grown new skin and fingernails (Barber, 1988, p. 6; Frayling, 1992, p. 21). Plogojowitz was staked, Paole was decapitated and both bodies were burned to ashes. Explanations for these ‘epidemics’ of vampires ranged from the rational – premature burial, plague, rabies and others (Frayling, 1992, p. 25) – to the fantastic, such as Dom Augustin Calmet who anthologized the reports in Traité sur les Apparitions des Esprits, et sur les Vampires (1746) and ‘regarded [the vampire legend] as a fact beyond dispute’ (Copper,

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1993, p. 38). What brought these events to the attention of the Western Europeans was a shift in political power:

In retrospect it seems clear that one reason for all the excitement was the Peace of Passarowitz (1718), by which parts of Serbia and Walachia were turned over to Austria. Thereupon the occupying forces, which remained there until 1739, began to notice, and file reports on, a peculiar local practice: that of exhuming bodies and ‘killing’ them. Literate outsiders began to attend such exhumations. The vampire craze, in other words, was an early ‘media event,’ in which educated Europeans became aware of practices that were by no means of recent origin, but had simply been provided, for the first time, with effective public-relations representatives. (Barber, 1988, p. 5)

‘Educated Europeans’ became aware of the vampire ‘epidemics’ through the process of narrative, as those in power committed to paper the actions of those who were ruled. To have control over narrative is to have control over meaning and, as Hayden White has pointed out, ‘[t]he production of meaning . . . can be regarded as a performance, because any given set of real events can be emplotted in a number of ways, can bear the weight of being told as any number of different kinds of stories’ (White, 1987, p. 44). The persuasive power of narrative – and in this we must include the oral as well as the written – fulfils an unlimited number of functions and supports an unlimited number of perspectives. For Rousseau, the narratives of both miracles and vampires reinforced the power and tyranny of the Catholic Church by claiming that it was the only authoritative interpreter of the stories (Frayling, 1992, p. 33) but the strength of the peoples’ own narrative can overrule government, reversing the flow of power. The Imperial Provisor of Gradisk Districk who recorded the exhumation of Peter Plogojowitz also recorded the villagers’ successful challenge to his power. When he disapproved of their intention to exhume the body, the whole village threatened to move away from the area. Faced with the removal of his authority, the Imperial Provisor capitulated: ‘Since I could not hold such people from the resolution they had made, wither with good words or with threats, I went to the village of Kisilova, taking along the Gradisk pope, and viewed the body of Peter

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Plogojoqwitz, just exhumed’ (Barber, 1988, p. 6). The popular narrative of the vampire as a threat to life was too strong to collapse under gov- ernmental disapproval and the will of the people prevailed. At the end of the eighteenth century, the vampire began to move from folklore to literature: Goethe’s The Bride of Corinth (1797) was based on the Roman vampire in Fragmenta Historicorum Graecorum (AD. 117–38) (Stuart, 1994, p. 14) and Robert Southey’s notes for Thalaba the Destroyer (1801) included a transcription of the Arnod Paole story (Frayling, 1992, p. 37). The vampire made a number of subsequent appearances in English poetry, for instance, Coleridge’s Christabel (1797–1800), Byron’s The Giaour (1813), Keats’ Lamia (1820) (Stuart, 1994, p. 22; Frayling, 1992, p. 37), but it was the vampire’s transition into fiction and drama which secured its place – and its importance – in Western culture and society for the next two centuries. Byron’s former physician, John Polidori, published his novella The Vampyre in 1819 and its success was based partly on the mistaken assumption that it was the work of Byron himself; a mistake which ‘canny editors’ were not at pains to correct (Frayling, 1992, pp. 6–7). Byron subsequently published his own vampire prose, A Fragment of a Novel (1819), alternatively entitled ‘Augustus Darvell’, as proof that he was not the author of The Vampyre. Robert Morrison and Chris Baldick, in their introductory notes, record Byron’s annoyance that the fragment was appended to his poem Mazeppa (1819) without his permission (it was ‘not to be published if not in a periodical paper’) and without his explanatory ‘proem’ (Byron, 2008, p. 246). The popularity of The Vampyre encouraged Charles Nodier to co-author Le Vampire (1820) with Pierre Carmouch and Achille Jouffrey, Lord Ruthven ou les Vampire (1820), which may have also been co-authored with Cyprien Bérad, and Smarra au Les Demons de la nuit (1821) (Hogle, 2004, pp. 48–9). It is during this short period that ‘the vampire transitioned radically, keeping only some of the features that Calmet listed, from a folkloric and Catholic bogey to a repository of many Western fears and feel- ings, at least about the aristocracy and a possible unconscious’ (p. 49) and, according to Frayling, set a literary framework which was fol- lowed almost unchanged until the middle of the nineteenth century (Frayling, 1992, p. 37, p. 62). This plundering of Polidori’s plot by other authors is evidence of what Judith Halberstam has argued is the Gothic’s tendency towards cannibalism; it is ‘an essentially consump- tive genre which feeds parasitically upon other texts’ (Halberstam,

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1995, p. 36) and it is this incestuous relationship between vampire texts which leads the British vampire from Polidori, through James Malcolm Rymer’s Varney the Vampire (1845–7) and Sheridan Le Fanu’s ‘Carmilla’ (1872), to Stoker’s Dracula and on into the twentieth century. What makes Stoker’s novel different, according to Frayling, is his combination of the popular nineteenth century archetypes of vampire: Dracula is the Byronic vampire, or Satanic Lord of Polidori and Nodier; there are elements of the Folkloric vampire such as A. K. Tolstoy’s The Family of the Vourdalak (1884) which was modelled on the Paole account, and the Fatal Woman of Le Fanu is present in both Lucy Westenra and potentially in Mina Harker (Frayling, 1992, p. 49; Joshi, 2011, p. 326). Stoker’s novel sets the tone for the vampire of the twentieth century in much the same way as Polidori did for the nineteenth. But as the twentieth century wore on, the gradual humanizing of the vampire reversed the horror of Stoker’s Count and began to look back to the attraction of Byron’s vampire: ‘Darvell is a compelling contemporary and glamorous traveling companion, not – as Count Dracula will be to Jonathan Harker – a repulsive old man who terminates a lonely journey’ (Auerbach, 1995, p. 13). The horrors of stage productions and film adaptations of Dracula in the first half of the twentieth century, Richard Matheson’s vampire zombies in I Am Legend (1954), the gloriously camp, but still threat- ening, Hammer Horror vampires of the 1960s and 1970s through to Stephen King’s Salem’s Lot (1975) – to name but few – gave way to the humanized vampire which began with Anne Rice’s Louis de Pointe du Lac in Interview with the Vampire (1976). In his reading of Rice’s vampires, Fred Botting recognizes that the ‘focus on vampire subjectivity opens what was once a repulsive object of horrified speculation into a creature of extreme sensitivity and pathos. . . . The story thus blurs the line between a world of human subjects and terrifying, unnatural creatures’ (Botting, 2007, p. 18). The separation between human and vampire is maintained in the novel through the mechanical interface of the tape recorder, but blurred by the presence of the young journalist who interacts with Louis. The young journalist, despite Louis’ account of his returning humanity and increasing horror at his own actions and diet, is attracted to the lifestyle of the vampire: the reporter dismisses the vampire’s account of suffering and repulsion and demands that Louis ‘Make me a vampire now!’ (Rice, 2008, p. 305). As the vampire-figure now looks longingly

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8 The Modern Vampire and Human Identity at its former human state, so the human appreciates and craves the heightened sensations experienced by the vampire – experiences the normal human being will never attain. As the reporter points out to the horrified Louis, ‘You talk about passion, you talk about longing! You talk about things that millions of us won’t ever taste or come to understand’ (p. 305). Louis is not the un-human Other but the repre- sentative of the ultimate in human experience and sensation. As Jules Zanger recognized, ‘with each demythologizing transformation, the new vampire moves more firmly in the direction of that single per- ceptual domain we call the “human,” into greater contiguity with us as readers’ (Zanger, 1997, p. 20). The distance between ‘us’ as humans and ‘them’ as vampires is closing as we move towards one another. This is not to say that the relationship between the vampire and the human has previously been separated. As noted above, both sit along the continuum of life and death and the vampire in literature emphasizes the close relationship between the two. The village woman mistaking Harker for Dracula and Dracula’s wearing of Harker’s clothes is read by Ken Gelder as the collapse of the differences between Self and Other (Gelder, 1994, p. 43), and Nina Auerbach reads Dracula’s ‘lizardlike’ exit from the castle by crawling down the walls as comparable to Harker’s entry into the Count’s lair by the same method (Auerbach, 1995, p. 70). The Gothic forces us to ask ‘how human are we?’ And fear was generated by the response ‘more Other than you think’ until Rice placed the reader inside the reluctant vampire’s consciousness and Stephenie Meyer gave us her pure, sparkling vampires who showed us self-restraint, family val- ues and an aspirational lifestyle. Nonetheless, the vampire remains the canvas upon which gender subjectivity, the recuperation and rehabilitation of religious persecution, shifting attitudes towards social position and ethnicity are projected; they are the bodies which project the diversity of human identity and culture back to us. Joan Gordon and Veronica Hollinger appreciate the reflective qualities of the vampire-figure: ‘contrary to the old legends that tell us that vampires have no reflection, we do indeed see many diverse reflections – of ourselves – as the vampire stands before us cloaked in metaphor’ (Gordon and Hollinger, 1997, p. 3). Monsters of literature and film created what Judith Halberstam described as ‘the perfect figure for negative identity’ (Halberstam, 1995, p. 22) but they produce a normalizing reflection for the

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Deborah Mutch 9 human reader/viewer as it projects back to us our inverse: ‘Monsters have to be everything the human is not and, in producing the negative of human, these novels make way for the invention of human as White, male, middle class, and heterosexual’ (p. 22). This single locus of humanity meant that, in the past, vampires provided a challenge to human superiority, that challenge would be successfully defeated and, through defeat, human superiority would be reinforced yet simultaneously depleted by requiring defence. ‘Good’ always tri- umphed because it was expected that ‘good’ would always be recognized. But in this post-class, post-feminist, post-modern, globalized, trans- and post-national world, the black-and-white binary of ‘good’ human and ‘bad’ vampire is diffused, obscured and problematized. Nina Auerbach noted that the figures of the vampire cannot be ‘reduced to their political component; they are too mutable to be allegories’ (Auerbach, 1995, p. 3) and as the lines of racial, cultural, sexual, psychological and ideological division are being blurred and transgressed in reality, so the vampire rises to act as the (dead) body on which all these uncertainties, and others, are inscribed. The essays which make up this collection focus on the relationship between the modern vampire and the human condition. Anne Rice’s seminal Interview with the Vampire (1976) is the earliest text and the essays range across the vampire figure in the Young Adult fiction of Rachel Caine’s Morganville series, P. C. and Kristen Cast’s House of Night series and Mia James’ By Midnight as well as the phenomenon that is the Twilight series; the adaptation of literature to film and television in the Twilight saga, Interview with the Vampire and the True Blood adaptation of Charlaine Harris’s Sookie Stackhouse novels; made-for-television series Buffy the Vampire Slayer, Angel and The Vampire Diaries; British vampire novels by Kim Newman and Matt Haig and television series Being Human; the large budget Hollywood trilogies Underworld and Blade, and the lesser-known film The Breed. While the essays primarily focus on the post-millennium vampire, the readings are formulated around the important areas of human subjectivity that has traditionally been the basis of vampire and Gothic criticism: gender, sexuality, race, ethnicity, history, power and religion. The essays which frame this collection – Chapter 1, Keith Scott’s ‘Blood, Bodies, Books: Kim Newman and the Vampire as Cultural Text’ and Chapter 10, my own ‘Matt Haig’s The Radleys: Vampires

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10 The Modern Vampire and Human Identity for the Neoliberal Age’ – place the vampire novel in relation to social, cultural and political concerns. The figure of the vampire has long been read as a metaphor for threats to both individual and national unified identity through tropes of invasion, infiltration and infection. Both chapters consider the uses of social and ideological narratives which give structure, weight and meaning to the human condition and which are projected through the vampire figure at different periods. Scott’s essay presents the human as homo narrens, using narration to make sense of themselves and their context. Kim Newman’s reconfiguration of Stoker’s ur-text across the Anno Dracula trilogy (1992–8) traces the decline of Dracula through an alternative history where he is not destroyed but becomes the pivot around which the first half of the twentieth century moves. This alternative history works through and disempowers the most powerful vampire in English literature at a time when global powers were being re-defined after the dismantling of Soviet Russia and the Eastern European bloc. Newman crosses boundaries as he breaks down the barriers of genre, creating a mélange within his novels by overlap- ping literary genre and characters, blurring boundaries between human and vampire, between books, films and writing. However, Newman’s Dracula is still the traditional threat which needs to be defeated and as Newman’s context moves into a more stable and hopeful period of British and global politics so the threat posed by his main vampire is neutralized by being associated with the decline of British imperialism. Twelve years after Newman vanquished his vampire at the begin- ning of the political era of New Labour following eighteen years of Conservative rule, Matt Haig’s vampires in The Radleys are the threatened rather than the threat. General Practitioner Peter Radley and his family are vampires and the bodies on which concerns over privatization, individualism and neoliberal ideology are projected. Haig’s apparently happy ending is haunted by the spectre of sur- veillance and political, legal and legislative power surrounding the vampires, waiting for them to deviate from imposed restrictions and ‘normality’ for the excuse to exterminate them. The embodiment of neoliberal ideology – the Radley’s human neighbours, Mark Felt and his son Toby – abandon their rampant materialism and bullying through their association with the vampires, but only temporarily and only as individuals. The Radleys up-dates earlier Gothic concerns

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Deborah Mutch 11 about the resurgence of aristocratic power overwhelming middle- class hegemony: as Erik Butler notes, nineteenth-century vampire literature ‘include[s] an astonishing number of apparently blue- blooded parties: Lord Ruthven, Sir Francis Varney, Countess Karnstein, Count Dracula etc.’ (Butler, 2010, p. 3). Now the Gothic deals with the opposing ideologies of neoliberalism and mixed-economy social- ism within the middle classes. Chapters 2 to 9 take a more personal, less political approach to the vampire. Chapter 2, Bethan Jones’ ‘Buffy vs. Bella: Gender, Relationships and the Modern Vampire’ and Chapter 3, Hannah Priest’s ‘‘Hell! Was I Becoming a Vampyre Slut?’: Sex, Sexuality and Morality in Young Adult Vampire Fiction’ both deal with the issue of female sexuality in modern vampire fiction. The sexualized female has traditionally been at the heart of the vampire narrative: from the folklore which told tales of the dead returning to their loved ones, such as Calmet’s recounting of the Roman vampire, Philinium, who visited her lover after her death (Frayling, 1992, pp. 94–5) to the lascivious- ness of Le Fanu’s eponymous vampire in Carmilla and the vampire Lucy Westenra’s attempted seduction of her fiancée in Dracula. The close relationship between Gothic fiction and images of female dis/ empowerment was famously first outlined by Ellen Moers chapter in Literary Women on ‘The Female Gothic’. As part of the ‘second phase’ of feminism, Moers sought to recuperate the female author and her work, raising the status of the female author to an equivalence with her male counterpart and to establish the female-authored Gothic novel as literature as subtly constructed as the male-authored text. The recent reassessment of feminism in light of advances in gender equality since the 1960s has rejected ‘victim feminism’ and the traditionally threatened Gothic heroine is less appropriate for today’s Western female subjectivity. The modern Gothic presents stronger heroines – in the cases of Buffy, Anita Blake and others the female is the hunter and destroyer of the ‘bad’ vampire – but heroines who are still beset with social pressures in the formation of their identity. Focusing on two of the most important human characters in recent vampire history – Buffy Somers and Bella Swan – Jones problematizes the readings of these characters. Where Joss Wheedon, creator of Buffy the Vampire Slayer, has claimed that the show’s raison d’être was to reverse the horror film tradition of ‘the little blonde girl who goes into a dark alley and gets killed’ (Billson, 2005, pp. 24–5) Jones

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12 The Modern Vampire and Human Identity argues the characters of Buffy and Bella encompass both modernity and tradition. Read through the theories of third wave and postfeminism, the apparent opposition of ‘strong’ Buffy and ‘weak’ Bella is problematized particularly in the area of sex and power. Despite the momentum of feminism, one of the most important issues for the female is still that of sexuality and Hannah Priest’s essay, ‘‘Hell! Was I Becoming a Vampyre Slut?’: Sex, Sexuality and Morality in Young Adult Vampire Fiction’, discusses the socialization of the young female into a ‘normal’ sexual adult through the popularity of the Gothic in Young Adult (YA) fiction. Priest’s essay takes the YA fiction of Rachel Caine, P. C. and Kristin Cast, Mia James and Stephenie Meyer and considers the conservative tendencies of YA fiction in relation to young female sexuality. As Priest argues, the female must guard against becoming a ‘vampyre slut’ and learn the dangers of dressing like ‘fangbait’ in order to become the ‘good’ woman, worthy of her mate. In the vampire myth across history and cultures there has been an historical association between the vampire and excessive or non- normal sexuality. Paul Barber points to the Slavic myth of the vampire who ‘is apt to wear out his widow with his attentions, so that she too pines away, much like his other victims’ (Barber, 1988, p. 9) and to the use of such myth as social control. The issue of young female sexuality is perceived as a similar cause for concern today, despite decades of feminism. As both Jones and Priest argue, the female is still judged by her sexual choices but where it is the human disgust at ‘deviation’ which ends Buffy’s sado-masochistic relationship with the vampire Spike, in later novels it is the vampire who defines and imposes a conservative ‘normality’. Both Edward in Meyer’s novels and the ‘good’ vampires of Rachel Caine’s Morganville novels hold conservative attitudes towards sex, refusing to engage in sexual activ- ity before the state-set age of consent in Caine’s novels and before marriage in Meyer’s. Within this sexually conservative atmosphere, Priest notices a form of empowerment and agency grasped by some young Goth women. By adopting the Gothic Lolita style of dress these young women refuse the socially-defined ‘appropriate’ female apparel and create a sense of safety through the form of visual and sartorial difference. The importance of the material and visible is expanded in Sarah Heaton’s essay, ‘Consuming Clothes and Dressing Desire in the

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Twilight Series’, as she considers the meaning of clothing and dress in the Twilight series. In Phantasmagoria, Marina Warner plots the movement of prority in Western society from the internal soul to the external, visible and outward. She observes the shift in Western society’s site of the ‘individual’ as traditional ideas of body and spirit were challenged through the popular interest in public dissections and anatomical displays. By the end of the eighteenth century, the intangible spirit or soul was no longer the site of individuality as ‘the details of someone’s outer physical presence became more and more invoked in the attempt to capture individual specialness: the you that makes you you’ (Warner, 2006, pp. 34–5). For Heaton, as well as Priest, the issue of clothing is of primary importance in the creation of the individual. Bella Swan’s resistance to normalized codes of female dress are read as a symptom of anxiety over ‘femininity’ and her body and her anxiety is juxtaposed with the confident use of clothing by the older, experienced vampires. Clothing is read as the signifier of the better-than-human-ness of the Cullen family as they situate themselves outside of both the vampire-as-threat and the human. The Cullens are the utopian, humanized vampires who successfully challenge archaic government in the form of the Volturi, the medieval attitudes of whom is signified by their clothing. The vampire is read here as aspirational; in a culture fixated on appearance, the Cullen vampire family are the epitome of visible perfection. Heaton’s reading of the skin as the boundary between visible and invisible, inside and outside leads into Ewan Kirkland’s essay on race, the visible, outward differences and the challenges to ‘traditional’ binaries of black and white, human and vampire in ‘Whiteness, Vampires and Humanity in Contemporary Film and Television’. The Gothic genre generally has been associated with issues of race, offer- ing ‘a language that could be appropriated, consciously or not, by racists in a powerful and obsessively reiterated evocation of terror, disgust, and alienation’ (Malchow, 1996, p. 3). The vampire specifically has been associated with tropes of invasion, and especially in Stoker and the late-Victorian Gothic, what Stephen D. Arata terms ‘reverse colonisation’ (Arata, 1990, p. 623). In Kirkland’s essay, the historical relationship between Whiteness and superior humanity is dismantled through his readings of the modern vampire. The older Gothic uti- lized the black-and-white binary to emphasize the association of

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14 The Modern Vampire and Human Identity

White with goodness, taking a colonial attitude to the physical and cultural Black and using this opposition to debate ‘the existence of otherness and alterity, often in order to demonize such otherness’ (Smith and Hughes, 2003, p. 3). Kirkland recognizes the previous Gothic tendency to normalize and prioritize White over Black, but reads the modern vampire as an arena within which both positive and negative aspects of Whiteness are played out. The difference between races is not limited to skin colour and obvi- ous visual difference. Dracula has been associated with the ‘racialized image of the Jew’ and critics such as Jules Zanger and H. L Malchow have argued that there is an ‘argument for seeing Stoker’s Count Dracula as the eternal Jew’ (Malchow, 1996, p. 153). Dracula has been read as embodying fears of invasion and miscegenation during the period of Russian-Jewish immigration into Britain and declining British imperial power. Fear of the foreign Other creates uncertainty in both the collective life and the sense of ourselves as individual. Ken Gelder argues that the uncanny is partly rooted in the ‘things that fracture the community rather than hold it together’ (Gelder, 1994, p. 47) while Julia Kristeva takes the psychological idea of individual fracturing and abjecting the repulsive and applies it to the social body with reference to the immigrant. For the individual the abject is the human waste which must be excreted, the paralysed limb which is a part but not a part of the body, the corpse which serves to remind the living of their fate; for society the ‘foreigner’ acts as the abjected part of ‘us’ which serves to unify the social body: ‘“I am at least as remark- able, and therefore I love him,” the observer thinks; “now I prefer my own peculiarity, and therefore I kill him,” he might conclude’ (Kristeva, 1991, p. 3). The foreign Other is both recognizably similar and dangerously different, a polarity Simon Bacon considers in his reading of Michael Obliwitz’s 2001 film, The Breed. Bacon’s essay, ‘The Vampiric Diaspora: The Complications of Victimhood and Post-memory as Configured in the Jewish Migrant Vampire’, discusses the triangulation between White, Jewish and vampire in Obliwitz’s film, the association of the vampire with the Semitic and the atmosphere of dystopian Nazi politics. The traditional role of the vampire as threat is problematized as the film positions the human and the vampire as both threat and threatened, to themselves and each other. This essay reads the film’s presentation of violence, enacted upon either the individual or the collective, as

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Deborah Mutch 15 creating a personal and cultural stasis as the memory of violence impedes progress or advancement. The uncanniness of the Gothic novel has been argued by Chris Baldick and Robert Mighall as being generated by temporal anomalies. They argue, in ‘Gothic Criticism’, that the late-eighteenth-century Gothic looked to southern European Catholic countries because ‘Gothic (that is, ‘medieval’) practices were believed to prevail there’ and late-nineteenth-century Gothic feared the ‘Whiggish melodrama of modernity in conflict with the dark age of repressive Victorianism’ as the ancient Dracula threatened modern Britain (Baldick and Mighall, 2001, p. 219, p. 224). Like the myth of the ever-moving shark, modernity must keep moving to survive and the vampire – held in stasis at the moment of transformation – threatens destruction by halting progress. The Breed is read as giving hope by breaking the cycle of violence and retribution. The association of the vampire with Jewishness has long been underpinned by the powerful myth of the ‘blood libel’ and, as Jules Zanger has noted, the Jewish population in a Gentile society has often been analogized as the blood-sucking parasite battening onto the innocent Christian. This analogy is amplified in Stoker’s Dracula through the centrality of the Crucifix in the fight against the vampire, which ‘very quickly establishes the conflict between ordinary humans and the Un-Dead as one between Christians and Un-Christians’ (Zanger, 1991, pp. 37, 38). In Dracula, the Count’s threat is his ability to seamlessly integrate into England and human society: Harker compliments Dracula on his fluent English, declar- ing ‘you know and speak English thoroughly’ (Stoker, 1998, p. 20). Through his adaptation to human society, nation and culture, the vampire ‘passed’ as human just as the Jewish Other ‘passed’ as Gentile. Despite the temporal distance between Stoker’s late-nineteenth century text and the West’s twenty-first century perception of itself as generally tolerant of other cultures, Clare Reed argues that both Buffy the Vampire Slayer and the Twilight series are still failing to shake off this association of Jewishness with the vampire. In her essay, ‘Vampires and Gentiles: Jews, Mormons and Embracing the Other’, Reed recognizes the position of default Christianity against which Jewishness stands in relief as the religious Other. She challenges the simple binary of ensouled/good, soulless/bad in Buffy, reading a sense of agency and learned morality in the vampires Spike and Angel and contrasting these vampires with the immoral, violent

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16 The Modern Vampire and Human Identity actions of the human Warren Mears. The relationship between the Mormon faith and Twilight’s Cullen vampires rests on their hope for a soul and their choosing to be ‘good’ when they might be ‘bad’ vampires. Nevertheless, despite practicing the purity expected by the Mormon faith, the association of the Cullen vampires with the trap- pings of wealth means that the interconnectedness of vampire and Jewishness, through images of wealth and hoarding, is perpetuated within Western culture through English-American literature. Yael Maurer also reads Stephenie Meyer’s vampires as ‘Mormon’ in her essay, ‘Transcending the Massacre: Vampiric Mormons in the Twilight series’. Here the association of vampires with Mormonism is raised for a specific purpose; the recuperation of the Mormon repu- tation after the 1857 Mountain Meadows Massacre when Mormon militia slaughtered hundreds of innocent people and tried to blame the Native American Paiute tribe. Meyer’s novels are read by Maurer as a desire to heal this violent chapter of the Mormon past as the humanized, peaceful ‘Mormon’ vampires work to avert violence and murder in each of the confrontation scenes set in meadows. The desire for Mormon rehabilitation culminates in the final book of the saga, Breaking Dawn (2008), as the vampires are joined by the Native American werewolves to defeat the overbearing and archaic government of the Volturi. Thus the rift is healed as the former persecutors and persecuted work together to bring peace and freedom in the meadows of Forks. The threat of the past, posed by the vampire in late-nineteenth century Britain, is neutralized by the vampire in the early twenty-first century. That Mountain Meadows is a location haunted by the ghosts of the past suggests the importance of geographical location in the Gothic tradition; from the Catholic countries where Ann Radcliffe and Matthew Lewis set their Gothic novels, through the Eastern locations of Sheridan Le Fanu and William Beckford’s Vathek (1786), to the primal threat at the heart of the civilized city in Stoker, Robert Louis Stevenson’s Strange Case of Dr Jekyll and Mr Hyde (1886) and many, many more. In her essay ‘The Gothic Louisiana of Charlaine Harris and Anne Rice’, Victoria Amador takes the state boundaries of Louisiana as the frame of a geographical area which provides space to encompass and integrate the many differences between human and vampire. Within this boundary the Gothic area dissolves the known and the secure to produce the uncanniness that Nicholas

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Royle describes as ‘a strangeness of framing and borders’ (Royle, 2003, p. 2). The genre of the Southern Gothic provides a space for binary oppositions to be reconfigured: master/slave, man/woman, rich/poor, human/vampire are broken down in the heated atmosphere of the bayou and swamp. But here the Gothic qualities of the American Deep South are read as forming an arena where traditional differences and oppositions are celebrated. Oppositions of race, class, gender and religion work to create an area which is both within and without the national identity of the USA: an area which cultivates an atmosphere of the uncanny and a sense of ‘apartness’ which has its roots in its position on the Confederate side of the American Civil War. In this essay the pervasive liminality of the Louisiana population is read, not as a cause for the consolidation of individual group identities, but as a melting pot for all creeds and species. Our relationship with the vampire is closer than it ever has been. The vampire is not the external predator, the threat from outside which will change us from within, make us ourselves and yet not ourselves. Now the vampire lives among us, lives like us, looks to the human, not as a food source but as a source of inspiration and aspi- ration and the human aspires to the beauty and purity of the ‘good’ vampire. We have tamed our monster and now, as the gulf of separation has been bridged, we imagine our society as integrated by using the Gothic to work through our fears surrounding liberalized attitudes to gender relations, sexuality, class, race and multiculturalism.

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Index

Page numbers marked in bold indicate chapters where the topic is the main subject

7/7 178 Anita Blake, Vampire Hunter 9/11 178 (see Hamilton, Laurell K.) 2000AD 23 Anno Dracula (see Newman, Kim) 2010 General Election Results Anno Dracula – The Background (Britain) 184 (see Newman, Kim) antebellum 170 Abbott, Stacey 97 anti-feminist 39, 40 abject 14, 84, 90, 100, 114, 185–7 anti-Semitism 93, 97, 99, 128–9, Abraham Lincoln, Vampire Hunter 140, 145 (see Grahame-Green, Seth) Antoni, Rita 54 Abramovich, Roman 33 Arata, Stephen D. 13 African 164, 172, 175 Argento, Dario 31 African-American 115–16, 117, aristocracy 6, 11, 31, 32, 94, 105, 172, 174 110, 165, 167, 179–80, 185 Ahmed, Sara 117, 126 Asian 93, 98, 100, 117, 124 AIDS 22 Atlantic Bridge 193 Alderman, Naomi and Annette Aubrey, Jennifer Stevens, Elizabeth Seidel-Arpaci 99, 103, 129–31, Behm-Morawitz and Melissa A. 140 Click 48 Alexander, Jeffrey C. 117, 121–2 Auerbach, Nina 7, 8, 9, 21, 38, 53, Alfredson, Tomas 111 60, 79 Allitt, Beverley 178 alternative history 10, 34 Bagley, Will 152, 157 Althusser, Louis 19 Baldick, Chris 6, 15, 24 America/n (see USA) Ball, Alan 167 American Civil War 17, 172, 173 Balzac, Honoré de 28 American Gothic 164 Barber, Paul 3, 4, 5, 6, 12 American War of Independence Barker, Clive 18, 26 158 Barlow, Philip L. 150, 151 Amery, Jean 120 Barthes, Roland 19, 77, 87 Ames, Melissa 54 Battle of Dorking, The (see Chesney, Amort, Joanne 170 George Tomkyns) Amy-Chinn, Dee 40 Baudrillard, Jean 83 Anberlin 96 Baumgardner, Jennifer and Amy Angel 9, 48, 49, 52, 97, 98, 99–103, Richards 38 107, 109, 114, 129, 136, 138, Bay of Pigs 29 143 beauty myth (see Klein, Naomi)

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Index 211

Beckford, William 16 Britain 108, 113, 129, 132, 140, Beer, Edith Hahn 137 142, 159, 164, 181, 182, 193 Being Human 9, 107–10 Brite, Poppy Z. 21, 165 Beirman, Robert 94 British Medical Association 183, Bergson, Henri 123 184 Betrayed (see Cast, P. C. and Kristin) Brodie, Fawn 157 BFI Companion to Horror Brontë, Emily 58 (see Newman, Kim) Brown, Gordon 181 Bhabha, Homi K. 172 Browning, Tod 2, 21, 31, 35, 78–9, Bial, Henry 137 94, 95 Bible 76, 77 Buffy the Vampire Slayer 9, 11–12, Bigelow, Kathryn 21 15–16, 37–54, 37, 39–40, 41, 43, Billson, Anne 11, 22 44–54, 74, 95, 97, 98, 101, 103, Black 14, 93–110, 93, 94, 97, 129–32, 136, 137–8, 139, 140, 98–100, 105, 116, 129, 167, 141, 142, 143, 145 171–3, 174–5 Burroughs, William S. 26 Blade Bush, George Snr. 29 trilogy 9, 97–8, 110 Butler, Erik 11, 193 Blade (see Norrington, Stephen) Butler, Judith 139 Blade II (see Toro, Guillermo del) By Midnight (see James, Mia) Blade Trinity (see Goyer, David S.) Byron, George Gordon, Lord 6, Blade Runner (see Scott, Ridley) 7, 79 Blair, Tony 181 A Fragment of a Novel/‘Augustus blood libel 113 Darvell’ 6, 7, 78 Blood Ties 127n2 Bloodrayne: The Third Reich (see Boll, Caine, Rachel 9, 12, 55, 58, 62, 66, Uwe) 71–2, 74 Bloody Red Baron, (The) Carpe Corpus 68 (see Newman, Kim) Dead Girl’s Dance, The 67, 71, 73 Boll, Uwe 114 Fade Out 62–3, 72 Bonnett, Alastair 107–8 Feast of Fools 65, 67 Booker, Keith 116 Glass Houses 66 Book of Mormon 134–5, 152, 157 Kiss of Death 58, 67 Borland, Sophie 184 Lord of Misrule 64–5 Botting, Fred 7, 59, 66, 69, 70–1, Cajun 163, 167, 168, 175 165 Callendar, Michelle 47 bourgeois 32, 59, 109, 142, 180 Calmet, Dom Augustin 4, 6, 20, 21 Bradshaw’s Guide 32 Campbell, Denis 183 Brah, Avtar 114 and Toby Helm 183 Bram Stoker’s Dracula (see Dracula) cannibalism 6, 60, 75n2, 119 Breaking Dawn capitalism 22, 32, 82, 104, 142, (novel see Meyer, Stephenie) 144, 177–93, 179, 180, 188 (film see Condon, Bill) Carers UK 184 Brecht, Bertolt 110 Carmilla (see Le Fanu, Joseph Breed, The (see Obliwitz, Michael) Thomas Sheridan) Brewer, Anthony 144 Carpe Corpus (see Caine, Rachel)

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212 Index

Carroll, Noel 56 CSI: Crime Scene Investigation 1 Carter, Michael 78, 84 Cuba 29 Cartmell, Deborah 166 Czechoslovakia 30 Caruth, Cathy 119–20 Cast, P. C. and Kristin 9, 12, 55, Daily Mail 184 61, 62, 68–9 David, Guy 183, 185 Betrayed 61, 68–9, 70 Daybreakers (see Spierig Brothers) Marked 68, 70 Dead Girl’s Dance, The (see Caine, Untamed 61 Rachel) Castle of Otranto, (The) (see Walpole, Dead as a Doornail (see Harris, Horace) Charlaine) Catholic Church/Catholicism 5, 6, Dead to the World (see Harris, 15, 16, 100, 139, 142, 167, 175 Charlaine) Chabon, Michael 20 Dead Until Dark (see Harris, Chavs (see Jones, Owen) Charlaine) Chesney, George Tomkyns 27 Deane, Hamilton 2 Chile 192 Delaney, Sam 167 Chin, Vivien 39 Deleuze, Gilles, and Felix Chomsky, Noam 192 Guttari 126 Christian/ity 15, 61, 76, 99, 100, Democrat Party USA 183 113, 127n3, 127n4, 131–2, Denton, Sally 148 137–42, 159, 172, 173 de-racialization 93 Clark, Andrew 183 Deseret 153 class 11, 17, 24, 32, 87, 94, 100, diaspora 14, 111, 112, 114, 115, 103, 104, 108, 109, 110, 166, 118, 119, 120, 124, 125 167, 175, 177–93, 177, 178–80, Diehl, Laura 53 179–81 Dierksheide, Christa and Peter S. clothing 13, 46, 71, 72–4, 76–92 Onuf 173 coalition government UK 181, 183 Dixon, Susanne 37–8 Coke 33 domesticated 74, 161 Cold War 32 Dormon, James 167 Coleridge, Samuel Taylor 6 Doward, Jamie 193 Communism 22, 32 Dracula Conan Doyle, Arthur 19 Character 1–2, 8, 10, 11, 14–15, Condon, Bill 79, 82, 89–90, 95, 21, 27, 28–35, 43, 78–9, 93–4, 105 116, 128–9, 131, 136, 137, 141, Confederate 17, 171, 173 142, 143, 144, 178, 180, 185 Conservative Party UK 10, 33 Novel 1–3, 8, 20, 21, 22, 24, Copper, Basil 4–5 26–7, 34, 37, 54, 94, 114, 124, Coppola, Francis Ford 124 127n1, 128–9, 131, 136, 143, Count (Sesame Street) 2 161, 169, 180 Count Duckula 2 1931 film (see Browning, Tod) Cox, J. Renée 132–3 Bram Stoker’s Dracula (see Coppola, Cranny-Francis, Anne 37 Francis Ford) Creole 165, 167–8, 171, 175 Dracula Cha Cha Cha/Judgement of Crow, C. L. 164, 171 Tears (see Newman, Kim)

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Dreamers (see Newman, Kim) postfeminism 38–9, 40–2, 44, 50 durée 123 second wave 38, 39 Dyer, Richard 93, 96, 101, 102, third wave 38–9, 44, 46 105, 106, 107, 171 feudalism 32 film noir 26, 28, 98, 102, 115, 116 Early, Frances, and Kathleen First World War 30 Kennedy 39 Fisher, Walter R. 35n1 Eclipse Fixico, Donald L. 153 (novel see Meyer, Stephenie) Forever Knight 127n2 (film see Slade, David) Foucault, Michel 59, 80, 81, 83, Elephant Man (see Merrick, Joseph) 86, 88, 90, 92, 191 Eliot, T. S. 25 France 20, 167, 168 Ellis, Kate Ferguson 56, 58, 169 Frank, Thomas 42 Ellis, Warren 26 Frayling, Christopher 2–3, 4, 5, 6, empire 30, 31, 113 11, 20 Engel, Jeffrey F. 29 French 3, 117, 138, 163, 164, 167, Ennis, Garth 26 170, 175 Entwistle, Joanne 76 Freud, Sigmund 22, 23, 119–20 epidemics (vampire) 3–5, 21 Friedlander, Saul 125 Erickson, Greg 132 Fulci, Lucio 31 ethnicity 9, 117 Europe/an 3–5, 10, 21, 30, 33, 87, Gaiman, Neil 21, 26 94, 97, 98, 100, 103, 106, 107, Gamble, Sarah 38, 39 112, 113, 117, 120, 130, 163–4, Garner, Steve 100 167, 168, 172 Gelder, Ken 8, 14, 21, 37, 93, 94, European Gothic 165, 168, 169, 142, 163, 180 171 gender 9, 17, 24, 37–54, 37–8, Eyerman, Ron 117 55–75, 57, 94, 163 Gentile 15, 128–45, 128, 129, 131, Fade Out (see Caine, Rachel) 136, 140–1, 148–9, 152, 156, family 8, 10, 13, 27, 40, 42, 44–6, 160 58–60, 65, 78, 89, 103, 104–5, Genz, Stéphanie, and Benjamin A. 118–19, 131, 134–5, 138–9, Brabon 38, 39, 41 143, 144, 147, 150–1, 153, 154, Ghastly Beyond Belief (see Newman, 157, 158–60, 161, 167, 169–70, Kim) 173–4, 177, 179, 180, 185, 187, Gilbert and Sullivan 32 189, 190, 191, 193 Glass Houses (see Caine, Rachel) fandom 26, 103 Goethe, Johann Wolfgang von 6 fascism/ist 23, 98, 99, 105, 110 Gorbachev, Mikhail 29 Faulkner, William 165, 169 Gordon, John and Veronica Feast of Fools (see Caine, Rachel) Hollinger 8, 161 Female Gothic 11 Gothic Lolita 12, 72–3 feminine/ity 37–8, 47, 53, 54, 71, Goyer, David S. 98, 119 73, 74, 75, 82, 86, 87, 88, 91 Grahame-Green, Seth 36n4 feminism 11–12, 37–54, 37–40, 43, Granger, John 139, 147, 152 46, 47–8, 50, 54 Gross, Elizabeth 90, 186

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214 Index

Guardian, the 167 Hiroshima 32 guilt 51, 70, 107, 110, 133, 167 history 9, 12, 25, 28, 33, 34, 106, Gunn, J. Alexander 123 107, 108, 111–27, 111, 112, gynophobia 22 117, 118, 119, 120, 121, 122, 123, 124, 125, 146–62, 146, Haig, Matt 9, 10, 177–93, 178, 181 147, 148–9, 150, 151, 152, 153, The Radleys 1, 10, 177–93, 154, 155, 156, 161, 162, 163, 177–8, 184, 185, 186–91 164, 169, 170, 171, 173, 175 Halberstam, Judith 6–7, 8–9, 23, Hitler, Adolf 110 26, 91, 144, 179, 180, 185 Hobsbawm, Eric 179 Hall, Radclyffe 62 Hogle, Jerrold E. 6 Hamilton, Jean A. and Jana Hollinger, Veronica 178 Hawley 77 Holocaust 107, 112, 118, 120, 121 Hamilton, Laurell K. homophobia/ic 62 Anita Blake, Vampire Hunter 11 homosexual 60, 61, 174 Hammer Films 7 homo narrans 19, 25, 34 Hammond, John J. 157 Hound of the D’urbevilles (see Haraway, Donna 111 Newman, Kim) Hardwicke, Catherine 82, 95, 105 Hudson, Dale 94 Harris, Charlaine 9, 163–76, 163, Hughes, Clair 84 164, 165, 166, 169–70, 171, Hughes, William 2, 14, 21, 60, 62 173, 175–6, 178, 188 Huntley, Raymond 2 Dead as a Doornail 170 Dead to the World 170, 175 I Am Legend (see Matheson, Robert) Dead Until Dark 166, 167, immigration 14, 94, 100, 113–14, 169–70, 173–4, 175, 176 128, 140, 142, 167 Living Dead in Dallas 174 imperialism 10, 14, 29, 30, 31, 33, True Blood television series 9, 35, 108, 110 103, 104, 105, 106, 109, 166, In the Heat of the Night (see Jewison, 167, 170, 173 Norman) Harris, Robert 30 infantilization 63–8, 72 Hart, Lynda 109 infection 10, 32, 33, 70, 192 Harvey, David 183, 188, 191 Interview with the Vampire Health and Social Care Act 2012 (novel see Rice, Anne) 183 (film see Jordan, Neil) Heathcliff 57–8, 61 invasion 10, 13, 14, 27, 29, 33, Heaven 131, 135, 141 113, 120 Hebdige, Dick 80 invasion fiction 27 Heinecken, Dawn 50 Irish 22, 100, 108 Hell 134, 141 Irvine, Henry 128 Hellsing (television series) 23 Israel 121 Herbert, Christopher 127n1 I Vitelloni 31 heterosexual 9, 24, 47, 50–2, 58–63, 74 Jackson, Faye 22 Heywood, Leslie and Jennifer Jacob, Benjamin 101 Drake 38, 44 Jamaican 108

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James, C. 175 Labour Party UK 10, 32, 33 James, Kathryn 55, 59–60, 74 Lacan, Jacques 23 James, Mia 9, 12, 55 La Dolce Vita 31 By Midnight 56, 62, 64, 70 Laguerre, Michel 123–4 Jefferson, Thomas 163 Lamanites 152 Jew/ish/ness 14–16, 29, 94, 97, Lander, George 116 99–100, 103, 111–27, 112, Lansley, Andrew 183 113–17, 118, 119–20, 125, Laqueur, Walter 140–1 128–45, 128–32, 136–8, 140–1, Latham, Rob 189 142, 144, 145 Leatherdale, Clive 137 Jewison, Norman 116 Lee, John D. 148, 149, 153 Jobb, Dean W. 167 Le Fanu, Joseph Thomas Jones, Ernest 4 Sheridan 7, 11, 16 Jones, Owen 181 Carmilla 7, 11 Jordan, Neil 166, 168, 170, 175 Lehmann, Joanne 142 Joshi, S. T. 7 Leitch, T. M. 164 Jowett, Lorna 46, 48, 50, 53 Let Me In (see Reeves, Matt) Judgement of Tears/Dracula Cha Cha Let the Right One In Cha (see Newman, Kim) (film see Alfredson, Tomas) (novel see Lindqvist, John Ajvide) Kalra, Virinder, Raminder Kaur, John Levine, Elana 38, 39 Hutnyk 114, 115 Lewis, C. S. 28 Kane, Kathryn 57, 58, 135 Lewis, James E. 163 Kant, Immanuel 193 Lewis, Matthew 16, 169 Kapur, S. 20 Liberal Democrat Party UK 181, Kearney, Richard 25 188 Keats, John 6 Lloyd-Smith, A. 163, 164, 165, King, Rodney 97, 99 166, 169 King, Stephen 7, 23, 35 n1 Lindqvist, John Ajvide 111 Salem’s Lot 7, 169 Littell, Jonathan 36n6 Kirkland, Ewan 131 Living Dead in Dallas (see Harris, Kissinger, Henry 192 Charlaine) Kiss of Death (see Caine, Rachel) Lolita (see Nabokov, Vladimir) Klein, Naomi 42–3 Long, C. M. 175 beauty myth 42–3, 48 Lord of Misrule (see Caine, Rachel) Knack, Martha C. 153 Lott, Eric 102, 115 Knowles, Claire 47, 54 Louisiana 16–17, 163–76, 163–4, Koh-i-Noor 29, 30 166, 167, 171, 172, 174, 175, Krakauer, Jon 147–8, 152 176 Kristeva, Julia 14, 84, 90, 155, Lugosi, Bela 2, 21, 31, 35, 78–9, 185 94, 161 Nations Without Nationalism 115, 117 MacDonald, Heidi 72 Powers of Horror (The) 90, 114, Magoulick, Mary 47 187 Malchow, H. L. 14, 113–14, 116, Strangers to Ourselves 115, 154–5 128, 137, 140, 173

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216 Index

Manthia, Diawara 116 Twilight 44, 51, 53, 57, 63, 82–3, Marked (see Cast, P. C. and Kristin) 85–6, 138, 143, 144, 146, 149, Marlind, Mans 95 150, 151, 152, 153 (film see Marlowe, Philip 102 Hardwicke, Catherine) Marx, Karl 21, 144, 180, 188–9 Michaels, Anne 122, 125 masculine/ity 47, 54, 61, 106, 108 middle class 170, 180, 185 Matheson, Robert 7 Middleton, Jason 47 I Am Legend 7, 114, 169 Mighall, Robert 15, 24 May, John R. 163 miscegenation 93, 94 McClimans, Leah and J. Jeremy misogyny 22, 38, 39 Wisnewski 41–2 Mississippi 163, 168 McCullers, Carson 165 Mitchel, Juliet 118, 119 McCurry, Stephanie 171 Mitteleuropa 21 McDonalds 33 Moby Dick (see Melville, Herman) McIntyre, R. 165 modernism 26 McNally, Raymond T. and Radu Modleski, Tania 53 Florescu 35 Moers, Ellen 11, 74 McPherson, James 171 Monk, The (see Lewis, Matthew) Melville, Herman 22 Moonlight 127n2 memory 15, 25, 111–27, 111, 112, Moorcock, Michael 28 117–18, 119–27 Moore, Alan 26, 34 Merrick, Joseph 29 Moretti, Franco 142, 144, 180 Mexican 99, 102 Mormon/ism 15–16, 76–7, 128–45, Meyer, Stephenie 8, 12, 40, 77, 131, 134, 139, 141–2, 146–62, 131, 135, 143, 146, 147, 149, 146, 147–62 152, 154–5, 157, 160, 161, 175, 1857 Mountain Massacre 16, 187 146–62, 146, 147–8, 150–60 Twilight series/saga 8, 9, 11–13, (see also Book of Mormon; 15–16, 37–54, 37, 40–1, 48, 50, Deseret; Lee, John D.; Smith 51, 53, 54, 55, 57, 58, 60, 61, Jr, Joseph; Young, Brigham; 62, 64, 65, 69, 70, 73, 74, 75n3, witnessing) 76–92, 76, 78, 79, 80, 81, 83, Morrison, Robert 6 97, 103, 104, 105, 107, 129, Mountains Massacre (see Mormon) 131, 133, 138, 139, 142, 144, multicultural/ism 17, 94, 96–8, 145, 146–62, 146, 147, 151, 111, 131 156, 161, 178, 181, 184 Murnau, F. W. 2, 124 Breaking Dawn 42, 43, 44, 51–2, Mysteries of Udolpho (see Radcliffe, 66, 85, 89, 91, 139, 141, 143, Ann) 146, 147, 156, 158–9 (film see Condon, Bill) Nabokov, Vladimir 63–4, 65–6, 73, Eclipse 40, 41, 59, 65, 87–8, 143, 75n3 147, 155 (film see Slade, David) Nagasaki 32 New Moon 41, 42, 43, 44, 60, 69, narrative 5, 10, 18–20, 24, 26, 34, 70, 81, 133–4, 135, 138, 143, 104, 137, 152 146–7, 153–4, 182 (film see National Health Service Act 1945 Weitz, Chris) 182

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National Health Service UK O’Hagan, Sean 165 (NHS) 181–3, 184, 185 one drop theory 173, 174 Nations Without Nationalism (see Orientalism 124 Kristeva, Julia) Orlok, Count 21, 124 Native American 61, 94, 131, 151, Other 8, 14, 15, 17, 33, 73, 77, 152, 153, 153, 155, 156, 160–1 78, 80, 81, 84, 91, 93, 94, 98, Nazi/sm 14, 30, 32, 99, 110, 114, 99, 102, 103, 105, 111, 114–15, 116, 118–19, 129, 136–7, 140 116, 122, 123, 125, 128, 130, Near Dark (see Bigelow, Kathryn) 131, 132, 136, 140, 141, 149, Negra, Diane 40 154, 155, 161, 172, 178, 179 neoliberal 10–11, 36, 177–93, 181, Overstreet, Deborah Wilson 67 183, 184, 188, 191, 192 Nevins, Jess 36n5 Paiute Tribe 147–8, 151, 153, 161 New Moon Paole, Arnod 4, 6, 7 (novel see Meyer, Stephenie) paranormal romance 55–75, 55, (film see Weitz, Chris) 56, 61, 75 Newman, Kim 9–10, 18–36, 18, 24, Parnell, Charles Stewart 22 25, 26–35 Pascoe, Peggy 174 Anno Dracula 24, 28–30, 32 passing 15, 94, 100, 136–7 Anno Dracula: The Pateman, Matthew 130, 140 Background 27, 28 paternal/ism 47, 60, 69 BFI Companion to Horror 27 patriarchy/al 45–6, 48, 53, 58, 60, The Bloody Red Baron 24, 30–1 62, 69, 74, 75, 106 ‘Dreamers’ 26 Pender, Patricia 39 Ghastly Beyond Belief 26 Perednia, Douglas A. 183, 185 Hound of the D’urbevilles 26 Perfect Creature (see Standring, Judgement of Tears/Dracula Cha Glenn) Cha Cha 24, 31 Perry, Mervin, and Frederick M. Nightmare Movies 27 Schweitzer 113 Night Mayor 26, 28 Placebo 96 New Orleans 163, 164, 166, 168, Plogojowitz, Peter 4, 5–6 171, 176 Poe, Edgar Allen 164–5, 169 New Woman 27, 38 Polidori, John William 6, 7, 78, Nightmare Movies (see Newman, Kim) 79, 180 Night Mayor (see Newman, Kim) Vampyre (The) 6, 78, 179, 185 Niles, John D. 18, 19, 25, 35 n1 pop art 26 Nodier, Charles 6, 7 postcolonial 155–6 non-White 96, 97, 98–9, 100, 102, postfeminism (see feminism) 103, 104 postmodern/ism 22–3, 26, 35, 178 Norrington, Stephen 95, 96, 98 Powell, Anna 23 Nosferatu (see Murnau, F. W.) power 9 Powers of Horror (see Kristeva, Julia) Oak Alley Plantation 170 Prague Spring 30 Obliwitz, Michael 9, 14–15, Pratchett, Terry 28 112–14, 117, 120–1, 124, 126–7 Pride and Prejudice and Zombies (see O’Connor, Flannery 165 Grahame-Green, Seth)

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218 Index

Priest, Hannah 75n1 Rochester, Edward Fairfax 58 privilege Roman, Jacques Telesphore 170 class 181, 185 Romania 30, 158, 161 masculine 49 Romantic 66, 78, 84, 92 White 97, 100, 101, 103–6 Rorty, Richard 18 Protestant 100, 103, 156, 163 Rothberg, Michael 120–1, 122–3, Punch (see Tenniel, John) 126 Punter, David 3, 155 Rousseau, Jean-Jacques 5, 65 and Glennis Byron 3, 165, 169 Royal College of Nursing (RCN) Puritan 106 183 Royal College of Physicians 183 Rabin, Nicole 174 Royle, Nicholas 17 race 9, 13–14, 17, 24, 93–110, 93, Rymer, James Malcolm 180 94, 96, 97, 98, 101, 104, 106, Varney the Vampire 7, 169, 107, 108, 110, 112, 114, 117, 179–80, 185 120, 163, 164, 165, 168, 171, 174–5, 178 Salem’s Lot (see King, Stephen) Racial Integrity Act 174 Saussure, Ferdinand de 19 racist/ism 100, 171 Scary Godmother (see Thompson, Jill) Radcliffe, Ann 16, 47, 70, 71, 169 Scott, Ridley 115 Radleys, (The) (see Haig, Matt) second wave feminism (see rape 23, 39, 50–1, 54, 59, 132–3, feminism) 186–7 Second World War 29, 30, 112, Realpolitik 32 118, 120 Reed, Jennifer 46 sexuality 9, 11–12, 24, 38, 48–53, Reeves, Matt 111 55–63, 65–71, 74, 81, 88, 94, Reform Act, 1832 179 163, 174, 181 Regis, Pamela 56 Sherlock Holmes 19 religion 9, 17, 76, 130, 137, 138, (see also Conan Doyle, Arthur) 172 Shipman, Harold 178 (see also Jewish/ness; Catholic/ Shylock 128 Catholicism; Christian/ity; Siegal, Carol 51–2 Mormon/ism; Protestant) Siering, Carmen D. 51 Republican Party USA 183 Silver, Anna 151 reverse colonization 13, 93 Simmel, Georg 78 Reynolds, S. 36n3 Simmons, Dan 18 Rice, Anne 7, 21, 54, 134, 163–76, Sinfield, Alan 172 163, 164, 165, 166, 167, 168, Sipos, Thomas 22 169, 170, 171, 175–6, 178 Skal, David 2 Interview with the Vampire 7–8, 9, Slade, David 82, 95, 105 66, 163, 171–3 (film see Jordan, slave/ery 104, 116, 164, 165, 166, Neil) 170, 171, 172, 173–4 Richardson, Maurice 22 Sloan Brannon, Julie 45 Ricoeur, Paul 25 Smith, Andrew 14 Rimbaud, Arthur 23 Smith, Joseph Jr. 135, 139, 152, 157 Rintala, Marvin 182 Smith, L. J. 71

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socialist 182, 192 Tolstoy, A. K. 7 Sookie Stackhouse series (see Harris, Toro, Guillermo del 97 Charlaine) Toscano, Margaret M. 131, 134 soul 13, 15–16, 131–5, 138 trauma 53, 111–27, 111, 114–15, Sounds Under Radio 96 117–21, 122–3, 124, 125, 156 Southam, B. C. 25 travellers 100, 109 Southern Gothic 17, 163–76, 163, Treble, Patricia 163 164, 165, 166, 169, 170 True Blood television series (see Southey, Robert 6 Harris, Charlaine) Spanish 99, 102, 106, 168 Twain, Mark 165 Spelman, Elizabeth V. 42 Twilight (film, see Hardwicke, Spierig Brothers 112, 114 Catherine) Spooner, Catherine 64, 65, 73, 74, (novel, see Meyer, Stephenie) 87, 90 Twilight Saga: Breaking Dawn part 1 Stacey, Judith 38 (see Condon, Bill) Standring, Glen 112 Twitchell, James B. 38, 53 Stasukevich, Iain 166 Stern, Marlow 175 Ultraviolet 127n2 Stevenson, Robert Louis 16 Uncanny 23, 34 Stewart, Sheila 23 Underworld Trilogy 9 Still, Judith and Michael Underworld (see Wiseman, Len) Worton 28 Underworld: Awakening (see Marlind, St Louis, Renee, and Miriam Mans) Riggs 48 Underworld Evolution (see Wiseman, Stoker, Bram 1, 13, 22, 24–5, 28–9, Len) 37, 136, 142 unheimlich 23 (for novel and films see Dracula) Untamed (see Cast, P. C. and Kristin) Strangers to Ourselves (see Kristeva, Upstone, Sara 98, 99 Julia) USA 29–30, 31, 97, 98, 100, 102, Stratton, John 132 103, 108, 109, 113, 116, 129–30, Strigoi (see Jackson, Faye) 132, 155–6, 158, 159, 163, 169, Stross, Charles 21 171, 172, 174, 176, 178, 182, Stuart, Roxana 2, 6, 29 183, 192, 193 Sue, Eugene 116, 130 USSR/Soviet Russia 29–30 Summers, Montague 3, 20, 21 Utah 147–8, 153 Sutton Trust, The 181 Symonds, Gwyn 49 Valentino, Rudolph 78 syphilis 22 Vamp (see Wenk, Richard) Vampire Diaries (The) 9, 95, 103, Takser, Yvonne and Diane 104, 105, 106, 107, 109 Negra 40, 42 Vampire’s Kiss (see Beirman, Robert) Tenniel, John 22 Vampire Nation 22 Tea Party USA 193 Vampyre, (The) (see Polidori, John third wave feminism (see feminism) William) Thompson, Jill 21 Varney the Vampyre (see Rymer, James Tolkein, J. R. R. 28 Malcolm)

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Victorian 13, 15, 22, 24, 28, 30, 31, Willis, Paul 80 38, 53, 57–8, 61, 72, 87, 114 Willis, Thomas T. 151 Vietnam 30 Wilson, Katharina M. 3 voodoo/voudoun 172, 175 Wilson, Natalie 53 Winks, Robin W. 31 Walker, R. W., R. E. Turley & G. M. Wisdom, Norman 108 Leonard 148–9, 151, 152 Wiseman, Len 95, 119 Waller, Alison 55 Wisker, Gina 62, 156 Walpole, Horace 169 Wistrich, Robert 121 Wandering Jew 99–100, 116, 130 witness/ing 156–8 Warner, Marina 13 Wittgenstein, Ludwig 123 Warwick, Alexandra and Dani Wood, Robin 21 Cavallaro 77 World Health Organization Waterston, Alisse 125 (WHO) 182 Watts riots 99 working class 103, 108, 179, 180 Wayne, Gary 170 Wuthering Heights (see Brontë, Emily) Weitz, Chris 82, 95, 105 Wyman, L. M. and G. N. Welfare State/welfarism 108 Dionisopoulos 37 Wenk, Richard 94 Wheatley, Helen 175 xenophobia 23 Whedon, Joss 11, 39, 47, 48 Whelehan, Imelda 47 Young Adult fiction 12, 55–75, White/ness 13–14, 93–110, 114, 55–6, 58, 61–6, 69, 70–2, 74–5 116, 139, 152, 163, 167, 171, Young, Brigham 148, 152, 153 172–3, 174 White, Hayden 5, 19, 24, 25 Zanger, Jules 8, 14, 15, 113, 137, Wiesel, Elie 120 142, 177–8 Williams, Raymond 179 Žižek, Slavoj 23, 179, 181, 186, Williams, Tennessee 165 193 Williamson, Milly 21, 39, 94 Zola, Émile 28

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