romanticism

Vampires in literature

March 28, 2015 by AJ Leave a Comment

Picture of a female vampire — Female vampire

Vampires have a special place in literature, art, and popular culture. Historically, the myth of vampires resulted from our ancestors’ poor understanding of the processes that occur inside a decomposing body. At a certain stage of decomposition, the corpse inflates, creating the illusion that it fed on the living. Beliefs in creatures feeding on human blood are so ancient that it is difficult to determine their origins, and there is historical evidence showing that these beliefs existed in the Middle Ages and during the Renaissance.

In 18th-century Europe, cases of mass hysteria where people exhumed corpses to burn them forced the authorities to launch scientific investigations into the existence of vampires. Scientists concluded that the bloodsucking undead were only a product of popular superstition and tomb profanations were outlawed.

In Gothic literature, vampires made their first appearance in The Monk by Matthew Lewis before becoming an emblematic character of dark Romanticism. Byron introduced the theme of vampirism in his poem The Giaour (1813):

But first, on earth as vampire sent,

Thy corse shall from its tomb be rent:

Then ghastly haunt thy native place,

And suck the blood of all thy race;

There from thy daughter, sister, wife,

At midnight drain the stream of life;

Yet loathe the banquet which perforce

Must feed thy livid living corse:

Thy victims ere they yet expire

Shall know the demon for their sire,

As cursing thee, thou cursing them,

Thy flowers are withered on the stem.

John William Polidori, one of the closest friends of Byron, created the iconic image of the undead aristocrat in his novella The Vampyre (1819). Female vampires also haunted 19th-century literature (The Dead Woman in Love by Theophile Gautier; Carmilla, In a Glass Darkly, by Sheridan Le Fanu). After Bram Stoker’s Dracula (1897), the vampire became associated with the concept of otherness. Dracula comes from Eastern Europe, and he also comes from the past, which makes him not only alien, but also anachronic. He is a reminder of our medieval past, viewed as dark and violent, and he is also representative of a non-Western culture.

The vampire represents the other, the heretic, the deviant, the marginal, the immigrant, the homosexual – anyone who belongs to a minority and is perceived as a threat to the established way of life in a given society.

A text key to understanding the evolution of the vampire as a fictional character is I Am Legend (1954) by Richard Matheson. I would strongly recommend reading Matheson’s book as the film adaptation by Francis Lawrence (2007), despite its qualities, betrays the spirit of the novel. Matheson uses a postapocalyptic setting to portray an extreme case of xenophobia. A pandemic decimates the human population all over the world, and the most horrific aspect of it is that the dead, transformed into vampires, return from their graves to infect the living. Robert Neville manages to survive this apocalypse by barricading himself during the night and, during the day, he hunts and kills the undead. He doesn’t even suspect that, meanwhile, his foes are developing their own culture, and that he, Robert Neville, gained in this culture the status of a legend: he became the incarnation of death.

The theme of vampires enjoyed a phenomenal success after the publication of the Interview with the Vampire by Anne Rice. An important trend in this type of literature is the humanization of the undead; nevertheless, they always remain a source of fear. Particularly popular are narratives in which vampires revealed their existence to the human society, for example The Southern Vampire Mysteries by Charlaine Harris and the TV drama inspired by this series, True Blood (2008-present). This kind of fictional universes allow an interesting commentary on xenophobia, racism, religious intolerance, drugs, sexually transmitted diseases and other burning social problems.

The times when vampires were merely a product of superstition are long gone; nowadays, these beings are part of our popular culture. They represent the liminal state between life and death, the past and the present, the normal and the transgressive. They are “the others”, the barbarians, the Goths who live at the borders of our “civilized world”, who frighten our safety and our way of life; yet they are also our image in the distorting mirror of our collective unconscious. They are projections of our repressed fears and desires.

From The Gothic: 250 Years of Success by A J Blakemont. Copyrighted material.

The Gothic novel – history and influence

March 28, 2015 by AJ 2 Comments

The Gothic: 250 Years of Success book cover — The Gothic: 250 Years of Success. Your Guide to Gothic Literature and Culture.

In December 1764 appeared a curious book titled The Castle of Otranto. Its preface stated:

The following work was found in the library of an ancient Catholic family in the north of England. It was printed at Naples, in the black letter, in the year 1529. How much sooner it was written does not appear. The principal incidents are such as were believed in the darkest ages of Christianity; but the language and conduct have nothing that savours of barbarism.

The preface went on to speculate that this story had been written during the Crusades, between 1095 and 1243. A haunted castle, a mysterious prophecy, an evil and manipulative aristocrat, two young and beautiful heroines, a forbidden love and lots of action – such are the ingredients of this wildly imaginative melodrama.

Despite an initially positive critical reception, this unlikely story could have remained a footnote in the history of literature, as did other literary curiosities. However, the following year, a second edition of this book was published, and, this time, its true nature was revealed by the author. The Castle of Otranto: A Gothic Story was a work of fiction written by Horace Walpole, a forty-eight-year-old English aristocrat known for his passion for the medieval period and Gothic architecture.

In this stylish, rationalist 18th century, dominated by the baroque and the Classicism, Walpole was viewed as an eccentric. He went as far as to transform his villa at Strawberry Hill (just outside London) into an imitation of a Gothic castle. In the preface to the second edition of The Castle of Otranto, Walpole explained that his book was “an attempt to blend the two kinds of romance, the ancient and the modern”. In other words, he transposed his love for medieval art into literature and thus created the first neo-Gothic fictional work in history.

In the 1760s, the world was not yet ready for the onslaught of the Gothic. However, two decades later, England was ready, as were other European countries that went through radical social changes.

The Gothic novel exploded in the 1790s and the 1800s, when, in England, up to 20% of all published titles belonged to this type of literature. Paradoxically, the effects of this cultural phenomenon were as profound as the books that caused it were shallow. Few Gothic novels published in the 18th century had literary merit (those by Ann Radcliffe being among the rare exceptions). More than their intrinsic quality, it was their ability to excite the imagination of a broad readership that made them so influential. The 18th-century Gothic fiction was probably the first popular genre in the history of Western civilization; it was the prototype of what we call a genre nowadays.

The success of this early wave of terrifying novels was short-lived, and, in the 1820s, readers grew tired of this kind of story. Nevertheless, 19th-century literature would not be the same without the spark of wild imagination brought by the Gothic novel. This genre created a portal between the mysterious past and the rational present through which the power of medieval fancy could relive to inseminate the modern culture. It inspired Jane Austen to write her first novel, Northanger Abbey, a satirical, yet respectful parody of the Radcliffean Gothic. It influenced Walter Scott, the father of historical fiction. It paved the road for the budding Romantic Movement, in particular its darker forms, and we can see its imprint in Byron’s poems or in Mary Shelley’s Frankenstein.

Some literary critics viewed the Gothic as biologists view extinct species, like a relic of the past, something that had a role in evolution, but was now history. As a genre the Gothic is no more; nevertheless, as an artistic style it is as strong nowadays as it was two centuries ago. It was its ability to evolve beyond the boundaries of a genre that made it so influential and widespread.

By the first decade of the 19th century, the Gothic had invaded literature and, to a lesser extent, theatrical drama and visual arts. By the first decade of the 21st century, the Gothic was everywhere: cinema, TV, comic books, music, internet, role-playing games, video games, digital art, and fashion. Not only was it adopted by every form of art and media, but it also penetrated most genres; we can find its influence in fantasy, science fiction, thrillers, romance, historical fiction, and literary fiction.

From The Gothic: 250 Years of Success by A J Blakemont. Copyrighted material.

Edgar Allan Poe and science fiction

March 28, 2015 by AJ Leave a Comment

Edgar Allan Poe (1809-1849) is known for his mystery and horror short stories, but he also wrote in other genres, including science fiction. His best science fiction stories (in chronological order) are The Unparalleled Adventure of One Hans Pfaall, The Conversation of Eiros and Charmion, The Colloquy of Monos and Una, and Mellonta Tauta. We can also mention A Tale of the Ragged Mountains, Mesmeric Revelation, The Power of Words, and The Facts in the Case of M. Valdemar.

His only (complete) novel, The Narrative of Arthur Gordon Pym (1838), bordered on science fiction and inspired masterpieces such as Moby-Dick (1851) by Herman Melville, Twenty Thousand Leagues under the Sea (1870) and An Antarctic Mystery (1897) by Jules Verne. Edgar Allan Poe also wrote an essay on cosmology, Eureka: A Prose Poem (1849), that can be read as a philosophical science fiction work.