A. J. Blakemont

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Embrace the Darkness! Part 1.

October 4, 2015 by AJ 2 Comments

Whether you enjoy books, comic books, movies or TV series, you can’t escape this—“darkness” is everywhere. “Dark”, “darkness”, the words that evoked fear in our ancestors are used nowadays as marketing tools. But what do we mean by “dark” when referring to a work of fiction?

Dark fantasy, horror, dark science fiction

Historically, it was the 18th-century Gothic novel that transformed negative emotions such as fear or melancholy into a source of pleasure (see the Gothic Novel and The Gothic: 250 Years of Success). However, the success of this initial wave of terrifying stories was short-lived, and in the 1820s this genre gave way to a more sophisticated kind of aesthetics—the Romantic movement was on the rise.

During the 19th and the 20th centuries—roughly until the 1970s—horror fiction was little more than an underground culture, although some horror books and movies managed to achieve long-lasting popularity. For example, classic adaptations of Frankenstein by James Whale and Dracula by Tod Browning were successful in the 1930s and remain influential to the present day.

The situation changed dramatically toward the end of the 1970s, when a tsunami of darkness swept away the naïve enthusiasm of the post-war period. This impressive attack of the “dark side” operated on several fronts. In 1974 appeared the first novel by Stephen King, Carrie, and two years later Anne Rice published the first book of her famous Vampire Chronicles (Interview with the Vampire, 1976). In the 80s and the 90s, Stephen King’s popularity was nothing less than phenomenal, and some other authors writing horror fiction enjoyed considerable success.

Darkness does not necessarily equal horror, however. Science fiction and fantasy also grew darker in the 70s and the 80s. Those ugly and often ridiculous monsters who terrorized beautiful girls on the covers of pulp magazines were history—a new breed of monstrosities was about to transform science fiction. In Alien (1979), Ridley Scott created a shocking, futuristic aesthetic of fear. Blade Runner (Ridley Scott, 1982) blended science fiction with film noir, and challenged our perception of human condition in the process. The Terminator (James Cameron, 1984) and Predator (John McTiernan, 1987) introduced us to new, disturbingly realistic sorts of killing machines.

Fantasy also grew darker during that period. Far from innocent fairytales for kids, fantasy drew inspiration from its roots: myths, medieval ballads, and history itself. And God knows human history is a bloody business. Michael Moorcock’s Elric of Melniboné, for example, is not your average sword & sorcery hero. He is a sorcerer and a necromancer capable of both heroism and cruelty. Knights in shining armor are no longer fashionable. Readers crave for a different kind of protagonists: anti-heroes (Stephan R. Donaldson’s Lord Foul’s Bane, 1977), torturers (Gene Wolfe’s The Shadow of the Torturer, 1980), assassins (Robin Hobb’s Assassin’s Apprentice, 1995), and others.

Fantasy grew gritty, brutal, sometimes bleak and pessimistic. No need to insist on the influence of the Game of Thrones (this book had enough publicity already). Let’s mention a few noteworthy authors such as Steven Erikson (Malazan Book of the Fallen), Brandon Sanderson (Mistborn series), Joe Abercrombie (The First Law Trilogy), Patrick Rothfuss (The Kingkiller Chronicle), and Mark Lawrence (The Broken Empire trilogy).

Urban fantasy was not immune to the overwhelming rise of darkness neither. Although the very first urban fantasy stories were relatively light in tone (War for the Oaks by Emma Bull, Dreams Underfoot by Charles de Lint), horror quickly found its way into this subgenre, starting with Anita Blake: Vampire Hunter series by Laurell K. Hamilton, and followed by The Dresden Files by Jim Butcher. Those stories are teaming with vampires, ghouls, zombies, necromancers, and the nastiest sorts of black magic.

In your opinion, why are we craving for this sort of terrifying stories? What makes them so appealing to science fiction and fantasy readers?

Filed Under: Books, Fantasy, History, Horror, Literature, Science fiction Tagged With: Anita Blake, Anne Rice, Brandon Sanderson, dark fantasy, fantasy, Game of Thrones, Gene Wolfe, Gothic, history, horror, Jim Butcher, Joe Abercrombie, Laurell K. Hamilton, Mark Lawrence, Michael Moorcock, Patrick Rothfuss, Robin Hobb, sci-fi, science fiction, Stephan R. Donaldson, Stephen King, Steven Erikson, The Dresden Files, vampires

Fantasy and science fiction best sellers: April 2015

May 6, 2015 by AJ Leave a Comment

New York Times Best Seller Listfemale fantasy warrior

In April three fantasy books made it to the New York Times best seller list (adult fiction, hardcover):

The Shadows by J.R. Ward (New American Library). Book 13 of the Black Dagger Brotherhood series.

The Skull Throne (The Demon Cycle) by Peter V. Brett (Del Rey). The saga of humans winnowed to the brink of extinction by night-stalking demons.

Beauty’s Kingdom by A. N. Roquelaure (Penguin). Anne Rice, writing as A. N. Roquelaure, returns to the kingdom of Queen Eleanor in this new chapter of her Sleeping Beauty series.

Barnes & Noble Bookseller’s Picks for April

The Grace of Kings by Ken Liu (Saga Press). Ken Liu has won a Nebula, two Hugos, and a World Fantasy Award. Now he gives us what his fervent legion of fans has requested: a new fantasy series to savor at length.

A Crown for Cold Silver by Alex Marshall (Orbit). Five villains. One legendary general. A final quest for vengeance.

The Rebirths of Tao (Tao Series Book Three) by Wesley Chu (Watkins Media). Five years have passed since the events in The Deaths of Tao. The world is split into pro-Prophus and pro-Genjix factions, and is poised on the edge of a devastating new World War. A Gengix scientist who defects to the other side holds the key to preventing bloodshed on an almost unimaginable scale.

The Silence by Tim Lebbon (Titan). A terror-filled story of one family and their friends, as they struggle to survive in a world overrun by ravenous creatures that hunt purely by sound…

Dark Heir (Jane Yellowrock Series 9) by Faith Hunter (Penguin). Shapeshifting skinwalker Jane Yellowrock is the best in the business when it comes to slaying vampires. But her latest fanged foe may be above her pay grade…

The Unremembered (The Vault of Heaven Book One, Special edition) by Peter Orullian (Tom Doherty Associates). In anticipation of the second volume in Orullian’s epic series, Tor are choosing to relaunch a title with an author’s definitive edition. In addition to updates to the original text, they are also including an exclusive short story set in the world of Vault of Heaven as well as a sneak preview of the sequel, Trial of Intentions, and a glossary to the universe.

Jinn and Juice by Nicole Peeler (Orbit). Meet Lyla: Jinn, belly dancer, and the hottest new urban fantasy heroine in town. To escape an arranged marriage, a jinni granted Lyla her wish: to live a thousand years as a jinni herself.

Filed Under: Fantasy, Science fiction Tagged With: Anne Rice, best sellers, fantasy, science fiction

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.

Filed Under: Horror, Literature Tagged With: Anne Rice, Bram Stoker, Dracula, I Am Legend, John Polidori, Lord Byron, Matthew Lewis, romanticism, Sheridan Le Fanu, Theophile Gautier, True Blood, vampires

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About the Author

A. J. Blakemont is a novelist and essayist interested in speculative and gothic fiction. He is also passionate about music, history and its mysteries. He grew up in Paris where he studied literature. He lives near London and he is a member of the Society of Authors.

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