Every vampire has a god, and since the advent of the novel, those gods have been writers. Before the printing press, storytellers were the creators of vampires, and word of mouth published endless variations of vampires that spawned unique species of monsters in each culture and country. Superstition and the love of the story kept the vampire immortal throughout the centuries. It’s very easy to know each god of today’s vampire, because the names of their creators are famous, boldly printed across the books from which give them creation.
When did Sex in the City urban women deem vampires fuckworthy? And most of all, when did American heartland save-myself-for-marriage tweens and teens decide that creatures of the night make great Mr. Rights? The new gods of vampires, women writers, have changed the romantic ratability of the undead. Geez, it’s hard enough to deal with the fact my omega male body is so unworthy compared to human alpha males, but now women seek to mate with guys who have immortality, inhuman strength, and supernatural wealth as hot sexual attributes. Man, now I’m really out of the sexual rat race.
What have these new gods wrought on the fictional landscape of our world? I wonder if accepting the undead into the American melting pot is also happening in other multicultural societies around the world? Storytellers have always been mythmakers and creators of imaginary pop-cultural stars. Homer had a huge hit with his creation, Ulysses. The whole mystery genre seems to have converted to writing character book series hoping to hit one out of the park by creating the next Sherlock Holmes or Miss Marple. Now both the mystery market and horror genre are churning endless variations on the vampire theme, each hoping to create an iconic vampire or vampire slayer.
In my review of Dracula by Bram Stoker I took a backasswards approach to understanding vampires. I falsely assumed writers were describing their vampires rather than creating them, by observing what they thought was the current pop-culture concept of a vampire. And to a degree writers do steal their ideas from their peers and mentors. This morning I had the revelation that every vampire is created in the image of their god.
If I was to write a series of vampire stories, I’d invent a science fictional vampire because I like science fiction more than I do horror. I’m not all that keen on bloodsucking, so I’d find some other way for my vampires to acquire the life essence of their victim, maybe a device that transfuses specific hormones or proteins that could be used to enhance health and thinking for a cyborg vampire. If I wrote a series of books about my new high-tech-vamp that became successful, it would make me a god of a fictional creation, but I would have also changed the archetype of the vampire.
When I read Dracula I thought Bram Stoker had studied folk culture and had assembled his vampire, Count Dracula, from a selection of vampire models already in existence. Now that I’m using the god metaphor for creators of fiction, I’m not so sure. Count Dracula, and every successful vamp ever created by a wordsmith could each be a unique creation, fashioned in the image of their creator, so to say.
This explains why the current crop of vampires are less violent and very romantic – all the wildly successful new vampires are created by women authors. Men writers want monsters to slay, while women want romantic retelling of the beauty and the beast myth.
Now I know my feminist friends are going to howl at my sexist generalization, but lets look at the evidence. Here’s an easy one. Women love Pride and Prejudice by Jane Austen. To make it suitable for the average guy, Seth Grahame-Smith created Pride and Prejudice and Zombies. I could rest my case there, but I’ll go for overkill instead.
I think I can safely say that the Twilight series is mostly popular with women, and girls. It’s much less obvious, but I’d say the Anne Rice and Charlaine Harris vampire books are also more popular with women readers then men. True Blood, the HBO version of the Sookie Stackhouse Southern Vampire Mysteries, has been transformed by its producers to have a unisex appeal (mixing love, romance, sex and violence), so I’m only talking about the Charlaine Harris books for now. If you compare these women vampire stories to Blade and Van Helsing movies, which are obviously targeted to male audiences, you can see the difference between the vampires and their creators.
Red blooded American males love violent movies. They want the moral issues to be black and white so there is no ethical squeamishness to full-throttle slaying by the good guys. Literary movies that want to question violence will introduce many shades of gray and ambiguity, but for the most part, us guys like our action films, monster movies, cop shows, sci-fi, thrillers, war flicks, and westerns to be non-stop kill, kill, kill. We accepted feminism to the point that in recent years the good guys can include hot action babes on their teams, who can also kill, kill, kill with the best of the guys. We’ll even accept women as squad leaders, as in Buffy, the Vampire Slayer.
Now, I’m not saying there aren’t plenty of women who love a dab of violence in their books and movies, but they seem to want the volume of violence turned down. Women writers accept that vampires are dangerous cold blooded killers, but they keep most of their hunting off stage, ignore that vampires are evil, and tame them by having their creatures of the night only hunt animals, drink artificial blood or prey on the scum of the earth, humans they figure humanity can do without.
The famous dictate of writing teachers is to write what you know, but I observe instead, that writers write about what they love to read. Women love romance stories, and the influx of women writers has changed the nature of vampires in pop culture in the last few decades. If you study romance novels, a category of fiction dominated by women writers and readers, you’ll find two general types of stories in the genre: the purely romantic and the hot-and-spicy romantic. To be clear, I’m calling some romance novels hot-and-spicy, to be nice, but the heat on that spice goes all the way to XXX.
Stephanie Meyer’s Twilight series is very close to the Pride and Prejudice end of the spectrum of romance, while Charlaine Harris writes stories well into the soft core porn range of romance books. And if you are converting Mr. Darcy into the undead, women writers know their readers won’t feel the emotional attraction for a protagonist if he’s too evil or looks like he belongs in a Mad Max flick. Thus the What Not to Wear overhaul of vampires.
A young woman at my office asked another young women, “Which of the undead do you think are the sexiest?” That’s not a question you would have overheard two Victorian women discussing. I’d say the vampire has gotten the role of most eligible supernatural bachelor more often than all the other types of undead combined, with hunky werewolves a distant second in popularity. Zombies and mummies just don’t clean up well. Although J. K. Rowling, strangely enough seems to prefer werewolves over vamps, so maybe kids like furry love romance.
If you think about it, the lady gods of fiction have transformed all the popular genre fiction in the last fifty years. Look how wildly successful Lois McMaster Bujold, Catherine Asaro and Anne McCaffrey have been with science fiction readers. Genre fiction has been liberated by females. I don’t know why it took me so long to realize why modern vampires are so different. To be honest, I didn’t expect women to shake things up so much.
But I’m still puzzled as to why women find vampires sexy. If I was a vampire and had to drink blood, I’d want to dine on women, and it would be a sexual attraction, but it would still feel like rape. But as a male human, vampires seem as sexual appealing as sharks and bears, but then I’ve always identified with the beast, and not the beauty.
JWH – 7/23/9