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Blood Read: The Vampire as Metaphor in Contemporary Culture Paperback – Download: Adobe Reader, October 1, 1997
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The vampire is one of the nineteenth century's most powerful surviving archetypes, owing largely to Bela Lugosi's portrayal of Dracula, the Bram Stoker creation. Yet the figure of the vampire has undergone many transformations in recent years, thanks to Anne Rice's Vampire Chronicles and other works, and many young people now identify with vampires in complex ways.
Blood Read explores these transformations and shows how they reflect and illuminate ongoing changes in postmodern culture. It focuses on the metaphorical roles played by vampires in contemporary fiction and film, revealing what they can tell us about sexuality and power, power and alienation, attitudes toward illness, and the definition of evil in a secular age.
Scholars and writers from the United States, Canada, England, and Japan examine how today's vampire has evolved from that of the last century, consider the vampire as a metaphor for consumption within the context of social concerns, and discuss the vampire figure in terms of contemporary literary theory. In addition, three writers of vampire fiction—Suzy McKee Charnas (author of the now-classic Vampire Tapestry), Brian Stableford (writer of the lively and erudite novels Empire of Fear and Young Blood), and Jewelle Gomez (creator of the dazzling Gilda stories)—discuss their own uses of the vampire, focusing on race and gender politics, eroticism, and the nature of evil.
The first book to examine a wide range of vampire narratives from the perspective of both writers and scholars, Blood Read offers a variety of styles that will keep readers thoroughly engaged, inviting them to participate in a dialogue between fiction and analysis that shows the vampire to be a cultural necessity of our age. For, contrary to legends in which Dracula has no reflection, we can see reflections of ourselves in the vampire as it stands before us cloaked not in black but in metaphor.
- Print length264 pages
- LanguageEnglish
- PublisherUniversity of Pennsylvania Press
- Publication dateOctober 1, 1997
- Reading age18 years
- Dimensions6 x 0.63 x 9 inches
- ISBN-100812216288
- ISBN-13978-0812216288
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Editorial Reviews
Review
"Blood Read is a fresh look at an old form, offering lively, lucid insights into the contemporary explosion of vampire fiction. Nothing else like it exists. This book should set the terms for discussion about vampires for some time to come."—Brian Attebery, Idaho State University
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Product details
- Publisher : University of Pennsylvania Press; First Printing edition (October 1, 1997)
- Language : English
- Paperback : 264 pages
- ISBN-10 : 0812216288
- ISBN-13 : 978-0812216288
- Reading age : 18 years
- Item Weight : 14.4 ounces
- Dimensions : 6 x 0.63 x 9 inches
- Best Sellers Rank: #2,774,143 in Books (See Top 100 in Books)
- #7,818 in Folklore & Mythology Studies
- #8,065 in American Literature Criticism
- #12,533 in Popular Culture in Social Sciences
- Customer Reviews:
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Otherwise, those interested in the vampire genre, literary criticism, or thoughtful social commentary will probably be tempted to throw this book across the room. It's that insultingly bad.
The editors' contributions consist of dry, meaningless buzzwords and cliche political hysterics in lieu of substance, which helps explain the lackluster state of liberal arts education in this country (because, unfortunately, they are both teachers). The essays by writers who gush about their own obscure vampire stories come off as sheltered fan-fic typers who never learned the difference between enthusiasm and talent. Most of the other contributors waste their pages projecting their own trite politics, sad neuroses and petty jealousies onto each author and story they ignorantly discuss.
For example:
* One writer asserts that Anne Rice's Interview With a Vampire is really all about America's obsession with dieting as orchestrated by the evil patriarchy (Note: This book was published by a university press, not a real publisher with quality control, so expect constant use of such pseudo-intellectual rhetoric in place of actual ideas. In fact, the different essayists seem to be in competition to see who can use the word "patriarchy" in the most sentences, so you can imagine how engaging they are to read.)
* Another writer philosophizes about how The Lost Boys was really all about demonstrating just how grave a threat capitalism poses to America's exploited, brainwashed teen proletariat. You can almost hear him sighing: If only kids could be deprogrammed and re-educated into realizing communism holds all the answers.
* Saddest of all is probably the writer who somehow believes she's the first one to ever think up the idea of a lesbian vampire, and then blames homophobia for her inability to find a publisher for her Mary Sue vampire stories. It must be homophobia, she explains, because all her friends say her stories are great.
While this collection is initially an insult to thinking people, in the end you'll want to laugh at these writers and pity them at the same time. These are people so obsessed with their own personal political-sexual identities that they unconsciously twist everything they see into a reflection of their own inadequacies then pat themselves on the back for their brilliant insight. It would be sad if they weren't so obnoxiously holier-than-thou about everything.
Though Blood Read is completely worthless as literary criticism or entertainment, it is a great book for psychologists, because each essay reads like a session on the couch with a seriously messed-up person. It demonstrates by example the dangers of existing in a mental vacuum, inoculated against any perspective that doesn't reinforce your self-righteous ego and self-esteem. Unfortunately, it offers little of interest regarding vampires.
