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Queering Contemporary Gothic Narrative 1970-2012 pp 65–110Cite as

Palgrave Macmillan

Uncanny Others: Vampires and Doubles

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Part of the book series: Palgrave Gothic ((PAGO))

Abstract

After examining the development of the motif of the ‘sympathetic vampire’ by writers working in the homophobic period of the 1980s as a vehicle to discuss and promote lesbian and gay sexual-political perspectives, the chapter explores Gary Bowen’s representation of the motif in Diary of a Vampire to explore the problematic aspects of gay coming out and Meg Kingston’s utilisation of it Chrystal Heart with reference to bisexuality and queer sexual mobility. The chapter concludes with an analysis of the representation of the double in Vincent Brome’s AIDS narrative Love in the Plague, as well as its utilisation in Susan Swan’s The Wives of Bath as a vehicle for depicting transsexuality and society’s prejudiced attitude towards it.

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Notes

  1. 1.

    Fred Botting, ‘Introduction: Twentieth Century Gothic: Our Monsters, Our Pets’, in Botting and Townshend, eds., Gothic: Critical Concepts in Literary Studies, vol. 4, pp. 7–8. (Botting 2004).

  2. 2.

    Catherine Spooner, Contemporary Gothic, pp. 26–7, 51–2. (Spooner 2006).

  3. 3.

    Greg Herren and J. M. Redmann, Night Shadows, p. 3. (Herren and Redmann 2012).

  4. 4.

    Richard Dyer, Kim Newman, Henry Sheehan and Ian Sinclair, ‘Dracula and Desire’, Sight and Sound, 3 (1993), 10. (Dyer et al. 1993).

  5. 5.

    See for example Eric Garber (ed.), Embracing the Dark (Garber 1991); Bianca de Moss, Blood Sisters: Lesbian Vampire Tales (Moss 2006); Pam Keesey, Dark Angels: Lesbian Vampire Stories. (Keesey 2001).

  6. 6.

    Ahmed, Queer Phenomenology, p. 107.

  7. 7.

    Halberstam, Skin Shows, p. 36.

  8. 8.

    Michael Rowe, ‘All the Pretty Boys’ in Redman and Herren (eds), Night Shadows, pp.114–118. (Rowe 2012).

  9. 9.

    Halberstam, Skin Shows, p. 21.

  10. 10.

    Karl Heinrich Ulrichs, ‘Manor’, translated by Hubert Kennedy, in Eric Garber (ed.), Embracing the Dark, p. 107. (Ulrichs 1991).

  11. 11.

    Bram Stoker, Dracula, p. 39. (Stoker 1996).

  12. 12.

    Christopher Craft, ‘“Kiss Me With Those Red Lips”: Gender and Inversion in Bram Stoker’s Dracula’, Representations, 8 (1984), 109. (Craft 1984).

  13. 13.

    Craft, “Kiss Me with Those Red Lips”, p. 109.

  14. 14.

    William Veeder, ‘“Carmilla”: The Arts of Repression’, in Botting and Townshend (eds), Gothic: Critical Concepts, vol. 3, p. 117 (Veeder 2004).

  15. 15.

    Gina Wisker, ‘Devouring Desires: Lesbian Gothic Horror’, in Hughes and Smith (eds), Queering the Gothic, p. 126. (Wisker 2009).

  16. 16.

    Joan Gordon and Veronica Hollinger (eds), ‘Introduction: The Shape of Vampirism’, in Blood Read: The Vampire as Metaphor in Contemporary Culture, p. 2. (Gordon and Hollinger 1997).

  17. 17.

    Botting, ‘Introduction: Twentieth Century Gothic: Our Monsters, Our Pets’, in Botting and Townshend, eds., Gothic: Critical Concepts, vol. 4, pp. 7–8. (Botting 2004).

  18. 18.

    Spooner, Contemporary Gothic, p. 52.

  19. 19.

    Sheridan Le Fanu, ‘Carmilla’, in Pam Keesey (ed.), Daughters of Darkness: Lesbian Vampire Stories, p. 53. (Le Fanu, 1993).

  20. 20.

    Critics who discuss the concept of ‘the sympathetic vampire’ and the development of the motif include Gordon and Hollinger, ‘Introduction’, Blood Read, p. 2; Botting, ‘Introduction: Twentieth Century Gothic: Our Monsters, Our Pets’, vol. 4, pp. 7–8 (Botting 2004); and Milly Williamson, ‘Let Them All In: The Evolution of the Sympathetic Vampire’, in Leon Hunt, Sharon Lockyer and Milly Williamson (eds), Screening the Undead: Vampires and Zombies in Film and Television, pp. 71–91. (Williamson 2014). Williamson’s essay, though useful, is disappointing since, while referring to a number of relevant films, she does not refer to the contribution that theorists and writers associated with the lesbian and gay liberation movements of the 1980s and early 1990s, especially the lesbian sexual radical movement, made to the development of the vampire motif and the debates that it has provoked.

  21. 21.

    See Williamson, ‘Let Them All In’, pp. 71–91.

  22. 22.

    Palmer, Lesbian Gothic, pp. 99–127.

  23. 23.

    See Emma Healey, Lesbian Sex Wars, pp. 89–160. (Healey 1996); and Jagose, Queer Theory, pp. 62–70.

  24. 24.

    Jessica Benjamin, ‘Master and Slave: The Fantasy of Erotic Domination’, in Ann Snitow, Christine Stansell and Sharon Thompson (eds), Desire: The Politics of Sexuality, p. 208. (Benjamin 1984).

  25. 25.

    Sue-Ellen Case, ‘Tracking the Vampire’, Differences: A Journal of Feminist Cultural Studies, 3/2 (1991), 1–20. (Case 1991).

  26. 26.

    Barbara Creed, The Monstrous Feminine: Film, Feminism, Psychoanalysis, pp. 60–67. (Creed 1993).

  27. 27.

    Richard Dyer, ‘Children of the Night: Vampirism as Homosexuality: Homosexuality as Vampirism’, in Susannah Radstone (ed.), Sweet Dreams: Sexuality, Gender and Popular Fiction, p. 58. (Dyer 1993).

  28. 28.

    Ellis Hanson, ‘Undead’, in Fuss (ed.), Inside/Out, pp. 325–40. (Hanson 1991).

  29. 29.

    Anna Livia, Minimax, p. 112. (Livia 191).

  30. 30.

    For reference to steampunk see Gail Ashurst and Anne Powell, ‘Under Their Own Steam: Magic, Science and Steampunk’, in Justin D. Edwards and Agnieszka Soltysik Monnet (eds), The Gothic in Contemporary and Popular Culture, pp. 148–163. (Ashurst and Powell 2012).

  31. 31.

    Meg Kingston, Chrystal Heart, p. 36. (Kingston 2013) Subsequent references are to this edition and in the text.

  32. 32.

    Aspasia Stephanou, ‘A “Ghastly Operation”: Transfusing Blood, Science and the Supernatural in Vampire Texts’, Gothic Studies, 25/2 (2013), 54. (Stephanou 2013).

  33. 33.

    Jackson, Fantasy, p. 119.

  34. 34.

    Donna J. Haraway, ‘A Cyborg Manifesto: Science, Technology and Socialist-Feminism in the Late Twentieth-Century’, in Haraway (ed.), Simians, Cyborgs, and Women: The Reinvention of Nature, p. 176 (Haraway 1991).

  35. 35.

    Linda Williams, ‘When the Woman Looks’, in Mary Ann Doan, Patricia Mellencamp and Linda Williams (eds), Re-Visions: Essays in Feminist Film Criticism, pp. 83–97 (Williams 1984).

  36. 36.

    Sue-Ellen Case, ‘Tracking the Vampire’ pp. 13–15.

  37. 37.

    Jagose, Queer Theory, pp. 69–70.

  38. 38.

    See, for example, Nancy Toder, Choices (Toder 1980).

  39. 39.

    Jan Clausen, ‘My Interesting Condition’, Out/Look: National Lesbian and Gay Quarterly, 7 (1990), 19 (Clausen 1990).

  40. 40.

    Spooner, ‘Gothic Charm School, or, How the Vampire Learned to Sparkle’, in Sam George and Bill Hughes (eds), Open Graves, Open Minds: Representations of Vampires and the Undead from the Enlightenment to the Present Day, p. 146. (Spooner 2013).

  41. 41.

    Sedgwick, Epistemology of the Closet, p. 80.

  42. 42.

    Fincher, Queering Gothic in the Romantic Age, pp. 137–45. (Fincher 2007).

  43. 43.

    Lee Edelman, Homographesis: Essays in Gay Literary and Cultural Theory, p. 5. (Edelman 1994).

  44. 44.

    Gary Bowen, Diary of a Vampire, p. 121. Subsequent references are to this edition and in the text (Bowen 1995).

  45. 45.

    Le Fanu, Carmilla, p. 42.

  46. 46.

    Fincher, Queering Gothic in the Romantic Age, p. 45.

  47. 47.

    Oscar Wilde, The Picture of Dorian Gray, p. 32. (Wilde 1996).

  48. 48.

    See Melanie R. Anderson, ‘Wilde’s Dorian Gray as Aesthetic Vampire’, POMP: Publications of the Mississippi Philological Association, 12/2 (2008), 157–159. (Anderson 2008).

  49. 49.

    Sedgwick, Epistemology of the Closet, p. 68.

  50. 50.

    Aldana Reyes, ‘“Who Ordered the Hamburger with AIDS?”: Haematophilic Semiotics in Tru(e) Blood’, Gothic Studies, 15/1 (2013), 56. (Reyes 2013).

  51. 51.

    Elizabeth Grosz, ‘Intolerable Ambiguity: Freaks as/at the Limit’, in Rosemary Garland Thomson (ed.), Freakery: Cultural Spectacles of the Extraordinary Body, p. 182. (Grosz 1996).

  52. 52.

    Robert Azzarello, ‘Unnatural Predators: Queer Theory meets Environmental Studies in Bram Stoker’s Dracula’, in Noreen Giffney and Myra J. Hird (eds), Queering the Non-Human, pp. 140–8. (Azzarello 2008).

  53. 53.

    Stoker, Dracula, p. 34.

  54. 54.

    MacCormack, ‘Unnatural Alliances’, in Chrsanthi Nigianni and Merl Storr (eds) Deleuze and Queer Theory, p. 143. (MacCormack 2009).

  55. 55.

    Trevor Holmes, ‘Coming Out of the Coffin: Gay Males and Queer Goths in Contemporary Vampire Fiction’, in Joan Gordon and Veronica Hollinger eds., Blood Read, p. 181. (Holmes 1997).

  56. 56.

    William Patrick Day, In the Circles of Fear and Desire: A Study of Gothic Fantasy, p. 21. (Day 1985).

  57. 57.

    Marshall Brown, The Gothic Text, p.128. (Brown 2003).

  58. 58.

    Freud, ‘The Uncanny’, p. 358.

  59. 59.

    Townshend, ‘“Love in a Convent”: or Gothic and the Perverse Father of Queer Enjoyment’, in Hughes and Smith (eds), Queering the Gothic, p. 17. (Townshend 2009).

  60. 60.

    David Stuart Davies (ed.), ‘Introduction’ to Richard Marsh, The Beetle: A Mystery, p. ix. (Davies 2007).

  61. 61.

    Eric Daffron, ‘Double Trouble: The Self, the Social Order and the Trouble with Sympathy in the Romantic and Postmodern Gothic’, Gothic Studies, 3:1 (2001), 78 (Daffron 2001). Haggerty similarly describes the creature Frankenstein that constructs as his ‘second self’ and ‘secret (homoerotic) desire’ (Haggerty, Queer Gothic, p. 52).

  62. 62.

    Haggerty, Queer Gothic, pp. 123-5.

  63. 63.

    Elaine Showalter, Sexual Anarchy: Gender and Culture at the Fin de Siècle, pp. 105–14. (Showalter 1992).

  64. 64.

    Henry James, The Turn of the Screw, p. 38 (James 1976). Eric Savoy discusses the significance of the governess’s remark in ‘Theory a Tergo in The Turn of the Screw’, in Steven Bruhm and Natasha Hurley (eds), Curiouser: on the Queerness of Children, p. 268 (Savoy 2004). He also alerts attention to James’s reference to the governess thinking that she recognises on her first night at Bly, ‘faint and far, the cry of a child’ (The Turn of the Screw, p. 15).

  65. 65.

    See Butler, Gender Trouble: Feminism and the Subversion of Identity, pp. 79–149. (Butler 1990).

  66. 66.

    Julie Anne Peters, Luna, p. 17. (Peters 2004).

  67. 67.

    Douglas Crimp, AIDS: Cultural Analysis/Cultural Activism, pp. 12–14. (Crimp 1988).

  68. 68.

    See Owen Bowcott, ‘Aids: Thatcher Tried to Block Public Health Warnings’ The Guardian, December 30, 2016, p. 34. (Bowcott 2016).

  69. 69.

    Emmanuel S. Nelson, ‘Introduction’ in Nelson (ed.) AIDS: The Literary Response, pp.1–9. (Nelson 1992).

  70. 70.

    Crimp, AIDS: Cultural Analysis/Cultural Activism, p.12.

  71. 71.

    Laurel Brodsley, ‘Defoe’s The Journal of the Plague Year: A Model for Stories of the Plague’, in Emmanuel S. Nelson (ed.), Aids: The Literary Response, pp. 11–21. (Brodsley 1992).

  72. 72.

    Vincent Brome, Love in the Plague, p. 35 (Brome 2001). Subsequent references are to this edition and in the text.

  73. 73.

    John Herdman, The Double in Nineteenth Century Fiction, p. 16. (Herdman 1990).

  74. 74.

    Day, In the Circles of Fear and Desire, p. 21.

  75. 75.

    For reference to the motif of the Gothic city see Robert Mighall, A Geography of Victorian London: Mapping History’s Nightmares, pp. 28–45 (Mighall 2003); and Mighall, ‘Gothic Cities’, in Catherine Spooner and Emma McEvoy (eds), The Routledge Companion to the Gothic, pp. 54–62. (Mighall 2007).

  76. 76.

    Day, In the Circles of Fear and Desire, pp. 23–27.

  77. 77.

    Dewey, ‘Music for a Closing: Responses to AIDS in Three American Novels’, in Nelson (ed.), AIDS, p. 24.

  78. 78.

    Brodsley, ‘Defoe’s The Journal of the Plague Year: A Model for Stories of Plagues’, in Nelson (ed.) AIDS, p. 19.

  79. 79.

    Freud, ‘Transformations of Puberty: Three Essays in the Theory of Sexuality’, in James Strachey, Pelican Freud Library, vol. 7, p. 145.

  80. 80.

    Elisabeth Bronfen, Over Her Dead Body: Death, Femininity and the Aesthetic, p. 324. (Bronfen 1992).

  81. 81.

    Jay Prosser, Second Skins: The Body Narrative of Transsexuality, p. 178, p.159. (Prosser 1998).

  82. 82.

    Halberstam, In a Queer Time and Place, p. 59.

  83. 83.

    Prosser, Second Skins, p. 70.

  84. 84.

    Susan Swan, The Wives of Bath, p. 6. (Swan 1993). Subsequent page references are to this edition and in the text.

  85. 85.

    See Palmer, ‘Antonia White’s Frost in May: Gothic Mansions, Ghosts and Particular Friendships’, in Hughes and Smith (eds), Queering the Gothic, pp. 105–122. (Palmer 2009).

  86. 86.

    See Margaret Whitford, Luce Irigaray: Philosophy in the Feminine, p. 114. (Whitford 1991).

  87. 87.

    Freud, ‘A Child is Being Beaten’, in James Strachey and Angela Richards (eds), The Pelican Freud Library, pp. 163–93. (Freud 1981).

  88. 88.

    See Diane Hoeveler’s discussion of the episode in Gothic Feminism, p. 109. (Hoeveler 1998).

  89. 89.

    Royle, The Uncanny, p. 46.

  90. 90.

    Royle, The Uncanny, p. 43.

  91. 91.

    James Kinkaid, ‘Designing Gourmet Children’, in Ruth Robbins and Julian Wolfreys (eds.), Victorian Gothic, p. 8. (Kinkaid 2000).

  92. 92.

    Prosser, Second Skins, p. 178.

  93. 93.

    Butler, Gender Trouble, p. 33.

  94. 94.

    Anthony Vidler, The Architectural Uncanny: Essays in the Modern Unhomely, p. 132. (Vidler 1999).

  95. 95.

    H. P. Lovecraft, ‘At the Mountains of Madness’, (1936) in Lovecraft, Novels of Terror, p. 60. (Lovecraft 1966).

  96. 96.

    Saki, ‘Sredni Vashtar’ in The Chronicles of Clovis (Saki 1989).

  97. 97.

    Swan’s description of Tory’s feelings of romantic attraction to the transsexual Paulie interestingly resembles the attraction that women felt for the US transsexual Teena Brandon who was murdered in 1993. Judith Halberstam, seeking to explain to hostile biographers who disparage Brandon as ‘a quasi man’ the erotic attraction she held for her female partners, suggests that ‘Brandon’s successful and romantically viable approximation of heterosexual masculinity attracted women precisely because it was denaturalized’ and represented ‘an ideal, improved version of the usual forms of masculinity they came across’ (In A Queer Time and Place, pp. 65–68). Paulie’s performance of romantic masculinity appears to attract Tory for similar reasons. Swan contrasts it with the boorish nature of the actual teenage masculinity of the period as represented by Jack, the boy who escorts Mouse to the school dance.

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    Paulina Palmer

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Palmer, P. (2016). Uncanny Others: Vampires and Doubles. In: Queering Contemporary Gothic Narrative 1970-2012. Palgrave Gothic. Palgrave Macmillan, London. https://doi.org/10.1057/978-1-137-30355-4_3

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