Vampires Are Us

“Vampires. Why do we care? In these pages you will find what is very simply, the most literate, imaginative, and just plain fascinating answer to that question ever written.” ?Whitley Strieber In a culture that does not do death particularly well, we are obsessed with mortality. Margot Adler writes, “Vampires let us play with death and the issue of mortality. They let us ponder what it would mean to be truly long lived. Would the long view allow us to see the world differently, imagine social structures differently? Would it increase or decrease our reverence for the planet? Vampires allow us to ask questions we usually bury.” As Adler, a longtime NPR correspondent and question asker, sat vigil at her dying husband’s bedside, she found herself newly drawn to vampire novels and their explorations of mortality. Over the next four years—by now she has read more than 270 vampire novels, from teen to adult, from gothic to modern, from detective to comic—she began to see just how each era creates the vampires it needs. Dracula, an Eastern European monster, was the perfect vehicle for 19th-century England’s fear of outsiders and of disease seeping in through its large ports. In 1960s America, Dark Shadows gave us the morally conflicted vampire struggling against his own predatory nature, who still enthralls us today. Think Spike and Angel, Stefan and Damon, Bill and Eric, the Cullens. Vampires Are Us explores the issues of power, politics, morality, identity, and even the fate of the planet that show up in vampire novels today. Perhaps, Adler suggests, our blood is oil, perhaps our prey is the planet. Perhaps vampires are us.

Presents a history of vampire lore in America and focuses on its popular culture impact in print and film.

In 1896, French magician and filmmaker George Méliès brought forth the first celluloid vampire in his film Le manoir du diable. The vampire continues to be one of film's most popular gothic monsters and in fact, today more people become acquainted with the vampire through film than through literature, such as Bram Stoker's classic Dracula. How has this long legacy of celluloid vampires affected our understanding of vampire mythology? And how has the vampire morphed from its folkloric and literary origins? In this entertaining and absorbing work, Stacey Abbott challenges the conventional interpretation of vampire mythology and argues that the medium of film has completely reinvented the vampire archetype. Rather than representing the primitive and folkloric, the vampire has come to embody the very experience of modernity. No longer in a cape and coffin, today's vampire resides in major cities, listens to punk music, embraces technology, and adapts to any situation. Sometimes she's even female. With case studies of vampire classics such as Nosferatu, Martin, Blade, and Habit, the author traces the evolution of the American vampire film, arguing that vampires are more than just blood-drinking monsters; they reflect the cultural and social climate of the societies that produce them, especially during times of intense change and modernization. Abbott also explores how independent filmmaking techniques, special effects makeup, and the stunning and ultramodern computer-generated effects of recent films have affected the representation of the vampire in film.

Buffalo, New York--Thundering waterfalls, great sports teams . . . and a treacherous vampire lord who is slowly losing his mind. New York City vampire Rajmund Gregor is the undisputed master of The Big Apple. He bows to no one but his Sire, the Vampire Lord Krystof, who has ruled the Northeast for hundreds of years. But when Krystof summons Rajmund to his headquarters in Buffalo, Raj finds his master slowly descending into madness and his territory crumbling around him. Raj is the only one of Krystof's children strong enough to seize power, but he'll have to save his master before he can destroy him. Several women have gone missing, and the local police are convinced a vampire is behind it. Is Krystof so lost to reality that he's capturing and murdering human women? Is a rogue vampire moving into Krystof's territory for the kill? Or is it something far more insidious, something that could threaten the existence of vampires everywhere? Sarah Stratton is living a lie. Her past holds a secret she shares with no one--not even her good friend Cynthia Leighton, the West Coast vampire lord's mate. It's a secret that could destroy her carefully constructed life as a professor at a Buffalo university. It's also a secret that could save the lives of the missing women. To save them, however, she must enter Buffalo's vampire community and put herself into the care of Rajmund Gregor. But can she trust Raj, the dangerously seductive vampire who wants to lay claim to far more than her secrets?

Everything you can find in this text are pure facts from real life but also a word of science. In further pages of our work we will display not only science facts vampires and vampirism but also about real cases from real life that are confirmed by the public and people talk about it.

This book critically situates the figure of the black female vampire in several fields of study including literary studies, cultural studies, gender studies, and critical race studies. Black female vampires continue to appear as important literary devices and revealing indicators of cultural attitudes and trends about African American women’s bodies. This book examines five novels written by four African American women writers to investigate what it means to represent African American womanhood through the lens of vampirism, interrogate how these representations connect to or stem from historical representations of African American women, and explore how representations of black female vampires in African American women’s literature simultaneously negate, reinforce, or dismantle stereotypes of African American women.

The Queen of the Vampires kidnaps Damien Argent, the captain of the vampire hunters, away from his loving family. He suffers years of torment at her hands, still holding on to the idea of his human life. Eventually, he accepts the position of King of the Vampires and marries the Queen, Heloise. He uses his new power to broker a peace deal with the humans, saving hundreds of lives. Although not everyone is happy with the new found peace. Aliens descend and with it the opportunity to win the old feuds between humans and vampires. Factions conspire against him, setting human against vampire in a renewed battle, killing his queen. But first contact is not as peaceful as thought. It is an alien invasion, wanting only to replenish its food supplies with the warm bodies of the local inhabitants. How can he put aside his feud with Ridley, the vampire hunter, his queen's killer? How can he embrace the unexpected friendship of Lorna, a sultry dark witch? Trust, Jack, the alpha of the werewolf pack? Then work together if they are to survive against the monstrous alien race? Vampires Vs Aliens: A Dark Alliance, is a mash up of when the worlds of science fiction, paranormal and supernatural collide. This is what could happen if aliens and vampire battled. Keywords: vampires, aliens, alien invasion, witches, werewolves, action adventure, war. paranormal, science fiction, sci-fi, mashup