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You are on page 1of 10 Search inside document Victoria Johnson loves her life. She's her own boss in a quaint beachside town, and has great friends who keep her grounded. If only they knew who she really is: an heiress to an ancient race who possesses astonishing superhuman powers. It's Victoria's duty to restore her clan of Light Hunters to their former glory by choosing the perfect mate. In Christopher Sombrosa, she just may have found him. Strong, smart, and successful, Christopher exudes a powerful energy. Their connection is sensual, irresistible and forbidden.
I think even the cover is scary [pic 11]. The different kinds of paranormal lover stand in for different epistemological stances as much as do different modulations of genre, and themselves can be said to identify sub-subgenres, depending on which creature dominates the text. The vampire is a creation of the eighteenth century, first appearing in ethnological reports of the vampire panic in Eastern Europe and detailed with Enlightenment scep- ticism.
There, it is wholly monstrous and inhuman [pic 12]. But it very quickly be- comes a creature of fiction and poetry. The By- ronic overtones, however, are important in the development of the theme. The sleeping women, with the monster looming over her is, as you will notice, a common motif, but here the monster is another woman. So not exactly love at first sight.
In the earliest cinematic incarnation, he is still truly monstrous as Orlok in F. But he gets progressively sexier through the history of cinema: Bela Lugosi, Christopher Lee, Frank Langella [pics 16, 17, 18].
How dare you cast eyes on him when I had forbidden it? Is it not so? Well, now I promise you that when I am done with him, you can kiss him at your will. Who desires whom? But who are the love objects of Dracula, and other vampires in general? Female vampires are certainly often desirable.
Who does he 6 love, or who loves him? The truth is, Lucy is more sexy as a vampire. This is when she, though already trans- formed, lies dormant and apparently newly deceased.
So, there must have been some buried seed to work on; the operations of parody, hypertextual- ity, and genre transformation are very important here. Perhaps that very absence, that unfulfilled desire, the unanswered question—who does Dracula love? Auerbach, however, claims that the demand for a love story arises because Dracula is so bleak.
Twilight has, too, been seen by horror stalwarts such as Stephen King as having been far too diluted by the genre of romance; modern vampires are just not scary enough. I confess to thinking that the heavy dose of romance in Twilight brings a kind of certainty that renders it less interesting than other, more questioning fictions. Vampire lovers Since Stoker, Dracula himself has been a lover many times: inspiring desire; even the formidable slayer of vampires, Buffy, comes under his spell at one point [pic].
This is one of the ur- texts for the vampire as tragic lover and beloved. Here we first see the importance of good biting; you need good biting for the perverse vampire eroticism to work. The distinguishing feature of blood drinking and exchange gives the vampire, along with the conven- tional mesmeric powers, an advantage over other monsters as a focus for sexual de- sire.
There are the tormented romances between Buffy and Angel in Buffy the Vampire Slayer, and later, Spike [pics 21, 22] as with many people here, I suspect, this is where my own thirst for vampire stories became stirred. In the late twentieth and twenty-first centuries, we have a plethora of vampiric lovers. There are Laurell K.
Why is there a need for a vampire who is not just humanised and sympathetic, but sexually attractive? It might boil down to the cynical and market-driven exploitation of a niche—that of a largely female readership. Often, the male vampire lover appeals precisely because he is both attractive yet dangerous.
Precisely why this is appealing would need a deeper kind of psychological analysis than I dare give but it may be as much a way of negotiating the perceived difference of masculinity as any urge to submissiveness particularly in young adult fiction.
Why is there this submissive, even masochistic quality in such novels? What pleasures lie in them for intelligent 8 and independent women in the twentieth and twenty-first centuries?
Plus, there are all the mysterious and unaccountable excitements of danger and transgres- sion. Recent vampires, however, may stand accused of having watered down their threaten- ing aspects. The dangers from Edward Cullen are so minimised that he is hardly vam- piric anymore—more a superhuman who might accidentally break Bella with his su- perior strength if their passion gets out of hand, and this diminishes the disturbing fas- cination of the true romanced Gothic, with its dangerous lovers from Rochester to Angel.
Smith in The Vampire Diaries solves some of the problems of loving the monster by splitting her vampire lovers into brothers, Stefan and Damon, one good, the other evil though this is qualified [pic 27].
The picture is the more recent TV series. Postmodern vampire love The sympathetic vampire first stirs in a handful of significant texts from the s onwards which lay claim to inaugurating the vampire as lover. Notice how it mimics the iconography of the Twilight cover [pic 32]—many of the covers do. Like many Young Adult paranormal romances, this is touched by the coming-of- age narrative: when the story begins, Solange will be transformed into a vampire on her sixteenth birthday in three days time.
Solange is unique; the only girl in a family of hereditary vampirism for nine hundred years. The sexual appeal of the male of romantic fiction is supplemented by an additional factor, which entwines romance story conventions with epistemological questions al- most from the start. Here, the ideas of agency become complicated.
Autonomy here is challenged by a positivist worldview where free will is overridden by desire founded on pheromonal compulsion. I tingled all the way down to my toes [. When his tongue touched mine, my eyelids finally drifted shut.
I gave myself to the moment, all but hurled into it. Just imagine if we actually liked each other. Romantic fiction conventions, by being placed in the supernatural con- text, can themselves raise these questions of knowing. In Solange, too, struggles over different epistemologies of desire are contested.
To vampires, she is irresistible; males compulsively lust after her, wanting to breed with her since she is a rare female. Their lust is triggered by her unique smell, consisting of those powerful pheromones. Vampirism itself is explained with a hesitancy between paranormal and biological causality. All this recalls ac- counts of human behaviour—particularly sexual attraction—by contemporary evolu- tionary psychologists and sociobiologists. Yet, alongside these determinist view- points, there is a sense of agency asserted too, and the mixture of genres—echoes of science fiction in conjunction with a novelistic depiction of interiority—echoes the perplexity over agency in a supposedly postmodern age.
The oscillation between modes and genres allows a scepticism towards the positivist strand of Enlightenment to emerge, but in a way that reasserts subjectivity rather than permitting he poststructuralist dissolution of the subject. The werewolf, too, being bound to a hierar- chical pack society, evokes a different perspective on the social than the often solitary vampire.
Amidst twenty-first century concerns about the environment and a devaluation of the centrality of the human, werewolf narratives often express a longing for a less antago- nistic relationship with nature, alongside utopian aspirations towards the heightened powers particularly sensory perception and imagined intensities of animal existence.
However, many such fictions adopt an uncritical admiration for the instinctual and a postmodern denigration of agency and subjectivity that can lead to unexpectedly reac- tionary positions—as when gender hierarchies become legitimated by an essentialism derived from animal analogies. Generally, werewolves embody determinism more than other paranormal characters, biology inescapably dictating their identity. Various ideological issues are raised by the werewolf narrative.
There are those around gender. Thus many of these novels share the obligatory feisty female protago- nist [pic 37], who is present both from a generic imperative and due to what is so- cially acceptable in present-day Western society, particularly when a largely female readership is involved.
Yet contradictions emerge between this and the prevalent submission to pack hierarchy and to the dominant alpha male that the heroine half- willingly acquiesces to. She simply is this creature of uncontrollable sexuality—it is her essence and rooted in her biology. These narratives again echo contemporary anti-humanist ideologies of evolutionary psychology. The temptations of postmodernism are resisted and a valorisation of the spirit of Enlightenment is attempted.
The trilogy is tantalisingly ambivalent about the appeal of the instinctual and the bor- derline between an embodied humanity and the animal, particularly as manifested in the love affair of the teenage protagonists. For Marcuse, the surplus-repression of the proximity senses smell, taste enforces the isolation of individuals in civilisation. Stiefvater continually emphasises the sense of smell both as a trigger to sexual attrac- tion and as an aspect of the pack sociality and sense of belonging of the wolves.
Through such devices, she concretely renders the nearness of Grace and Sam her young lovers to wolfhood. The narrative refuses to endorse simplistic oppositions between the animal and the human, recognising and celebrating the embodied consciousness that is being human, and aware of the complex affinity of romance and instinct.
Stiefvater points towards a transcendence of such antinomies though, ultimately, she asserts the distinctively hu- man powers of language, of individual identity, and goal-oriented agency as her char- acters find their voice and define their projects. About Publish Join Sign In.
Readers Benefits of registering Where are my ebooks? Your E-mail: Describe your issue Have a question not already answered in the links at left or on our main FAQ page? Ask it above. Update About Erotica Types. Bestiality - Sexual relations between humans and real-world animals sex with Big Foot, dinosaurs, shape shifters and other imaginary creatures is not bestiality.
Dubious Consent dubcon - A common and popular theme in mainstream fiction. Dubcon explores the gray area between consent and non-consent. Not clear if the receiver of the sexual act was fully on board or not at the time of the act.
Most major retailers carry dubcon erotica. Incest or pseudo-incest - Sexual relations between family members, whether biologically or non-biologically related. Includes stepbrother, stepsister and step-anyone. Nonconsensual sexual slavery - Erotic depiction of a person captured or held against their will, such as kidnapping, imprisonment or human trafficking.
Not to be confused with BDSM, which is predicated upon informed consent and negotiation between both parties before the act, and which provides safe words so either partner can end the act if it goes too far. If the book adheres to BDSM best practices, we instruct authors and publishers to not classify it as nonconsensual sexual slavery.
Rape for titillation - The dominant theme of this book is rape — whether the rape is by one person or a character is raped by a group of people, i.
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Lesser Nefertiti by Jon Jacks Price: April 7, Why does the freshly excavated Egyptian tomb have a second, sealed door?
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