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Nyx in the House of Night (thoughts) |
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December Moon. S G Turner. Another area worth considel2l[6n-one in which the House of Night vam- pyres break with convention-is their Llncomlncln method of blc-lod-drinking. Readers will undoubtedly recall the pectrliar way in which Zoey's tc-rngue, wlren drinking from Heath in Berray ed, "flicked out ancl licked the blood from his neck. Perhaps this is because the H6,use of Night l,am1. This particular species of bat uses its enlarged canines to rnark delicately in the skin a srnall incisiorr.
Afterwards, the blood flows freely from the wound as a result of an ar"rticoagulant in the bar's saliva. Using its specially designed tongue to drarry out the blood, the bat then laps it up, as a cat laps up milk. However, with respect to screen vampires, this particular ability of Zoey's and the adult vampyres' saliva is, it would appear, a sort of naturalization or re-imagining albeit a more pracrical one of the eroric clisplay between vampire and victim that started tc'r develop on screen in the late s, after America relinquished to the UK in rhe late s its monopoly on vampire fihns in general and Dracula filrns in 16 P.
The next luajor An-rericanDraculnfilm would not be released until the late s. Frorrr this point forward in filnr and literary history, it becarne customary fcrr the vampire's attack to elicit from victims a more sexualized response. Put simply, though the figure of the vampire itself has been sexual- ized since its folkloric origins, the victim's conscitlus, unreserved erubrace of the rrampire's attack, as in the case of Heath and Zctey, is the inventic'rn of film, not fblklore. In keeping with production codes at the time, stage and film producers used capes t0 obscure 0r censor from viewers the perceivably erotic and sexualized act of vampiric penetration and blood or fluid exchange.
Thus, the cape, too, has no origin in folklore, deriving instead from the first stage adaplations of Dracukt during the mid to late s. Afterwards, this rather useful garment in Dracula's wardrobe carries over into film with Universal's L ruula lg3l , where it and several other motifs help to cement the image that has been associated with Dracula and vampires ever since. In that rime, I have disc,rvered that living amongst the Crescent City are perhaps serreral dozen extraordinary citizens r,vho, quite vehemently, self-identifu as 18 A particularly strong examl:rle here is Hammer's Dracula UK , release.
My research in this particular field is on-gt-ring, but some of what I've learned is reflected, in varic-rus ways, in the title given to this section. The title's significance is twofold. The organization's mem- bers represent various associatecl vampi y ric "groups, Houses, Orders, patl'rs, beliefs, and segments of the vampi y re community who meet and are able to pr-rt aside personal differences tcl work together to discuss, suggest, implement, and support projects, ideas, and c-rther intellectual r. Laycock contends, and accurately so I think, that the vampi y re, as a category of person, has been defined primarily from the outside, in literature, frhn, and various popular interest groups.
It is only rrow, after some thirty years of prog' ress, that we've begun to see the vampi y re cornmunity "take ownership of the categc'rry, redefining it frorn the inside. For our purposes here, it is interesting to note that the House of Night's vampyre sclciety shares many similarities with the real vampi y re community. For example, fledgling vampyres in general, and Zoey in particular, begin to experience the "Change," including a longing for blood, during their teens. This may also be said about the rnembers of the varnpi y re cc mmunity whorn I've studied or read al.
Both "veil" and "rnundane" are two words that appear fre- quently in real vampi y re,. There, the word "veil" generally alludes to "The Black Veil," which is a sort of vampi y t" code of ethics that has taken prominence in the community. The word "mundane," on the other hand, is in the varnpi y re community a somewhat elitist tenn. To cliscuss the role they play among valr-rfri y res, I rnust again turn to my astute ct-rlleague Joseph Laycock and his ground-breaking wc-rrk in the field. It is independent of the community, yet at the same time it is closely linked to the vampi y ric experience of the community's individuaI members.
The survey instructed the participants, metnbers of the varnpi y re cc rnmunity, to check all with which they identified. New Religious Movements are. AD lrZl noting that among the categories marked most frequently by participants in the survey were Magick, Wicca, Neo-Paganisrn, Occultisrn, Christianity, and Sharnanism.
Moving on from spriritual natters to more physical ones, the harvesting of hurnan blood by the varnpyres in the House of Night series is also of par- ticular interest here.
This particular ritual between vampyre and donor, which is kept rnore or less on the sidelines in the Hc'ruse of Night-we do not know, for instance, where tl're larger vampyre comrnunity obtains its t'rlood-proves equally important in the real vampi y re comrnunity, as well. Here, just as in the House of Night, it operates under similar secretive terms. In the case of blood-drinking vampri y res in tr-rarticular, I have docurnented direct contact fee. In the case of the latter, I rnay even claim first-hand experience. Some tirne ago, one of the par- ticipants in my study had, cln one instance, clffered me a sip of his tea "concoc- tion," which he on occasion prepared for himself and drank at such times when fresh human blood was not in reacly supply.
It was not, c'rf course! There is one other similarity of note between the vampi y re comrnunity ar'rd the vampyres of the Casts' creation: the name selection and identity- making we observe in the House of Night series. After all, how many of us have dreamed of leaving behind the boring, day-to-day hfe we know for another, tnore fantas- tical one: a life in which we niry pick for ourselves a new nalne and identity, and embrace our individual diftbrences as a neans of unity. As impossible as this fantasy may seem, one has t-nly to look to the real vampi y re com- munity and its members for inspiration, some of whom, in the New Orleans and Atlanta cornrnunities, I have come to know and communicate with on a personal Lrasis, and therefore offer here as examples: Belfazaar Ashantison, Mephistc-rpheles, Jezabel Deluna, Maven, and Merticus.
In drawing from older, lnythic elements of Er-rropean revenant folklore along with more recent irnages of varnpires, the Casts have succeeded in creating a modern vampyre-and a modern vampyre society-that has enthralled readers with a tht-lroughness that even Dracula rvould envy. Additionally, Browning has spent the last year conducting an ethnographic study of persons living in New Orleans who self-identifii as vampire, a project that has become the focal point of his doctoral disserrarion. Related Papers. By Merticus X.
By John Edgar Browning. Final paper vamps.
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