Archive for the 'Vampires' Category

Buffy’s New Romance (Season 8)

Constance Ash March 5th, 2008

[ Mr. Whedon has developed their liaison over several issues. In No. 3 Buffy is overcome by a “Sleeping Beauty” spell undone only by a kiss from someone who loves her. In No. 4 Buffy realizes that Satsu saved her. Last month the pair discussed Satsu’s feelings. Buffy, although flattered by Satsu’s attentions, said the risks of involvement were too great. “People who love me tend to ... oh, die,” she said. Or, she added, they leave, because “sooner or later everybody realizes there’s something wrong ... something wrong with me, or around me.”

The matter seemed resolved, but in the newest issue, No. 12 — written by Drew Goddard, the screenwriter of “Cloverfield” — Buffy and Satsu are in bed, naked under the sheets. “It puts the reader in this ‘Oh my God’ moment,” Mr. Whedon said during a telephone interview. “And it puts Buffy in an ‘Oh my God, what did I just do?’ moment.”

But before fans start blogging frantically, they should know that Mr. Whedon is clear where this is headed. “We’re not going to make her gay, nor are we going to take the next 50 issues explaining that she’s not. She’s young and experimenting, and did I mention open-minded?” ]

 More here.

 Love, C.

Put Poetry in Your Blog Day

Constance Ash February 2nd, 2008

Two Visions of Vampires by two enduringly popular poets:


“Oil and Blood
By William Butler Yeats

In tombs of gold and lapis lazuli
Bodies of holy men and women exude
Miraculous oil, odour of violet.

But under heavy loads of trampled clay
Lie bodies of the vampires full of blood;
Their shrouds are bloody and their lips are wet.

. . . y, otra . . .  from Byron’s The Giaour  . . . .

A turban carved in coarsest stone,
A pillar with rank weeds o’ergrown,
Whereon can now be scarcely read
The Koran verse that mourns the dead,
Point out the spot where Hassan fell
A victim in that lonely dell.
There sleeps as true an Osmanlie
As e’er at Mecca bent the knee;
As ever scorn’d forbidden wine,
Or pray’d with face towards the shrine,
In orisons resumed anew
At solemn sound of “Alla Hu!”
Yet died he by a stranger’s hand,
And stranger in his native land;
Yet died he as in arms he stood,
And unavenged, at least in blood.
But him the maids of Paradise
Impatient to their halls invite,
And the dark Heaven of Houris’ eyes
On him shall glance for ever bright;
They come—their kerchiefs green they wave,
And welcome with a kiss the brave!
Who falls in battle ‘gainst a Giaour
Is worthiest an immortal bower.

But thou, false Infidel! shall writhe
Beneath avenging Monkir’s scythe;
And from its torments ’scape alone
To wander round lost Eblis’ throne;
And fire unquench’d, unquenchable,
Around, within, thy heart shall dwell;
Nor ear can hear nor tongue can tell
The tortures of that inward hell!
But first, on earth as Vampire sent,
Thy corse shall from its tomb be rent:
Then ghastly haunt thy native place,
And suck the blood of all thy race;
There from thy daughter, sister, wife,
At midnight drain the stream of life;
Yet loathe the banquet which perforce
Must feed thy livid living corse:
Thy victims ere they yet expire
Shall know the demon for their sire,
As cursing thee, thou cursing them,
Thy flowers are withered on the stem.
But one that for thy crime must fall,
The youngest, most beloved of all,
Shall bless thee with a father’s name—
That word shall wrap thy heart in flame!
Yet must thou end thy task, and mark
Her cheek’s last tinge, her eye’s last spark,
And the last glassy glance must view
Which freezes o’er its lifeless blue;
Then with unhallow’d hand shalt tear
The tresses of her yellow hair,
Of which in life a lock when shorn
Affection’s fondest pledge was worn,
But now is borne away by thee,
Memorial of thine agony!
Wet with thine own best blood shall drip
Thy gnashing tooth and haggard lip;
Then stalking to thy sullen grave,
Go—and with Gouls and Afrits rave;
Till these in horror shrink away
From Spectre more accursed than they!

   

Joss Whedon - Season 8

Constance Ash August 4th, 2007

The Onion’s AV Club section of  August 2, 2007 issue has Joss Whedon as its cover feature.

The intereview talks extensively about Buffy, Season 8, the probable Season 9 — and the very probable Angel - After the Fall, Brian Lynch doing the outline. 

Which, of course, explains why Angel was always b and c level when compared to Buffy, coz the guy just doesn’t have the imagination, the emotional penetration or sense of rhythm that Whedon’s got.  It would all be great — except there was Buffy … and they dragged all the secondaries in, and that showed why they were the secondaries on Buffy, and not the primary.

He also speaks about the Wonder Woman project, as to why it didn’t work out, and very graciously too.

I checked on The Onion’s website, but though other articles included in this “AV Club” section are there, this isn’t listed.  It is in the paper edition though.  Vaquero very kindly picked it up and brought it home because he thought I’d be interested.  Wasn’t that sweet?

Love, C.

Christmas Story

Lois Tilton December 24th, 2006

I meant to post this yesterday, on the solstice.

Consider it a sort of Christmas card to the blog.

“The Longest, Darkest Night”
by Lois Tilton

The little white lights, like stars.

There is a thin crust of icy snow on the ground. I hear it crunch under my feet. The air is still, crisp and silent. This is my favorite season of the year, the longest night. Somehow I almost feel … there only seems to be one word to describe it - alive.

In this weather I can pull my hood up over my head and wrap a scarf around my face without looking suspicious. To walk like this, out in the open street, is liberating, exhilarating. My step quickens without urgency. I have hours, the whole long night ahead of me.

I enjoy looking at the lights. Almost every house has a tree in the window, and most of the shrubbery outside is illuminated, too. On the corner - a magnificent spruce at least twenty feet high. There must be a thousand white lights.

I can remember the Christmas trees in our parlor when I was a child: those few minutes on Christmas Eve while the candles were lit, the glorious blaze of light. Oh, it was beautiful. And so painstaking to achieve, fastening each little holder, making sure the flame couldn’t touch another branch …

I hear voices up ahead, and I instinctively seek the shadows. It’s a group of children, boys heading home with skates and hockey sticks over their shoulders, strong and vital. I let them pass. Too many of them, and it’s early yet. Besides, I’m enjoying my walk.

A solitary jogger comes past me, stripes flashing silver on her sweatsuit’s arms and legs. The warm fog of her breath hangs in the crisp air, and I can sense the heat and sweat of her exertion, the strong, healthy pulse of blood through her body. I think, if she keeps going into the park, I’ll follow. But instead she turns onto another street, lit by the headlights as she runs against the traffic. I shrug and keep walking. There’ll be another, later on.

I think I hear a radio somewhere ahead, playing Christmas carols. Then I turn around a corner and see them - about two dozen people standing in a rough semicircle in front of a house on the next block, all wearing coats and boots and gloves. Singing.

I’m amazed. A caroling party! I can remember doing this, so long ago. Before …

I watch them, curious, as they finish the carol and move on to the next house, laughing as they get into position. There is a pause, then a woman’s voice begins to sing, and in a moment the rest are joining in: Silent night, holy night …

They go from house to house, closer to where I stand watching, listening. I’m not sure just what I’m doing here. There are twenty of them, at least. It’s late enough now that I’m starting to feel my hunger coming to life. I should be heading back to the shadows of the park, waiting for a solitary man out walking his dog, or a kid taking the shortcut home.

Instead, I’m standing here. It’s not that the singing is all that good. But it isn’t so bad, either, and most of them seem to know all the words to the verses. They’ve obviously rehearsed this, at least once or twice. I find it astonishing, in today’s world, that people would still do this simple sort of thing.

The stars in the sky looked down where he lay …

I glance upward, into the deep black of the sky. They still do.

But now the carolers are crossing the street, coming my way, and I know I’ve waited here too long, I can’t afford to draw attention to myself, let myself be seen. But I still don’t move as they assemble again in front of the brick colonial on the corner, not fifty feet from the tree where I’m standing in the shadow, and the leader begins the first notes of “O Holy Night.” The key she’s chosen is a little too high for most of the singers, and the song is a little ragged. I find myself silently forming the words along with her: the stars are brightly shining …

The thing that I’ve become has lost the capacity for tears. Yet I feel a deep melancholy welling up in my chest, the more painful because it has no means of release. My throat aches. A few yards from me the voices are falling away on the higher notes. The leader’s soprano is almost alone as she reaches the line: O hear the angel voices …

Then, without willing it, I hear my own tenor joining in, supporting her. O night divine!

Her eyes dart in delighted surprise toward the parkway where I’m standing in the tree’s shadow. Most of the others turn around to stare, but a few join in on the final notes. I can see the leader hesitate, but then she begins the more obscure second verse, and I’m with her, I still remember the words.

But it’s my voice that I can barely believe, even as I hear myself. Not in over a hundred years.

But the song comes to an end, and the leader turns around and hurries in my direction. I suddenly realize the tremendous reckless foolishness of what I’m doing, exposing myself this way. I’ve pulled my scarf down from my face so the words won’t be muffled, and now I pull it up again, shivering as if I were cold. I’ve schooled myself over the years not to flinch away from their eyes, but I’m still not ready for this encounter.

The woman is smiling - friendly, welcoming. I can sense the warmth of brandy on her breath and a suggestion of nutmeg - eggnog. Her cheeks are slightly flushed with it, and the cold, and the happiness of what we’ve just done, but the flush is blood, and the closeness of her is flooding my senses.

“That was lovely! We’d be so glad to have you join us,” she’s saying, but I back away a step, from the others surrounding her, the bloodwarmth of their presence, almost overwhelming.

“No,” I say, trying to keep my face in the shadow, “no, it’s already too late, I have to go …”

I hurry away, back toward the darkness and safety of the park. My hunger is aroused now, my senses are acute, but deep inside I’m shaken. The echo of the song, the thrill of the high, clear notes ringing in the air - had I really done that? I try to clear my throat, but all I manage is a constricted croak. After so many years …

It doesn’t matter. Nothing has changed. The night is silent. The loudest sound comes from the slow heartbeats of a nest of squirrels dormant in the branches of a nearby locust tree. I cross slowly to the other side of the park beyond the frozen lake. The floodlights where the hockey players had been skating are dark now. Everyone has gone home.

No. I hear them now, the sound of running shoes - crunch, crunch, hitting the snow-crusted pavement. Coming closer, the breath pumping in and out of his lungs, the warmth of it. A man in strong condition, his breathing is regular as he jogs, even in this cold. Plain gray sweatsuit, no reflective stripes, a navy watch cap pulled down over his ears.

I see where the path goes past a stand of trees, a good place for shadows. My hunger is working in me now. I pull the scarf away. By the time he sees my face, it will be too late.

A midnight clear. The stars in the sky look down, silent and bright and cold.

Where he lies. In the bloodstained snow.

Sleep in heavenly peace.

copyright 1991 by Lois Tilton

(6) Collecting Vampires

Constance Ash July 13th, 2006

 Deep Genre; Introduction; Part 1; Part 2; Part 3; Part 4; Part 5;

Part 6

“Vampires” is a populous subgenre.  Perhaps you would like to create a work featuring a vampire or vampires, but, you wonder, being the professional genre writer that you are, “Will anybody be interested in another novel, another movie, another television program or a non-fiction study dealing with vampires? There have been so many since Stoker’s classic Dracula.“ 

Continue Reading »

(5) Virgin’s Diary: The Immigrant Seducer-Thief-Rapist

Constance Ash July 1st, 2006

Deep Genre; Introduction; Part 1; Part 2; Part 3; Part 4; Part 6;

Part 5

“It’s a seductive story: a mysterious foreigner, a beautiful young woman, blood and passion.” No wonder Lucy went pole dancing after Dracula jabbed her. Since this is also a ballet, in which the characters are played by beautiful faces and bodies,  this is a very different  vampiric ‘eastern’ threat than the hideously non-romantic dark force of Nosferatu, the cinematic model, who brings the Black Death to Europe.

Though the immigration theme is the weakest part of Virgin’s Diary it still is of interest in the concluding scenes.

“Stealing the substance of the west,” says the title card as Dracula steals Mina (danced by CindyMarie Small) away from the convent through a mysterious crack in the wall that leads to his castle realm.

Dracula’s coffin is stuffed with glowing green cash.  “Money stolen from England!” the title card informs us.

Immigrants steal our heart’s blood and our money, which in aggressive capitalist cultures, are interchangeable.  Stab Count Dracula, as Van Helsing does in the Diary and cold gold coins burst out of him, not hot blood.  The money scenes are the most colored of this mostly black and white film – green for money, gold for coins, red, of course, for the blood.  Stoker’s novel is permeated with references to cash and capital and the value of things.

The Outsider, the immigrant, also steals our women, our rightful possessions, and changes our women into the Other.  They lure our women with the promises of what we do not have –more hair, more exciting love-making (for being primitive they are less repressed, and more, um, endowed, so goes the mythology), a more open life.  They also steal the life force from True Men, if you wish to do a freudian reading in which the neck can stand in for the phallus.  These primitive forces rise against us, attempting to turn us into weaklings, female ourselves. Continue Reading »

(4) Virgin’s Diary: Mina the Authentic Virgin

Constance Ash June 30th, 2006

Deep Genre; Introduction; Part 1; Part 2; Part 3; Part 5; Part 6;

Part 4

In Stoker’s era a woman who had sexually sinned was infectious, a contagious miasma. She who violated the sexual rule that she never submit but to her husband’s sexual appetite needed to be quarantined from all other respectable persons, especially other women, for they too might catch her evil taint. Therefore, as in Stoker’s novel, Mina (danced by CindyMarie Small) is not present during Dracula’s seduction of Lucy. In the film Mina’s at the nebulously located convent where her financé, Jonathan Harker, has taken refuge, ill from the erotic fog Dracula’s vampire harem cast over him.

The ballet enacts this via Mina’s reading of his journal.

In Stoker’s novel Mina’s letters, journals, her cutup of information out of newspapers and other sources (very modern structural technique here, as critics have noticed with joy), her skills with typewriter and stenography and knowledge of train schedules and all the other technical tools of Victorian capital administration are utilized by her. She tries to defeat Dracula by exercising the powers of her formidible mind – the mind that Van Helsing so admires that he elevates it to the status of her soul. Mina is active in her work to save Jonathan and herself, to track the monster, Dracula. Lucy merely submits. Writhing in voluptuous acquiescence, Lucy invites him in.

Continue Reading »

(3) Virgin’s Diary: Lucy

Constance Ash June 29th, 2006

Deep Genre; Introduction; Part 1; Part 2; Part 4; Part 5; Part 6;

Part 3

[Sidebar – Last night Vaquero did a solo concert of his songs and music at the Bowery Poetry Club.  When friends ask what I was doing this summer, my stock answer was, "I'm writing about vampires."  Every single one of them responded, "Real ones?"  This left me puzzled until a political journalist from one of the weekly's responded, "Good for you.  Everybody should be writing about them."  Lightbulb.  Everyone thought I was writing about the inhabitants of that crypt called Washington, D.C.  The ruling class characterized as vampires is a long tradition.  See the political cartoons, for instance, of Stoker's era, depicting the Anglo-Irish landowners as vampires sucking the blood of the Irish people.  There will be more about this later.]

Virgin’s Diary skips Harken’s journey and begins within what would be Stoker’s Chapter 5.  Lucy Westenra (danced by Tara Birtwhistle) narrates that she’s received three proposals from three different men, all on the same day.  Lucy wonders why things are such that she cannot have all three of her suitors.  The title board says, “Why need I settle for one?”

Continue Reading »

(2) Virgin’s Diary: Form as Gender Destiny Correlative

Constance Ash June 28th, 2006

Deep Genre; Introduction; Part 1; Part 3; Part 4; Part 5; Part 6;

Part 2 

The silent and expressionist film and ballet techniques of exaggeration allow Virgin’s Diary to particularize, to emphasize, the mirror-aspects of  Stoker’s tale, in which each era sees its own varieties of sexual and gender conflicts reflected.  Thus it is interesting to note that Virgin’s Diary lacks one of the primary conventions of Stoker’s vampires, the absence of a mirror’s reflection.  Perhaps that is because movies and ballets are conventionally played to a multi-member audience. The players are the audience’s mirror of whatever self the members project upon them.

The art of ballet, like Stoker’s classic vampire tale, stands as a correlative for the use of women until they are used up whether within or without the marriage bond.  The rigors of the ballet art break down a ballerina’s body.  Sex, which leads to the rigors of childbirth break women down, as is Lucy Westenra’s mother is broken down, who dies in both Stoker and Diary, because she’s of no use now, not even to the plot.  It has been considered a puzzle, this inclusion of frail, sick Mrs. Westenra and her death, whether in Stoker or the Diary.  It is considered an irrelevancy that distorts the tale.  However, her inclusion and her death underlines (exaggeration and distortion) that this is the life trajectory of women: from freshness (once she was as Lucy is now), to injury-illness-invalidism, monsterhood, death – to be immediately replaced with fresh, untainted virginal blood, like the new, 17-year-old prima replaces the injured prima ballerina assoluta, like the pure Mina Murphy-Harker replaces Lucy Westenra the Monster. Continue Reading »

(1) Dracula: Pages From A Virgin’s Diary (2003):

Constance Ash June 27th, 2006

Deep Genre; Introduction Part 2; Part 3; Part 4; Part 5; Part 6;

Part 1

This is an admirable addition to the canon of vampire films.

 

 

Virgin’s Diary is particularly intriquing because it combines 3 creative forms: novel, film and ballet. Additionally, Stoker’s Dracula (1897) and German director Murneau’s Nosferatu (1922), on which this film-ballet is based, are both progenitor works of vampire genre, making Dracula: Pages From a Virgin’s Diary a derivative work, that is also an original work. (The ballet was choreographed by Mark Godden for the Royal Winnipeg Ballet company in the late 1990’s.)

In this film Canadian director Guy Maddin employed the silent cinema conventions of superimposed images, irises, odd angles and title cards. From director Murnau he borrowed the signatures of expressionist cinema – distortion, exaggeration, and extreme metaphor, with an emphasis on composition and shadow play – perfect for filming a vampiric story ballet.  Murnau’s was the first way we saw vampires on film (there were stage productions of vampiric works even before Stoker’s novel was published).

 

 

Maddin added gouts of color here and there throughout the film: scarlet blood, glowing green and gold money, the dark, sticky crawl of the vampire’s trajectory out of the primitive east to civilized England. The soundtrack is Gustav Mahler, thickened with occasional source sound additions such as the penetration of fangs and stakes, the ugly whack of a beheading.

Maddin mated the film techniques of Murnau’s plague infestation theme with Bram Stoker’s delirious sexual confusions. The title card texts are direct quotes from the Stoker novel.  The characters are Stoker’s, played by dancers in the Royal Winnipeg Ballet Company.  Though there’s a veneer of  irony, it’s very thin, for this is a ballet based on a work from the era of melodrama theater, where Stoker spent much of his working life. Dracula was adapted to the stage almost immediately upon publication.  (An interesting aside: the same year Dracula was published,  Kipling wrote his poem, “The Vampire,” to accompany an exhibition of painting by Philip Burne-Jones.)

Many of the actors in the movies from the silent era received their training in the theater, a theater before microphones.  Their exaggerated gestures and expressions were meant to project from down stage to the back row of the house; they evolved out of pantomime and earlier public entertainment forms.  With certain refinements these are still used by ballet dancers, the best of whom are actors as well as dancers.  Their technique is a rigorously trained combination of controlled exaggeration and perceived delicacy.

This rhetoric of ballet technique is an informative mirror in which to reflect the Dracula text, while unpacking the erotic contradictions and cautions embedded in the text.  Stoker’s vampire novel is about the ever-shifting values of sex and gender.  What is womanhood? What is manhood? Is sex evil?  These questions are asked on nearly every page. Since these confusions and conflicts are present in any era, in any person’s life, it is unsurprising that Dracula has never been out of print since its publication.

The ballets in the film delineate in clear actions of the body these conflicts and confusions are.  The Blood Brotherhood of True Men, led by Van Helsing, are mirrored by the Vampiric Harem Trinity, submissive to Dracula. The medical examination of Lucy by Van Helsing is as invasive as Dracula’s fangs, equally lascivious but without the seductive glamor and pleasure of the Dark Kiss.  It is comic, but it is ugly, not fun.  Nor does Lucy respond to Van Helsing’s clumsy gropings – she lies unconscious, inert, whereas touched by the Dark Lover’s delicacy, she responded with every part of her body.   All actions are mirrored by their opposites, but their state is fluid.  It is ‘good’ for Van Helsing to examine Lucy, but it is demeaning.  It is bad for Dracula to bite Lucy, but it is breathtaking, and the bite lifts her out of herself.  What is good today tomorrow will be evil. We are lost in a hall of mirrors.  There are no final answers.
 

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