Showing posts with label Suzy McKee Charnas. Show all posts
Showing posts with label Suzy McKee Charnas. Show all posts

Thursday, August 14, 2025

The Vampire as Alien

In horror fiction and dark fantasy, we encounter two main types of scientifically explained vampires -- vampirism as an infectious disease or as a hereditary condition. In the latter case, if the vampire belongs to a naturally evolved different species or human subspecies (as opposed to, say, a mutation in one family line, although in many stories the distinction is fuzzy or left unspecified), that's what I mean by "vampire as alien." They might either originate on Earth or migrate here from another planet.

In my opinion THE VAMPIRE TAPESTRY, by Suzy McKee Charnas, is one of the best vampire novels of the twentieth century. It’s one of the earliest book-length works of fiction to explore the question, “How would nature design a vampire?” (as the vampire himself rhetorically asks in the first section of the book). The inimitable Dr. Weyland, the sole survivor of his species, so old he remembers no parents or childhood, holds an acerbic view of the human race, the “cattle” he preys on. Although he can’t digest animal blood and therefore must feed on people, to avoid unwelcome attention he usually refrains from killing or seriously harming his victims. He has great physical strength and endurance and extremely keen senses, but no overtly “supernatural” abilities such as transformation or mesmerism. THE VAMPIRE TAPESTRY chronicles a series of events that open him unwillingly to an emotional connection with some of the short-lived creatures he prowls among. He periodically renews himself by withdrawing into a state of suspended animation, to rise decades later with his clear-eyed predator’s perspective restored.

The naturally evolved vampire occasionally appeared in short stories of the classic pulp era, e.g., the vampire child of Richard Matheson’s “Dress of White Silk,” the family of “monsters” in Ray Bradbury’s “Homecoming,” the pragmatic predator in Jerome Bixby’s “Share Alike.” With the veritable explosion of vampire fiction that started in the mid-1970s, however, especially with a new emphasis on vampires as sympathetic protagonists, natural vampires proliferated at novel length.

Miriam in Whitley Strieber’s THE HUNGER, like Weyland, is the last of her species (as far as we can tell in this novel; the sequel, published years later, reveals otherwise). Unlike Weyland, she admits to being lonely, treats her human companions like pets, and tries to transform some of them into creatures like herself -- with consistently disastrous results. Elaine Bergstrom in SHATTERED GLASS introduces the Austra clan, subjects of several later novels. They can interbreed with human beings, and they have tremendous powers, including regeneration from severe injuries, telepathy, and the hypnotic compulsion common to many literary vampires. The nonhuman creatures in FEVRE DREAM, by George R. R. Martin, combine traits of the traditional vampire and werewolf, since they go into a frenzy of uncontrollable bloodlust for only a few days each month. They can’t reproduce with our kind, and their race is dying out because of the infrequency with which their females go into heat. Jacqueline Lichtenberg presents a race of extraterrestrial vampires in THOSE OF MY BLOOD. Stranded on Earth, they’ve interbred with humanity. One faction, the Tourists, regards human beings as simply prey, while the other group, the Residents, has a moral and emotional investment in the welfare of the people around them. These vampires can exert powerful influence over unsuspecting human minds. Octavia Butler introduces a child vampire whose family has been wiped out in FLEDGLING. Her vampires live in symbiosis with human companions who often fill the role of lovers as well as food source. S. M. Stirling's Shadowspawn trilogy, beginning with A TAINT IN THE BLOOD, features a human subspecies underlying all the darkest myths and legends of vampires, werewolves, incubi, ghosts, and sorcerers. It's a homage to and updating of the same concept in Jack Williamson's classic DARKER THAN YOU THINK.

In the design of a natural vampire, many questions have to be answered, leading to practically endless intriguing variations: Can they breed with human mates? Are they solitary or pack predators? Can they consume any food besides blood? If not, does the blood have to be human, or can it come from other animals? Do they have to kill when they feed? Do they have any adverse reaction to sunlight? (Daylight didn’t destroy the classic nineteenth-century vampires such as Carmilla and Dracula, nor were all folklore vampires limited to nocturnal activity.) Are they immortal or only long-lived? What can kill them? What powers do they have? Any psychic abilities?

Many other authors besides the few mentioned here have explored these possibilities. I analyze this theme in fiction from the mid-nineteenth century to the early 1990s in my nonfiction book DIFFERENT BLOOD: THE VAMPIRE AS ALIEN:

Different Blood (This mini-essay first appeared on a now-defunct blog called VampChix. I plan to continue reposting these retro-reviews of older vampire fiction here in the near future. Since they're all over ten years old, and VampChix was taken down quite a while ago, they'll probably be new to our readers.)

Margaret L. Carter

Please explore love among the monsters at Carter's Crypt.

Thursday, February 02, 2023

Vampires Rule

I recently read a novel with an unusual slant on a world ruled by vampires, DAY BOY, by Trent Jamieson. It takes place in a rather dreary post-apocalyptic world. The narrator is a teenage "day boy," a vampire's mortal servant. These vampires suffer from the movie-invented disability of helplessness during the sunlit hours, so they can't get along without human helpers. One thing I admire about this novel is the realistic treatment of predator-prey ratios. The narrator's small town harbors only about five "Masters" (vampires). While they don't normally kill their donors, they still exercise caution about expanding their own numbers.

It's listed on Goodreads here, with reviews, including mine:

Day Boy

Books and films about vampire-dominated worlds too often portray societies overrun by the bloodthirsty undead, with ordinary humans as a small, hunted remnant. There's no way that model would be sustainable unless the vampires can survive on animal blood and/or a reliable supply of bagged blood. For the latter, they would still need human victims to "donate" unless a synthetic substitute has been invented, as in the Sookie Stackhouse series and its TV adaptation, TRUE BLOOD. And even with the artificial blood supply, in that series the undead remain a minority.

S. M. Stirling's Shadowspawn trilogy, beginning with A TAINT IN THE BLOOD, features a subspecies of Homo sapiens who combine the traits of vampires, werebeasts, and sorcerers, with the power to warp reality in their close vicinity as well as control human minds. They aspire to restore the prehistoric Empire of Shadow, when they openly treated the human majority as livestock and slaves. The vampire-shapeshifter species is a tiny minority of the total population, though, as apex predators should be. For instance, in the present the principal antagonist reigns over her own private village where she's the only resident Shadowspawn. Its human residents are well treated, a few supplying her with blood in regular rotation, while most serve her in other capacities or just keep the town running. The blood donors ("lucies") have to endure only one downside to their pampered lifestyle, their mistress's cheerfully sadistic personality.

A 1991 anthology, UNDER THE FANG, collects a variety of original stories on the theme of vampire-dominated societies, including a collaboration between Chelsea Quinn Yarbro and Suzy McKee Charnas in which Yarbro's Count Saint-Germain and Charnas's Professor Weyland meet in unpleasant circumstances. You can find copies of the book here:

Under the Fang

Considering that vampires are typically envisioned as solitary predators, it seems likely that if they did take over the world, they wouldn't bother with the day-to-day business of ruling. They would probably control human officials who'd do the actual work, while the structures of society would function much as usual, aside from the obligation of catering to the needs of the vampire lords. As Stirling's evil Shadowspawn princess asks in A TAINT IN THE BLOOD, "Do I LOOK like a bureaucrat?"

Margaret L. Carter

Carter's Crypt