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Something to sink your teeth into

Originally posted on Great stories

Twilight

4 September 2008

You don’t have to be a fan of horror to know that stories about vampires are ripe with metaphors.

Lately, and quite inadvertently, I’ve spent a bit of time thinking about vampires – and what they represent metaphorically – thanks to my reading material.

First, I finally bit the bullet (or the jugular, as it may be) and started reading Stephenie Meyer’s mega-selling vampire series, starting with Twilight. I’d been putting this off for a while (as a Josh Whedon fan, I was concerned about stereotyping myself as a fan of all things vampiric).

After I’d read the first two Meyer books, a novel I’d on order from the library became available, The Opposite of Life by Australian author Narelle M. Harris. It was about – you guessed it – vampires.

It was an interesting exercise reading two different stories about vampires back to back, and analysing how the authors tackled the mythology and metaphorical aspects of their tales.

While Joss Whedon used vampires, demons and other “big bads” in his Buffy stories as metaphors for real-life monsters and personal battles, Meyer and Harris take different tacks – along the way also providing refreshingly different takes on vampire mythology.

What prompted me to finally pick up Twilight was an article that revealed Meyer was a practicing Mormon and that – the first book at least – contained no sex and barely any violence. But what really piqued my curiosity was the description of the story as a metaphor for sexual restraint.

At the core of the four-book series is a romance between teenage Bella and her impossibly attractive classmate Edward, who also happens to be a vampire. Edward and his “family” have chosen to abstain from biting and killing humans, but Bella’s blood is so appealing to Edward, that even though he loves her, he’s terrified he’ll her if he loses control in her proximity.

And so, their relationship is one of restraint and longing, filling the pages with sexual tension. The first book captures this tension and conflict remarkably well – to the point of becoming addictive. The second and third books (I’m halfway through the latter) focus more on the mythology Meyer is building, along with Bella’s growing desire to become a vampire so they can be together forever. (I’ll save my critique on the series until I’ve finished the fourth book.)

The Opposite of Life

Harris, on the other hand, takes a more poignant approach in a tale that’s also fresh, witty and – most importantly – original.

Her vampires – who stalk the streets of Melbourne – don’t need human blood to feed their thirst; they need it to “feel” anything.

In this story, wanting to become a vampire is about avoidance. Not avoiding death, but avoiding life and all its pain, which is a palatable option for narrative character Lissa. Too many people in Lissa’s life have died – including some unfortunate souls in Melbourne’s coolest gothic hang-outs – so when she befriends a remarkable unsexy vampire, she seriously considers becoming one herself to avoid any more pain.

Despite the bleak undertones, The Opposite of Life is an easy read and one I really enjoyed. It’s apparently the first of a series featuring Lissa and her forays into the world of vampires (Melbourne’s real underworld), and I’m looking forward to seeing where the story goes next. Harris’ style is somewhere between chicklit and goth horror. And it works.

In both stories, the narrative characters have a choice to make about eternity. One is driven by love and desire, the other (at least in Harris’ first offering) is driven by sadness and grief – ultimately tempered by revelation.

I, for one, am enjoying seeing a classic mythology being given new treatment in hybrid genres. But I think once I’ve finished Meyer’s Breaking Dawn, I’ll take a break from the creatures of the night for a bit.

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