By Nina Auerbach
"[Auerbach] has obvious extra Hammer video clips than I (or the monsters) have had steaming scorching diners, encountered extra bloodsuckers than you'll shake a stick at, even a couple of crossed sticks, reminiscent of may well deter a truly refined ogre, a hick from the Moldavian boonies....Auerbach has dissected and deconstructed them with the gentle ruthlessness of a hungry chef, with cogency and wit."—Eric Korn, Times Literary Supplement
"This seductive paintings bargains profound insights into a number of the pressing matters of our time and forces us to confront the intense meanings that we make investments, and search, in even the shadiest manifestations of the eroticism of death."—Wendy Doniger, The Nation
"A lively, witty examine the undead as cultural icons."—Kirkus Review
"In case someone should still imagine this publication is purely a run of the mill lit-crit exposition...Auerbach units issues immediately in her first actual paragraph. 'What vampires are in any given generation,' she writes, 'is part of what i'm and what my instances became. This ebook is a heritage of Anglo-American tradition via its mutating vampires.'...Her booklet fairly takes off."—Maureen Duffy, New York occasions publication Review
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Extra info for Our Vampires, Ourselves
Sample text
Unlike conventional vampiriaed ingenues—V'arney's Flora or Dractn'a's ivlina—Laura has no congregation of embracing men to welcome her hack from the dead: she returns only to the father-ruled solitude of her pre-Garmilla existence. Her final sentence is not merely elegiac: as effectively as the moonlight under which dead male vampires quivered, Laura's memories restore C-anrrilla's physical life. The "light step" is as material as ever, while the final "door" reminds us that Carmilla is no phantom, but flesh, who, like us, must open doors to pass into rooms.
For all the individuality it expresses, Clara's ghastly face is indistinguishable from her white clothing. Even her name is an abstraction, as is that of the snarling ingenue Clara inspired, Bram Stoker's Lucy Westenra. These girls whose names mean “light” exist only to be extinguished and reiit by a vampire master. Garmilla's is a different story. Her origins are obscure and remote; as far as Laura perceives, she sleeps, prowls, and falls in love on her own authority. if anyone directs her, it is the mother who engineers the supposed carriage accident that deposits Carmilla at the castle of Laura's father.
A streak of blood was issuing from the mouth, and the eyes were open“ (p. }. Clara's features are no longer her own: "the" face, "the" mouth, "the" eyes are varney's fabrications. For all the individuality it expresses, Clara's ghastly face is indistinguishable from her white clothing. Even her name is an abstraction, as is that of the snarling ingenue Clara inspired, Bram Stoker's Lucy Westenra. These girls whose names mean “light” exist only to be extinguished and reiit by a vampire master. Garmilla's is a different story.