Thursday, February 15, 2018


It's hard to believe FLEDGLING (2005), by Octavia Butler, is already over ten years old (thirteen, to be precise). Therefore, it falls into the time period for books I've been tacitly classifying as "older works," so it's eligible for discussion here. Also, it probably qualifies as "overlooked" within vampire fandom, because Butler is mainly known for SF, not fantasy or horror.

As one would expect from a distinguished science-fiction writer, this novel is an exciting, fresh approach to the motif of vampires as a naturally evolved species. Although the Ina, as they call themselves, have their own origin myths, they don't know for sure whether they came from another planet or evolved alongside humanity on Earth. They can't breed with Homo sapiens, but they depend on human "symbionts" not only for blood but for emotional connection. These vampires' venom is addictive, so that once bonded, their symbionts, of which each Ina has a household full to avoid draining any one individual, can't leave their Ina or even want to. In addition to the ravishing pleasure of donating blood and sometimes sharing sexual passion with the Ina, they also gain the advantage of improved healing and extension of their lifespans to a couple of centuries. Shori, the first-person narrator, looks like a child, even though she is really over fifty years old (still childhood for her species). At the beginning of the novel she has lost her memory after a brutal attack that destroyed her home and killed everyone in it except her, both Ina and human. A young man driving by picks her up and quickly becomes enthralled by her. Gradually she discovers her true nature, connects with other Ina clans, gathers a new group of symbionts, and searches for the murderers of her family. She discovers she is targeted for assassination because she's the product of a breeding experiment that added melanin to her genetic makeup (so she's dark-skinned rather than pale like her kin) through insertion of human DNA, in order to reduce her sensitivity to the sun. (Ina don't disintegrate or burst into flame in sunlight like movie vampires, and unlike any folklore or pre-NOSFERATU literary vampire. They're just terribly vulnerable to its damaging effects.) Most of her kind think this hybrid origin makes her an abomination. Thus the novel explores racism from an unusual angle, as well as delving into issues of power and sexuality.

In case you missed FLEDGLING upon its original publication, check it out.

Margaret L. Carter

Explore love among the monsters at Carter's Crypt.

Monday, January 15, 2018

The Undead

Another older vampire anthology well worth tracking down, THE UNDEAD (1973; paperback 1976), edited by James Dickie, ranges beyond the familiar, often-reprinted stories and, as the title hints, includes a few pieces that aren't quite traditional vampire tales. The reader encounters some of the usual suspects, such as Stoker's "Dracula's Guest," "For the Blood Is the Life," a haunting portrayal of love beyond the grave by F. Marion Crawford, and "The Room in the Tower," by E. F. Benson. Other works in this volume might be less familiar, even to some devoted vampire fans.

In Manly Wade Wellman's "When It Was Moonlight," Edgar Allan Poe meets a vampire revitalized by moonlight, like Polidori's Lord Ruthven and Varney the Vampire in the penny dreadful novel of that name, a motif seldom used in more recent fiction. "The Canal," by Evelyn Worrell, about a lonely vampire woman trapped on a barge by the power of running water, was adapted for an episode of NIGHT GALLERY. "The Tomb of Sarah," by F. G. Loring, "Revelations in Black," by Carl Jacobi, and "The True Story of a Vampire," by Eric, Count Stenbock (a sympathetic rendering of a vampire unwillingly obsessed with a young boy) offer various other takes on the traditional undead. Lesser known, "The Old Man's Story," by Walter Starkie, tells of a girl seduced and transformed by a vampire in the archetypal Eastern European setting.

Two tales by Clark Ashton Smith are included. "The End of the Story," set in Smith's imaginary French province of Averoigne in the eighteenth century, portrays a lamia lurking in a ruined chateau. "The Death of Ilalotha," taking place in an exotic fantasy kingdom, features a seductive witch who rises from the dead as a demonic predator. I've never seen either H. P. Lovecraft's "The Hound" or Ambrose Bierce's "The Death of Halpin Frayser," both offering unconventional variants on the undead, in any other vampire anthology. Bierce narrates the title character's encounter with the revenant of his over-possessive mother. In "The Hound," a pair of treasure-hunting tomb robbers become the prey of a monstrous creature from the grave.

The book begins with six lines of verse by Yeats, a haunting poem by Richard Wilbur, "The Undead," and an introduction by the editor that gives an overview of vampire folklore and nineteenth-century vampire fiction. All the stories definitely merit the labels of "classic" or "vintage," the most recent dating from 1940 (Wellman's).

Margaret L. Carter

Carter's Crypt

Friday, December 15, 2017

A Feast of Blood

One early vampire anthology worth getting, if you don't already have all the stories in it, is A FEAST OF BLOOD (1967), edited by Charles M. Collins. This paperback compilation begins with a thoughtful nine-page overview of the development of vampire fiction, up through Richard Matheson's I AM LEGEND (1954). Collins's discussion necessarily hits only the highlights but does a decent job of exploring how "Images of the Vampire" (the title of the introduction) have transmuted and multiplied since John Polidori's "The Vampyre" appeared in 1819.

The contents are: "The Mysterious Stranger" (an anonymous story translated from German, which uncannily foreshadows several features of DRACULA), "The Vampyre" (Polidori), "Dracula's Guest" (Stoker), "Wake Not the Dead" (Johann Ludwig Tieck, although more recent scholarship suggests that Tieck may not have been the actual author of this work), "Revelations in Black" (Carl Jacobi), "Schloss Wappenburg" (D. Scott-Moncrieff), "The Room in the Tower" (E. F. Benson), "Blood Son" (Richard Matheson, a tale also known by the titles "Drink My Blood" and "Drink My Red Blood"), and "A Rendezvous in Averoigne" (Clark Ashton Smith). The table of contents includes the publication dates of the stories, a useful feature I'm always glad to find in a reprint anthology. For some unexplained reason, they're not arranged chronologically but, as far as I can see, in a completely random order.

All these stories hold up well regardless of their age, while displaying the changes in narrative style and attitudes toward vampirism that evolved over a period of (at this book's publication date) a century and a half.

Margaret L. Carter

Carter's Crypt

Wednesday, November 15, 2017

Sherlock Holmes vs. Dracula

Loren D. Estleman presents Bram Stoker's classic as told by Dr. Watson in SHERLOCK HOLMES VS. DRACULA: THE ADVENTURE OF THE SANGUINARY COUNT (1978). The novel begins with an introduction in which Estleman, as "editor," narrates the discovery of Watson's long-lost manuscript. The rest of the book unfolds the "truth" about Count Dracula's invasion of England from the viewpoint of Holmes and Watson, with a preface by Watson explaining that Stoker's novel contains bits of deliberate falsification to omit any mention of Holmes's role and magnify Dr. Van Helsing's. In a credible pastiche of Arthur Conan Doyle's style, Watson begins the adventure at the point where Sherlock Holmes first becomes aware of it, when a journalist from Whitby consults him about the shipwreck of the mysterious "death ship" in Whitby Harbor. It's expected, of course, that most readers will be familiar with DRACULA and thus will follow Holmes's investigation in full knowledge of what really happened to the doomed vessel.

Holmes and Watson later track the "Bloofer Lady" and run into Van Helsing's team preparing to stake the undead Lucy. From Van Helsing, the great detective hears the incredible tale of Count Dracula's journey from Transylvania to England. Throughout the novel, Holmes's investigation intersects the activities of Stoker's characters, but Holmes and Watson don't directly confront the vampire lord until late in the story, when Dracula's threat finally becomes personal. Appropriately, the detective's role in the case ends with Dracula's shipboard flight from England back to his homeland. Holmes and Watson learn the ultimate outcome at second hand.

This book comes across as a believable piece of Sherlock Holmes fanfic, which I think any fan of Doyle's series would enjoy. As a vampire novel, it's simply a retelling of DRACULA filtered through an observer who remains mostly distant from the action until the climax. The Count appears onstage even less than in Stoker's original. A much better vampire fiction crossover of the two classic characters is Fred Saberhagen's THE HOLMES-DRACULA FILE (also 1978), a sequel to his own inimitable reinterpretation of Stoker, THE DRACULA TAPE (1975).

Margaret L. Carter

Explore love among the monsters at Carter's Crypt.

Sunday, October 15, 2017

Vampires: Two Centuries of Great Vampire Stories

VAMPIRES (1987), edited by Alan Ryan, amply fulfills the promise of its subtitle, "Two Centuries of Great Vampire Stories." Beginning with Lord Byron's cryptic "Fragment" and John Polidori's "The Vampyre" (the first known vampire story published in English), it includes almost all the classic nineteenth-century stories and the highlights of vintage fiction from the first half of the twentieth century, up through Richard Matheson's "Drink My Blood." Since only one story per author is included, the editor had to choose one each among the many vampire tales written by Matheson, Robert Bloch, M. R. James, and E. F. Benson. He covers the rest of the twentieth century into the 1980s with an excellent selection of widely varied tales. At this point, of course, choices have to be subjective, since there's room to include only a fraction of the "great." As for the two classic Victorian novels, VARNEY THE VAMPYRE is represented by its first chapter and DRACULA by the outtake known as "Dracula's Guest."

Ryan prefaces each story with background information about the author. Two appendices list major vampire films and twentieth-century novels (all of those post-1970 except Matheson's I AM LEGEND and Theodore Sturgeon's SOME OF YOUR BLOOD). The checklist of novels amounts to a representative sample of the best, since presenting all the outstanding book-length vampire fiction from 1970 to the mid-1980s would require an extensive bibliography. What makes this anthology uniquely valuable is that the stories are in chronological order, and the publication dates (or, in the case of "Dracula's Guest," the presumed year of its writing) are given with the titles in the table of contents. For anyone seeking a comprehensive overview of vampire fiction in English, this is THE indispensable book to read.

In case you want to acquire a copy of this volume, it may be easier to find under the title of the second edition, THE PENGUIN BOOK OF VAMPIRE STORIES.

Margaret L. Carter

Explore love among the monsters at Carter's Crypt.

Friday, September 15, 2017

The Soft Whisper of the Dead

Late horror author and editor Charles L. Grant set many of his stories and novels in the Connecticut village of Oxrun Station, his counterpart to Arkham or Castle Rock. THE SOFT WHISPER OF THE DEAD (1982), set in the nineteenth century sometime after the Civil War, is a vampire novel in the Victorian Gothic style. Grant establishes the setting with atmospheric descriptions of a cold, windy night in November. Out of nowhere, a strange woman arrives at the railroad station, accompanied by a man—or a wolf-like dog—or no one? We learn that the visitor, Saundra Chambers, is a girlhood friend of the heroine, Pamela Squires, daughter of the richest man in town. Pamela and Ned Stockton, an upstanding young police detective, secretly hope to marry, although her father has chosen a man of higher birth and wealth for her. Saundra has returned from her travels abroad oddly changed. Though Pamela has no idea of the reason for her guest's peculiarities, the reader understands why the cool, reticent woman isolates herself in her room by day. To Pamela's shock, her father abruptly announces his engagement to Saundra. Meanwhile, people begin to die or simply disappear. Ned catches glimpses of the wolf and hears rumors of a mysterious man named Count Braslov, never seen except as a fleeting shadow until near the climax of the novel. And some of the murder victims begin to return from the dead.

As a story of a Dracula-like vampire trying to take over an isolated New England town, THE SOFT WHISPER OF THE DEAD inevitably brings to mind Stephen King's 'SALEM'S LOT, but without the onstage gore. Grant's work has been described as "quiet horror," a description that fits this novel well. Creeping tension and supernatural dread rather than overt violence set the dominant tone. The genre-savvy audience knows exactly what's going on in Oxrun Station, but the pleasure of waiting for the characters to realize the truth (with the help of a wise old servant in Pamela's household) and wondering whether they'll prevail over the vampire lord rivets the reader's attention.

Grant tells the story in an expertly crafted omniscient narrative style. One recurrent error disappointed me, "lay" for "laid" (transitive past tense); an editor at a distinguished small press such as the publisher of this book should know better. The volume is illustrated with black-and-white drawings reminiscent of Edward Gorey. Lovers of vintage horror will savor this tale.

Margaret L. Carter

Explore love among the monsters at Carter's Crypt.

Tuesday, August 15, 2017


If you'd like to read a strange small-press vampire novel with many points of interest despite its oddities and flaws, try VIRGINTOOTH (1991), by Mark Ivanhoe. (It's out of print, but cheap used copies are available.) As the title hints, it narrates the odyssey of a new vampire adjusting to her changed existence. From the fledgling's first awakening into undeath and her struggles with problems both esoteric and realistically down-to-earth, the story builds to an apocalyptic climax in which ancient vampires are revealed to have reality-warping powers on a godlike level.

The opening scene unfolds an unusual perspective on the transition to undeath: The protagonist, Elizabeth, awakens from death with no memory of her mortal life, not even her name. Her "Master," harsh and sometimes outright cruel, when he isn't being whimsically kind, drags her out of the grave. It transpires that vampires in this author's mythos "eat" the personalities of their victims. The Master chooses to return Elizabeth's memories and selfhood to her. Thus she becomes a conscious, free-willed being (at least within the limits of the Master's rule) instead of a zombie-like, savage "filthy animal." While these vampires can drink from animals, human blood is of course preferred, and in the technique of preying on humans the Master trains Elizabeth with brutal efficiency. Other interesting features: As a young vampire, she suffers pain in moonlight, for the logical reason that it's reflected sunlight. The undead can't control the element of water, so falling rain creates a "veil" that dulls their senses. Wind and snow can "shred" them unless they exert all their energy to maintain their physical forms. Later she finds that food is now tasteless as well as indigestible, and she can't see TV images because of the changes in her visual perception.

On the other end of the scale from Elizabeth and the barely sentient undead beneath even her, ancient vampires have the power to crush the Master, if they combine forces against him. Nevertheless, he bluntly refutes Elizabeth's image of the romantic glamour of vampirism. She is "a leech and the slave of a leech," compelled to hide from human society—until the advent of the eternal night the Master keeps hinting at. When a group of experienced vampires offers her the opportunity to escape the Master's grip, she enters upon a new phase of her existence and learns more about the mind-control, telekinetic, illusion, and transmutation powers of the undead. Realistically, however, when fledgling Elizabeth tries to exercise these powers, she makes a mess of her efforts. There's quiet horror in her growing estrangement from humanity, not only because of her bloodlust but in the realization that she can't even remember how long it's been since she became one of the undead. Still worse, she begins to wonder how much of a free-willed person she has been since then, rather than (as she fears) a puppet of commands planted "in the depth of her soul" by the Master. When she comes upon her mother at her (Elizabeth's) grave, Elizabeth's first impulse is to treat "the old woman" as prey. She reveals herself to her mother, who accepts her daughter's transformation with surprising aplomb. Elizabeth moves back home, and the typical parent-child frictions resume with the additional layer of vampire-mortal interaction. The scenes of Elizabeth's re-connection with her mother (and cats) comprise my favorite parts of the book. She also finds a lover, even though vampires are largely asexual.

Eventually, the Master's rants about extinguishing the sun prove to be more than idle boasts. Then things get really weird. For readers willing to suspend disbelief, the climactic confrontation between the Master and the vampires who oppose him provides a wild ride.

When VIRGINTOOTH was reviewed as a new release in my fanzine, THE VAMPIRE'S CRYPT, the reviewer mentioned the ridiculously over-inflated powers of the vampire elders, a criticism I agreed with. We received a letter from the editor or author to the effect that it should have been obvious the book was meant as a satire on a certain type of vampire novel popular at the time. Well, it wasn't obvious. The story didn't impress either the reviewer or me as the least bit funny; furthermore, parts of the book comprise a believable and emotionally engaging account of a young vampire's ordeal that is too convincing on its own terms to read as satire. If that's what the author truly intended, he erred in the direction of too much subtlety, because he didn't succeed for me.

Margaret L. Carter

Explore love among the monsters at Carter's Crypt.

Saturday, July 15, 2017

Celebrity Vampires

CELEBRITY VAMPIRES (1995) is an original-fiction anthology edited by Martin H. Greenberg and Ed Gorman. While the title implies celebrities who ARE vampires, a lot of the stories instead involve celebrities who MEET vampires. Many of the stars are actors or musicians, as may be expected, but we also encounter memorable names in other fields of endeavor, such as Samuel Clemens (Mark Twain), Arthur Conan Doyle, Sam Peckinpah, F. Scott Fitzgerald, Howard Hughes, Lenin, and Rasputin. (It feels a bit strange to label those last two as "celebrities"; they would have fitted better in Greenberg's historical anthology TIME OF THE VAMPIRES. Theirs is an effective story anyway, though. Hmm, what DID happen to Princess Anastasia after the Russian Revolution?) Appropriately, Marilyn Monroe, Theda Bara, and Greta Garbo appear. It's not surprising to find Elvis Presley among the undead; in fact, he shows up twice. Carole Nelson Douglas's "Dracula on the Rocks" might be charged with "cheating," since the celebrity protagonist, Irene Adler, is herself fictional, but the story does contain some allusions to historical persons.

Contributors include horror writers such as (to name a few) John Lutz, Kristine Kathryn Rusch, J. N. Williamson, Norman Partridge, and Gary A. Braunbeck. All the settings fall in the nineteenth or twentieth centuries, doubtless because the idea of a "celebrity" as we understand the concept didn't extend much further back in history. My personal favorite is "A Night at the (Horse) Opera" by P. N. Elrod, in which her vampire hero Jack Fleming meets Harpo Marx and they tangle with a trio of gangsters. The vampires in these varied, entertaining tales span the whole range from villains to heroes.

Margaret L. Carter

Explore love among the monsters at Carter's Crypt.

Thursday, June 15, 2017

Wicked Ways

WICKED WAYS (1996), by Kate Hoffmann, is a Harlequin Temptation from back in the day when that was Harlequin's hottest line. (Amazon stocks used paperback copies, and the book has been re-released in Kindle.) As such, the cover illustration and title don't so much as hint at vampirism; you have to consult the blurb for that detail. It's not strictly a vampire romance, since the hero isn't the vampire, although several other characters suspect he is. Hoffmann crafts a lighthearted tale that plays with the burgeoning popularity of vampire fiction at that time. We don't learn whether there's actually one of the undead lurking around until near the end of the novel.

Heroine Hallie Tyler lives in the village of Egg Harbor, Maine, with her twin eighty-year-old great-aunts. They've converted the huge nineteenth-century family home into an inn. Perfectly content with a steady but not luxurious income, Hallie reacts with more dismay than delight when a horde of tourists descends on the town in response to a NEW YORK TIMES article about a Tyler ancestor's alleged vampirism. In response to the vampire-hunters, the curiosity seekers, and her aunts' enthusiastic promotion of the rumor, she insists it's all nonsense and wishes it would go away. A dark, ravishingly attractive man who calls himself Edward Tristan arrives one evening and rents the half-renovated coach house, since no regular rooms are vacant. At his initial appearance, numerous hints imply to the alert reader that he's a vampire. In the first chapter, though, we discover from scenes in his viewpoint that he is, in fact, Tristan Montgomery, a bestselling horror author of solitary, nocturnal habits, but completely human. He has come to Egg Harbor in search of an isolated spot in which to break the writer's block impeding his latest work in progress.

Since he comes out only after dark and doesn't eat the meals provided by the inn, Hallie's aunts quickly decide he must be a vampire, as does one of the visiting vampire-hunters. Hallie herself, struggling against an immediate, powerful attraction to Tristan, entertains the idea that they may be right, although her better judgment repeatedly dismisses the notion. Meanwhile, clues showing up near her ancestor's grave hint that a vampire may be stalking the neighborhood, even if it isn't Tristan. For Hallie, the last straw comes when the local authorities put on a vampire festival at Halloween, a severe blow to her desire for the village to remain unspoiled by tourist kitsch.

This novel requires the reader to accept two common tropes—instant, irresistible sexual magnetism between two characters who scarcely know each other and belief in vampirism by otherwise sensible, modern adults. For vampire fans who can embrace these assumptions, WICKED WAYS is a fun riff on the tropes of the genre.

Margaret L. Carter

Explore love among the monsters at Carter's Crypt

Monday, May 15, 2017

Blood Price

If you like urban fantasy with romantic vampires and have never read Tanya Huff's "Blood" series, start with BLOOD PRICE (1991). This novel introduces Vicki Nelson, former Toronto police homicide detective turned PI. A degenerative eye condition forced her to resign from the police department. Her peripheral vision is deteriorating, and she's almost night-blind. In an appropriately ironic development, she ends up working on paranormal-related crimes with a vampire (of the "can't function in daylight type"), Henry Fitzroy. The bastard son of King Henry VIII, Henry is based on an actual person who died as a very young man in real-life history. He has learned to feed without killing, taking and giving pleasure with donors who don't know his true nature, and he earns good money as an author of historical romances under the name "Elizabeth Fitzroy." He and Vicki team up to investigate a "slasher" serial killer that turns out to be a blood-drinking demon summoned by a hapless wannabe magician. Vicki also works with police detective Mike Celluci, her former partner and lover, with whom she has an ambivalent friendship marked by annoyance and professional rivalry as well as lingering fondness.

In subsequent novels, Vicki, Henry, and Mike encounter other supernatural creatures, including a werewolf pack and a reanimated mummy. Throughout the five-book "Blood" series, Vicki's triangular relationship with Henry and Mike adds tension on top of the paranormal suspense plots. Vicki is a strong, likable character whose medical problem (with the frustration she suffers over her resulting limitations) and other personal issues that arise in the course of the series engage the reader's sympathy. Any lover of dashing, sensual "good guy vampire" heroes will enjoy Henry Fitzroy. The original five novels are followed by a couple of story collections, plus a spin-off series that begins with SMOKE AND SHADOWS (2004), which includes an affectionate satire of vampire TV shows no fan of FOREVER KNIGHT should miss.

The "Blood" books also spawned a pretty good two-season cable TV series, BLOOD TIES, available on Netflix.

Margaret L. Carter

Carter's Crypt