Bom in Guadalajara, Mexico, Guillermo del Toro (b. 1964) is a writer and
filmmaker ... Chuck Hogan is a crime fiction and horror novelist whose books
include.
W H Y V A M P I R E S N E V E R D l I-
3/'
a n x i e t i e s i n t o " T h e V a m p y r e , " a s t o r y t h a t i s t h eb a s i s f o r v a m pires a s they arc understood today.
GUILLERMO D E LTORO AND CHUCK
HOGAN
W h y Vampires Never Die Bom in Guadalajara, Mexico, Guillermo del Toro (b. 1964) is a writer and filmmaker known for films such as P a n ' s L a b y r i n t h (2006) and the H e l l b o y series. In 2009, he published his first novel, T h e S t r a i n , cowritten with Chuck Hogan. The book is the first in a vampire trilogy by the two authors. Chuck Hogan is a crime fiction and horror novelist whose books include T h e B l o o d A r t i s t s (1999), P r i n c e o f T h i e v e s (2004), and T h e K i l l i n g M o o n (2007). In this column from the N e w Y o r k T i m e s , the writers discuss the origins and perennial appeal of vampire stories. They suggest that vampires—figures imagined and reinvented by different cultures at different times—often reflect society's anxieties and preoccupations. According to del Toro and Hogan, the Dracula myth may speak to us on a more primal level, as well. As you read, think about the ways that imaginary monsters can be metaphors for real-life problems and fears.
T o n i g h t , y o u o rs o m e o n e y o u l o v e will likely b e v i s i t e d b ya v a m p i r e — o n cable television o r t h e b i g screen, o r i nt h e Our
o w n novel describes a modern-day
epidemic
bookstore.
that
spreads
across N e w Y o r k City. It all started nearly 2 0 0 years ago. I tw a s the " Y e a r W i t h o u t a S u m m e r "
o f 1816, w h e n
temperatures
A few friends gathered decided
a s h from
volcanic eruptions
a r o u n d the globe, g i v i n g rise t ow i d e s p r e a d
lowered famine.
at the Villa Diodati o nLake Geneva
t oengage i n a s m a l l c o m p e t i t i o n t o s e ew h o c o u l d
up w i t h the most terrifying tale—and
and come
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of'
the m o d e r n age w e r e b o r n . O n e w a screated b y M a r y G o d w i n , soon t o become Mary Shelley, w h o s e Dr. F r a n k e n s t e i n gave life t o a desolate c r e a U n v . T h e o t h e r m o n s t e r w a s less created t h a n fused. J o h n Williiiiii P o l i d o r i s t i t c h e d t o g e t h e r f o l k l o r e , p e r s o n a l r e s e n t m e n t , a n d C K )I i i
378
W i t h " T h e V a m p y r e , " P o l i d o r i gave b i r t h t o t h e t w o m a i n branches o f vampiric fiction: the vampire as r o m a n t i c hero, and the v a m p i r e a s u n d e a d m o n s t e r . T h i s a m b i v a l e n c e m a y retlect Polidori's o w n , as it is widely accepted that L o r d Ruthven, IIKtitular creature, was based u p o n L o r d B y r o n— literary superstar o f t h e e r aa n d a n o t h e r r e s i d e n t o ft h e lakeside v i l l a t h a t fateful s u m m e r . P o l i d o r i t e n d e d t oB y r o n d a y a n d n i g h t , b o t h a s his doctor a n d m o s t devoted groupie. B u t P o l i d o r i resented h i m as well: B y r o n w a sd a s h i n g a n db r i l l i a n t , w h i l e t h e p o o r d o c t o r h a d a rather drab talent and unremarkable physique. But this w a s just a n e w t w i s t t o a very o l d idea. T h e m y t h , established well before t h e invention o f t h ew o r d "vampire," s e e m s t oc r o s s e v e r y c u l t u r e , l a n g u a g e a n d era. T h e I n d i a n B a i t a l , the Ch'ing S h i h in China, and the R o m a n i a n Strigoi are but a few o f its n a m e s . T h e c r e a t u r e s e e m s t o b e a s o l d a s B a b y l o n i a a n d S u m e r . O re v e n older. The vampire m a y originate f r o m a repressed m e m o r y w e had as p r i m a t e s . P e r h a p s a t s o m e p o i n t w e w e r e — o u t o f n e c e s s i t y — cannibalistic. A s soon a sw e b e c a m e sedentaiy agricultural tribes w i t h s o c i a l b o u n d a r i e s , o n es e m i n a l m y t h m i g h t h a v e f e a t u r e d o u r a n c e s t o r s a s p r i m i t i v e b e a s t s w h o slept i n t h ec o l d l o a m o f t h e e a r t h a n d f e d o f f t h e s a l l y b l o o d o fi h e l i v i n g . M o n s t e r s , l i k e angels, a r e i n v o k e d b yo u r i n d i v i d u a l a n d collective needs. Today, m u c h a s d u r i n g that g l o o m y s u m m e r i n 1816, w e feel t h e n e e d t oseek t h e i r c o l d e m b r a c e . H e r e i n lies a n i m p o r t a n t clue: i n contrast t otimeless creatures like the dragon, t h e vampire does not seek t o obliterate u s , b u t instead offers a peculiar brand o f blood alchemy. F o r as his contagion b e s t o w s its n o c t u r n a l gilt, the v a m p i r e t r a n s f o r m s o u r vile, m o r t a l selves i n t o t h eg o l d o f e t e r n a l y o u t h , a n d i n s t i l l s i n u s s o m e t h i n g that every social construct seeks to quash: p r i m a l lust. I f y o u t h i sd e s i r e m a r r i e d w i t h u n e n d i n g possibility, t h e n v a m p i r e lust creates w i t h i n u sa delicious v o i d , o n e w e l o n g t o fulfill. In other w o r d s , whereas o t h e r m o n s t e r s e m p h a s i z e w h a t is m o r t a l i nu s , t h e v a m p i r e e m p h a s i z e s t h e e t e r n a l i nu s . T h r o u g h t h e p a n a c e a o fits b l o o d i t t u r n s t h elead o fo u r t o x i c l l e s h i n t o golden matter. I n a society that m o v e s a s fast a s ours, w h e r e e v e i ^ w e e k a n e w
WHY VAMPIRES NEVER DIE 380
381
G U I L L E R M O D E L T O R O ^ N D ^ I i ^
decadent A n n e Rice creatures to the current permutations — promising anything from chaste eternal love t o wild nocturnal e s c a p a d e s — a n d there y o u w i l l find t h e t r u e e s s e n c e o fi m m o r t a l ity: adaptability. V a m p i r e s find their niche a n d mutate at a n accelerated rate n o w — i n t h e p a s t o n e w o u l d s e e , f o rd e c a d e s , t h e s a m e v a r i e t y o f fiend, repeated i n m u l t i p l e storylines. N o w , v a m p i r e s simultaneo u s l y o c c u r i n a l l f o r m s a n d l a p i n t o o u r evei^y n e e d : s o a p o p e r a storylines, sexual liberation, n o i r detective fiction, etc. T h e m y t h s e e m s t o b e t w i t t e r i n g p r o m i s c u o u s l y t o serve a l la v e n u e s o f life, f r o m cereal boxes t o r o m a n t i c fiction. T h efast p a c e o f t e c h n o l o g y accelerates itsviral dispersion i no u r culture. B u t i fP o l i d o r i r e m a i n s t h e r o o t s i n t h e g e n e a l o g y o f o u r creature, t h e m o s t widely k n o w n v a m p i r e w a sbirlhed b y B r a m Stoker in 1897. Part o f t h e reason f o r t h e great success o f h i s "Dracula" is generally acknowledged t o b e its appearance at a t i m e o f great technological revolution. T h e narrative is full o f n e w gadgets (telegraphs, typing machines), various forms o f c o m m u n i c a tion (diaries, ship logs), a n d cutting-edge science ( b l o o d transfusions)— a mash-up o f ancient m y t h i n conflict w i t h t h e w o r l d o f the present. Today as well, w e stand at the rich uncertain d a w n o f a n e w level o fscientific i n n o v a t i o n . T h ewireless technology w e carry i n o u r p o c k e t s t o d a y w a s t h e s t u f f o f t h e s c i e n c e fiction i n o u r y o u t h . O u r technological arrogance mirrors more a n d m o r e the Wellsian' d y s t o p i a o f dissatisfaction, w h i l e a l l o w i n g u s t o feel safe a n d connected at a l ltimes. W e c a n call, see o r hear a l m o s t a n y t h i n g and anyone n o mailer where w e are. F o rmost people then, the only r e m o t e place remains w i t h i n . " K n o w thyself" w e d on o t .
. . n t h e v a m p i r e w e find E r o s a n d T h a n a t o s f u s e d t o g e t h e r i n a r c h e t y p a l e m b r a c e . . . •"
D e s p i t e o u r obsessive h a r n e s s i n g o f i n f o r m a t i o n , w e a r e still i ultimately vulnerable t o o u r fates a n d o u r n i g h t m a r e s . W e enthrone t h e deadly virus i n t h e very same w a y that "Dracula" a l l o w e d t h e B r i t i s h public t o believe i n m o n s t e r s : t h r o u g h science. Science becomes t h e m o d e r n man's superstition. I t allows h i m t o experience fear a n d a w eagain, a n d t o believe i n t h e things he cannot see.
' W e l l s i a n : R e f e r s t o B r i t i s h w r i t e r H . G . W e l l s (1866-1946), b e s t k n o w n l o i h i s s c i e n c e fiction. [ E d i t o r ' s n o t e . ]
382
GUILLERMO DEL TORO AND CHUCK
HOGAN
WHY
VAMPIRES NEVER DIE
technological arrogance mirrors more and more the Wellsian d y s t o p i a of dissatisfaction, w h i l e allowing u s to feel safe a n d conn e c t e d at all times. W e c a n call, see o r h e a r a l m o s t a n y t h i n g a n d a n y o n e no matter where w e are. F o r most people then, the only r e m o t e p l a c e r e m a i n s w i t h i n . ' K n o w t h y s e l f w e d o n o t " ( p a r . 14). H o w m i g h t S h e r r y T u r k i c r e s p o n d to this c l a i m a n d e x p l a i n its p a r a d o x i n " C a n Y o u H e a r M e N o w ? " (p. 227)? W o u l d s h e a g r e e that technology prevents us f r o m knowing ourselves? 4. D e l T o r o a n d H o g a n w r i t e : " D e s p i t e o u r o b s e s s i v e h a r n e s s i n g o f i n f o r m a t i o n , w e are still u l t i m a t e l y v u l n e r a b l e to o u r fates a n d o u r n i g h t m a r e s " ( p a r . 15). W h a t o t h e r c u l t u r a l m a n i f e s t a t i o n s o f o u r "nightmares" can you identify? W h a t monsters or imaginative h o i T o r s d o y o u find c o m p e l l i n g , a l l u r i n g , o r f a s c i n a t i n g ?
R o b e r t P a t t i n s o n a n d K r i s t e n S t e w a r t i n The T w i l i g h t Saga:
New
Moon.
A n d through awe, w e once again regain spiritual humility. current vampire p a n d e m i c serves to r e m i n d true jurisdiction
us that we have
over our bodies, our climate or our very
M o n s t e r s will always provide the
possibility
The no
souls.
of mystery in
our
m u n d a n e "reality s h o w " lives, h i n t i n g at a l a r g e r spiritual
world;
f o r i f t h e r e are d e m o n s i n o u r midst, t h e r e s u r e l y m u s t be
angels
l u r k i n g n e a r b y as w e l l . I n t h e v a m p i r e w e f i n d E r o s a n d
Thanatos
fused together in archetypal embrace, spiraling through
the ages,
undying. Forever.
For Discussion
and
Writing
1. W h a t a r e t h e t w o g r e a t m o n s t e r s o f t h e m o d e r n a g e , a c c o r d i n g t o tlol T o r o artd H o g a n ? W h e n w e r e they created? 2. H o w d o d e l T o r o a n d H o g a n u s e c o m p a r i s o n a n d c o n t r a s t t o m a k e t h e i r a r g u m e n t ? W h e r e d o t h e y u s e historical a n a l o g i e s ? P o i n t to specific e x a m p l e s i n t h e e s s a y a n d e x p l a i n h o w t h e y a r e related to the writers' m a i n point. 3. c o n n e c t i o n s T h e w r i t e r s s e e t e c h n o l o g y a s o n e p a r a d o x i c a l s o i i n c of o u r f e a r s a n d o u r e n d u r i n g f a s c i n a t i o n w i t h m o n s t e r s : "Oin
383
