What’s that coming over the hill?
The depiction of the vampire throughout historical time and media has been an everchanging, dynamic archetype that can be deconstructed in several ways. Whilst there are innumerable dramatic personae that make up the ‘vampire’, one complex character that has somewhat broken the traditional mould of the monster is that of Anne Rice’s Lestat (1976). The contextual analysis of Lestat as a complex archetype can be broken down through several ideas related to animals, monsters and technology. We first analyse the history and depiction of vampires in historical texts amid how they have evolved. This seamlessly transitions into the ideology of who Lestat is and how Anne Rice’s text represents him. Further, this allows one to challenge ideologies on a deeper level, delving into the concept that the monster always escapes (Cohen, 2018), specifically, what Lestat says about culture the fears of the period itself. Can one gain ideas about how people perceive monsters? Does Lestat represent ideas that humans are sometimes too afraid of within themselves? What role does posthumanism play? These ideas are all deconstructed within.
Lestat: This Is Your Life
Although Rice’s 1976 text ‘Interview with the Vampire’ was a smash hit, it wasn’t the first portrayal of the ‘sympathetic’ vampire character within pop culture’s period. Shows such as Dark Shadows also portrayed this changing character archetype to shift the vampire from a monster representing bestial qualities to a “gentlemanly, complex being” (Nerdist, 2021). Over the centuries there have been many incarnations of vampires in folklore and historical fiction. While the mythical ‘vampire’ is common throughout the world, there have been many different viewpoints of how a culture sees this monster. Examples include Bram Stoker’s depiction of a bestial Pagan-like creature, whereas, in recent times, vampires may be viewed as sexual, compelling creatures such as that of Edward Cullen in the Twilight franchise. Anne Rice seems to strike a dichotomy somewhere in the middle of this, depicting her character Lestat to appear humanly, but possess evil qualities that defy the laws of nature. As Karg (2012) sums up “To say that a vampire is one-dimensional is a misstatement as they are a kaleidoscope depending on their period”.
2021. Lestat. [image] Available at: <https://www.zimbio.com/Actors+Who+Nailed+It+When+Everyone+Said+They+Were+Miscast/articles/1jFMCoaeC8k/Tom+Cruise+as+Lestat> [Accessed 1 April 2022].
A Kaleidoscope In Their Time Period
When one ponders the term ‘vampire’, qualities evoking Bela Lugosi in the 1931 hit ‘Dracula’ may come to mind. An aristocratic creature blending into their society. Dracula is full of symbolism that was historically significant during the Victorian period, including blood, which in the novel is a representation of sexual immorality. Stoker’s novel was published in 1897, during a time when scientific discovery, trade expansion, and industrialization were prospering (Cyberpat, 2021). This cultural dichotomy is prevalent within the content of Lestat. Lestat relates the story of his life, both human and non-human and we must delve deeper to understand how he is depicted against his culture to truly grasp what ideas he expresses. Rice’s text follows the 18th century Lestat as he explores himself as somewhat man and somewhat monster in the everchanging world of the 1980s (1976). Rice has created an incredibly interesting dilemma by inserting the traditional archetype of the vampire into the modern world and a period of rapid growth and expansion. One must also consider the effect of gothic horror within the 1980s as a dramatic cultural effect on the development of both character and novel. The brooding, tormented villains of early Gothic have evolved from stereotypical figures into a wide range of characters that nevertheless must confront and battle with either external or internalised representations of evil, the unknown, or the grotesque (Cyberpat, 2021). In general, the themes of evil and chaos have moved from being represented as external and objective in the early Gothic of the 18th century to increasingly subjective and psychological representations throughout the 19th and 20th centuries.
These conventions and culture of 1980s gothic horror can be related directly to the development and makeup of Lestat. Besides being a monster, Lestat is also the epitome of MacAndrew’s idea of a classic Gothic villain: He has a “twisted nature…full of unnatural lusts and passions and suffers the torments of the damned while committing his nefarious deeds” (2006).
The Monster Always Escapes
We can further deconstruct these ideas regarding culture within the monster culture and the idea that the ‘monster always escapes’ (Cohen, 2021). Whether it be Camilla (1872) or Francis Coppola’s Dracula, we see the undead return in slightly different clothing each time to be read against “differing social movements or specific cultures” (Hollingsworth, 2019). Also touching on this ideology, Cohen deconstructs the idea that monsters’ bodies incorporate fear, anxieties and desires, these of which human beings may not be physically or mentally able to express themselves. This fusing of monster, animal desire and human can link to explain why our fascination with monsters and vampires runs so deeply. Within Anne Rice’s text, we see Lestat portray human-like qualities such as charm, manners and charisma interspersed with the unhuman, animalistic traits of evil and the desire to kill without being harmed. This desire is one that humans fear and do not naturally express within themselves, thus, pointing toward a desire for the unknown and uninhabitable. Lestat’s uncontrollable desire for blood and lack of self-control may represent the general anxiety in Western culture about the lack of control that comes with societal progress, a type of change that can positively influence and improve the quality of life in societies (Cyberpat, 2021). Lestat holds the key to the true fusion of human and animal, serving as an experimental piece for what humans and society cannot and will not experience themselves, creating a sense of interest and fear.
2020. Dracula. [image] Available at: <https://www.denofgeek.com/movies/new-dracula-movie-coming-from-blumhouse/> [Accessed 10 March 2020].
Humanism and Posthumanism
After thorough discussion and examination, one must acknowledge the presence of humanistic and post-human ideologies intertwined within Rice’s text (Evans, 2022). Humanistic and post-humanistic ideologies can be summarised by breaking down each point. It is vital to define both humanism and post-humanism to understand completely how Lestat and Anne Rice’s gothic horror novel expresses these ideologies. An idea emerging out of the renaissance, Humanism can be understood as the “unshakable belief in the unique value, agency, and moral supremacy of human beings” (The Ethics Centre, 2018). This supremacy and power of human beings as the centre of the moral world can be juxtaposed with post-humanism, an idea suggesting human beings will be radically altered by implants, bio-hacking, cognitive enhancement and other bio-medical technology (The Ethics Centre, 2018). Whilst Rice may not display the technological fusing of man and machine within her text, Lestat is still a prime example of post-humanistic ideas and how humans may shift their mindset to view their difference. Lestat as an all-powerful, vilified ‘monster’ presents post-human notions through his display of differing trans-human aspects, pushing boundaries of what we consider to be normal in human society. If we consider the idea of humanism, Lestat completely overrides the idea that human beings are the centre of all. The sheer power he holds as a monster persona and the display of actions that humans could not perform creates uncertainty and discomfort amongst the human race. Our vampires are becoming posthuman as much as we are becoming posthuman. They are blending into the cultural climate of our times – they are ‚everything we are, while at the same time, “they are fearful reminders of the infinite things we are not” (larsschmeink, 2020). While Lestat has created a sense of unease and fear due to his bestial qualities, he may also come as a warning sign for what may occur if the fusion between man, animal, monster or technology becomes too blurry to differentiate.
References
Cyberpat.com. 2021. The Vampire Lestat. [online] Available at: <https://www.cyberpat.com/shirlsite/essays/lestat.html> [Accessed 1 April 2022].
Diaz, E., 2021. How INTERVIEW WITH THE VAMPIRE Set Pop Culture’s Male Vamp Dynamic – Nerdist. [online] Nerdist. Available at: <https://nerdist.com/article/interview-with-the-vampire-dynamic-homoerotic/> [Accessed 1 March 2022].
Ethics.org.au. 2021. What is Post-Humanism? – Ethics Explainer By The Ethics Centre. [online] Available at: <https://ethics.org.au/ethics-explainer-post-humanism/> [Accessed 1 March 2022].
Hollingsworth, A., 2019. Fear of Progress:. [online] Medium. Available at: <https://medium.com/@lexiloulee/fear-of-progress-b42fc00c023a> [Accessed 7 March 2022].
Karg, B., 2010. The Everything Vampire Book. Adams Media.
Larsschmeink.de. 2022. Of Posthuman Vampires: Science, Blood and Becoming-With. [online] Available at: <http://larsschmeink.de/?p=3955> [Accessed 1 March 2022].
Mail-archive.com. 2022. [TheDarkGift] The Gothic Literary Tradition. [online] Available at: <https://www.mail-archive.com/thedarkgift@yahoogroups.com/msg00977.html> [Accessed 1 March 2022].
Masset, J., 2022. Review of Monsters, Gender, and Sexuality in Medieval English Literature by Dana Oswald. [online] Digitalcommons.molloy.edu. Available at: <https://digitalcommons.molloy.edu/cgi/viewcontent.cgi?article=1000&=&context=eng_fac&=&sei-redir=1&referer=https%253A%252F%252Fscholar.google.com.au%252Fscholar%253Fhl%253Den%2526as_sdt%253D0%25252C5%2526q%253Dthe%252Bmonster%252Balways%252Bescapes%2526btnG%253D#search=%22monster%20always%20escapes%22> [Accessed 1 March 2022].
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