‘The taste of blood meant the end of aloneness’
Vampires and gay men in Poppy Z. Brite’s Lost Souls
in Queering the Gothic
Abstract only
Log-in for full text

You are not authenticated to view the full text of this chapter or article.

manchesterhive requires a subscription or purchase to access the full text of books or journals - to see content that you/your institution should have access to, please log in through your library system or with your personal username and password.

If you are authenticated and think you should have access to this title, please contact your librarian.

Non-subscribers can freely search the site, view abstracts/extracts and download selected front and end matter. 

Institutions can purchase access to individual titles; please contact manchesterhive@manchester.ac.uk for pricing options.


If you have an access token for this content, you can redeem this via the link below:

Redeem token

In the Gothic of the later twentieth and early twenty-first centuries, the male vampire has progressively become associated both with the physicality of homosexual practices and with the expression of a specifically gay identity. One of the most striking commentaries may be found in Poppy Z. Brite's Lost Souls, a novel short-listed for the Lambda Literary Award for Gay Men's Science Fiction/Fantasy. The gay vampire lifestyle is rarely scripted with the comforting closures and concluding contentments that characteristically distinguish the domestic novel. The tension between the ability to enact desire and the corresponding ability to express or own to that desire is thus imbricated within the sexual plots of modern gay vampire fiction. Lost Souls represents the culmination of gay vampire fiction, in its twentieth-century incarnation at least. The gay vampire exists, even prospers, within the heterosexual human world, but is ultimately not committed to it.



All Time Past Year Past 30 Days
Abstract Views 219 110 13
Full Text Views 42 12 0
PDF Downloads 21 12 0