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Essence, difference and assimilation in Daniel Waters’s Generation Dead

. Charlaine Harris’s Sookie Stackhouse, who – herself alienated by her telepathy – loves a vampire, sets out my theme early on: ‘We had all the other minorities in our little town – why not the newest, the legally recognised undead?’ 10 In addition, in these fictions we often see the dramatisation of the state’s responses to calls for recognition from different groups and the legal apparatuses

in Open Graves, Open Minds
Representations of Vampires and the Undead from the Enlightenment to the Present Day
Editors: Sam George and Bill Hughes

The Open Graves, Open Minds project discussed in this book relates the undead in literature, art and other media to questions concerning gender, technology, consumption and social change. The story of vampires, since their discovery in eighteenth-century Europe, is one of transformations and interbreedings of genre, which mediate shifts in ways of knowing and doubting. It is marked by metamorphoses of the vampire itself, from monstrous to sympathetic, but always fascinatingly Other. Certain tropes, such as optical figures, and particularly that of reflection, recur throughout, calling attention to the preoccupation with epistemology in vampire narratives. The book focuses on various aspects of these themes as the story unfolds to the present day. It shows how the persona of Lord Byron became an effective vehicle for the vampire of fiction as a transformed Gothic mode, and grapples with the figure of the non-reflecting vampire who casts no shadow, moving deftly between Dracula and Wilde's Dorian Gray and the 'vampire painting' and installations of the contemporary artist David Reed. The book gives a luminous account of early vampire cinema as a 'Kingdom of shadows', and explores the undead at the interface, where knowing becomes problematic: 'unsettlement'. The book also unearths the folklore roots of vampire fiction and offers a glimpse of how contemporary writers adapt the perennial figure.