A Lot of Salem

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SalemsLotVampires may seem out of place late in December, but they never really go out of season. That will be my excuse, anyway, for writing about Stephen King’s ‘Salem’s Lot, which I have just finished reading. Like many of King’s books, ‘Salem’s Lot takes a fair commitment of time to get through, and I actually started it back in November when it feels natural to have creepy thoughts. I suppose winter is more of a ghost season than a vampire season, but I have read what I have read. So, vampires.

The book is old enough now to have been a kind of prequel to the current vampire craze. Prior to picking up the tome, however, I didn’t know that it as a vampire story. I’m not sure it made as much of an impact as the shudder-inducing Twilight series (and that is a shudder of the most ironic kind). ‘Salem’s Lot is, after all, a fairly conventional vampire story—a Dracula reset in rural Maine. Instead of a Jonathan Harker we have a Ben Mears. Instead of Abraham van Helsing, we have Matt Burke. The plot is much the same, the end result is much the same. And vampires are banished by religious paraphernalia, as we’ve come to expect. For me the ultimate Maine vampire will always be Barnabas Collins (the kind fitting more the description of Jonathan Frith than Johnny Depp). Barlow, as a vampire, is entirely too self-serving. Barnabas is a deeply conflicted ghoul, a monster you can love. But not too much, because then we’d be left in the twilight. Mixing the vampire just right is tricky, and it seems that a soap opera was the place that got it right.

The movie Thirty Days of Night, based on the graphic novel, places vampires squarely in the middle of winter. In the thirty days of no sunshine in the Arctic Circle, the vampires of winter flood the town. Perhaps the idea relates to ‘Salem’s Lot for an entire town to come under siege. Or maybe not. When I read vampire stories I hope to come out transformed, I guess. Elizabeth Kostova’s The Historian may have spoiled me in that regard. As with most King novels, however, ‘Salem’s Lot is artfully written and at least for the characters a new story with a small twist on the old ending. In at least one regard, it is true to life—although they learn that the church banishes vampires, nobody joins and they only pray as a last resort.

Buyer Beware

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Pain, it is said, has a wonderful way of focusing the mind. So when I woke up in what can best be described as a body position used for extras in the movie, Twister, I took a few aspirin and got on with my life. I had purchased non-refundable tickets for a campus visit, and capitalism is nothing if not unsympathetic. The lower back pain was fine when sitting, or standing. Try anything in between, however, and you’ll learn the real meaning of reading the riot act. Once off the train—slowly, slowly—I was fine again, until I had to sit down. The next morning, facing a day of meetings (why is everyone’s office on the fourth floor? Why do Brownstones still lack elevators?), I decided I’d better pop into CVS for some meds. It was with considerable irony and not a few groans that I noted all the products for back pain were on the bottom shelves. The condoms, in the same aisle, were right at eye-level. Sitting on the floor, pondering the relative merits of chemicals of which I’d never heard, I thought about what we take for granted.

Parents and guardians are our first teachers. Among those early lessons are often the religious ones. Recently speaking with both seminary professors and pastors, I have heard the common refrain that church membership is declining and the number of younger people listing themselves as religiously unaffiliated is growing. I noticed this in my teaching outside the seminary setting; quite apart from students of other religious traditions, many undergrads took my class knowing nothing at all of the cultural matrix of Christianity in which they’d been raised. It is also true in a consumer mentality that one shops for religious experiences just like one shops for backache medicine. You go with the one that works for you. Few bother to ask if they agree with the theology, after all, Methodist = Baptist = Presbyterian = Lutheran in many people’s minds. Doan’s or Bayer? Take your pick.

Now that Dark Shadows has been released for home viewing, another component may be added to the equation. We pass on what we value to those we love. While the writing for Dark Shadows leaves quite a lot to be desired, there are a few memorable lines. Angelique, you may recall, cursed Barnabas Collins for unrequited love, turning him into a vampire. When he laments to Elizabeth Stoddard that Angelique hates him, she replies, “No, if she had hated you she would have merely killed you. A curse takes devotion.” Passing on our beliefs, perhaps, somehow ties into all this. As believing creatures, perhaps we each need to find our own solutions. My only fear is that when I find the right remedy, it may very well be on the bottom shelf.

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Dark Light

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It took a few weeks and five states, but I finally got to see Dark Shadows. Although I’d seen the trailers, there was quite a bit over which I remained in the dark. After all, the television series ran daily for several years and the story of Barnabas Collins was never really resolved, to the best of my knowledge. Trying to fit all of that into a couple hours of cost-intensive Hollywood showmanship would be a tall order. I have come to trust the Burton-Depp collaboration, however, and I had read some time ago that Johnny Depp had wanted to be Barnabas Collins when he was growing up. It is difficult nevertheless to resurrect a vampire after some three-and-a-half decades of slumber. Speaking with some friends after the movie I discovered that I was not the only child discouraged from watching Dark Shadows after school as a child. But watch I did.

Barnabas Collins became a monster as the result of a curse. The series—which I remember principally as a series of impressions and images—and the movie make that clear. The man who has lost control of his own fate is a reluctant monster. An aristocrat who lives by draining the blood of the common folk. Despite the humor and carnality of the movie, social commentary is there. Sometimes buried in an iron coffin, and sometimes in a vintage VW bus from the early ‘70’s. It may not appear full blown on the big screen but it pulses through the veins nevertheless. Barnabas Collins is a reluctant and conflicted vampire, but he does kill others to survive.

Why would a kid raised in a religious setting be so drawn to a creature of evil? Perhaps it was because Barnabas was the ultimate penitent. He had to victimize others, but he always regretted doing so. Like any living (or undead) creature, his nature compels him to survive. He is sad about his lot in the world, but is helpless to change it. Like many children of the monster generation I was nourished by a long series of movies featuring impossible creatures, including vampires. The earliest vampire I knew, however, was Barnabas Collins. Although Bram Stoker had set the type nearly a century earlier, my measure of the vampire was the reluctant denizen of Collinwood. Although I read my Bible dutifully, and never missed church, I still found the plight of this lonely monster compelling. The movie may not live up to the standard of all Dark Shadows aficionados, but if it brings a subtlety of moral ambiguity to a generation of absurdly self-assured modern-day fundamentalist children, the curse of Barnabas Collins may really be a blessing in disguise.

Dark Shadows Indeed

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Part of my childhood died today. Like millions of others, I have been eagerly anticipating Tim Burton’s new Dark Shadows movie to wash the treacle of Twilight from the vampire’s mouth. Barnabas Collins was the epitome of the conflicted gentleman vampire, fully aware of and repulsed by his curse. After school I would religiously sit in front of the black-and-white television and watch the waves crashing into the cliffs of Maine as the moody story began to unfold in daily episodes. So when I read this morning that Jonathan Frid had died, I knew the vampire had found peace at last. And I was sad.

Although I’ve read scholarly analyses of monster fascination, nothing sets me back to childhood so directly as my beloved monsters. I don’t know why I feel a thrill in my chest and my pulse quickens when monsters appear before me. Perhaps it is a child’s way of coming to grips with a world beyond his or her control, or perhaps it was my way of dealing with a broken family. Lacking a father figure in life, I was fascinated by the gentle care and predatory nature of Barnabas Collins. He really did care, but he still had to bite you in the neck to survive. To my pre-adolescent mind, Jonathan Frid was Barnabas Collins. When I grew old enough for gothic novellettes, I consumed the serialized Dark Shadows books by Marilyn Ross, no matter how predictable or trite. I was reading about my heritage.

I have no doubts that Johnny Depp will portray a believable Barnabas Collins next month. Jonathan Frid, it is said, was consulted and was often present on the set of the new movie as it was being filmed. His turn to portray the tortured ancestor of the Collins family had lapsed, but he was the original. What is the draw of the vampire if not life after death? And although Jonathan Frid is gone, next month I will stand in line to see the resurrection of the vampire on the large screen.

Dark Night of the Ark

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Vampires continue to be the rage of the age. My own interest began back in the days of Bram Stoker, Bela Lugosi, and Barnabas Collins. Stoker’s Dracula is one of the earliest novels I remember reading. Dark Shadows was a regular, gloomy fixture of 1960s daytime programming, and black-and-white vampire movies were often available on Saturday afternoons on commercial television. I have not kept pace with the current fetishism surrounding our toothy friends, but I did read Justin Cronin’s new novel, The Passage. I didn’t know the book featured New Age viral vampires, but they do make for a compelling story.

What particularly captured my attention in Cronin’s work, however, was the crossover between religious and monstrous themes. I have mentioned this connection previously, so I was glad to see confirmation that religion still features in monster stories. The religious element comes in the form of a virus developed by the military to create super-soldiers (a theme X-File affectionados might find familiar) that ultimately goes awry. The result is a girl who is part of a project named Noah; she lives the tremendous lifespan of the biblical hero without the debilitating effects of old age. She is also the ark by means of which humanity might survive the ordeal. The novel is apocalyptic and yet vaguely hopeful. It is also very difficult to lay aside for too many minutes at a time.

The tie-in of Noah and vampires is a novel one. The point of comparison is longevity – those who imbibe the blood of others do not age and wither as mere mortals do. Noah’s survival is a matter of grace (or science in the case of the novel). The last mortal to breech the two-and-a-quarter century mark (thank you, Terah), Noah is symbolic of those who stand out as examples of righteousness in a wicked world. It was refreshing to see the theme so creatively rendered by Cronin. The biblical flood is a kind of prepocalypse, a foreshadowing of what might recur if evil prevails. The Passage has left me strangely sentimental for both vampires and ark-builders alike.