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Queer Vampire Books 🦇
Who is your favorite vampire (from a book, movie, or TV show)? ❤️
While the Batty About Book Club is reading Bury Our Bones in the Midnight Soil, I want to help the rest of my bookish bats find their next read? Check out these books featuring queer vampires! 🦇
Lucy 🩸 Inspired by Lucy from the 1992 movie, Bram Stoker's Dracula.
Lucy the Vampire - Inspired by Lucy from the 1992 movie, Bram Stoker's Dracula …
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I am Sang. A vampyric Dragon, and I've been around for many tiring Years... 0_0
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Some interesting interpretations of Mina and Lucy relationship in Bram Stoker's Dracula (1992), directed by Francis Ford Coppola.
Years ago I wrote a little text about the main levels of interpretations of Bram Stoker's Dracula (the book), now I will try to summarize the interpretation of queer coding vampire in Coppola’s adaptation.
Towards the beginning of the movie, Mina and Lucy are shown in a love scene that Coppola depicts as a thunderstorm. As the scene unfolds, the two are shown dancing in the garden, laughing and moaning while being drenched in the pouring rain, along with a brief clip of them kissing. These proper Victorian women are shown in nightgowns so wet that the fabric is almost transparent and adherent to their skins.
1. Mina and Lucy truly love each others in every meaning of the word, as friends, sisters and lovers.
Mina and Lucy kiss in the garden, under the cover of night and rain, but this private moment in the film suffers from the intrusion of Dracula’s literal “male gaze."
The scene may be interpreted as merely a male fantasy of sapphic sexuality due to Dracula’s eager gaze and written off as something Dracula forced them to do like a child with dolls. However, previous and future tender moments between Lucy and Mina were consensual, while the more perverse acts involving Dracula were committed unwillingly, which means that Dracula was simply a voyeur. Dracula enjoys spying on Mina and Lucy, but does not prompt it.
Source: Journal of Dracula Studies, Volume 23 Number 1 Article 4, 2021. "Where There is Love, Why Not?: Queer Love and Storytelling in Bram Stoker's Dracula", by Samantha Kountz, Keiser University, Florida, and Isabella Norton, University of Kent, UK.
2. Dracula's prompt queerness on others as another sign of physical and moral corruption.
The movie paints “Western” conceptions of Christian (specifically women’s) purity as “under attack” from the “heathen East” (it isn't just a coincidence that Lucy and Mina found Kamasutra imagines into the Arabian Nights, which is just a collection of Middle Eastern folktales compiled in the Arabic language during the Islamic Golden Age, and didn't have anything in common with Indian Hindu Sanskrit Kāma Sūtra), resulting in an epidemic, as Van Helsing says, of previously good Christians becoming sexually deviant vampires. According to this theory, Mina and Lucy's kiss has been forced unwillingly on the two girls by Dracula's hypnotic powers. Dracula, on his arrival in UK, begins to corrupt young women - and in the end he would turn both Mina (almost) and Lucy in vampires.
Moreover in the movie Van Helsing links explicitly vampirism, sexuality and venereal disease: according to Van Helsing, Lucy’s unashamed attitude towards her sexuality endangered her and caused her to become a vampire.
This movie's interpretation theory particularly frame women as being under threat from vampires: it's the classical archetype of the damsel. The narrative conventionally treats them as “agentless” and as unable to defend themselves. Women are also sometimes seen as the property of men who therefore have the responsibility of protecting women.
Another classical theme involves the preoccupation with women’s purity: according to conservative Christian beliefs women can only ever be pure or impure. “One wrong move,” so to speak and women become “tainted.” Coppola creates a massive opposition between Mina's practical attitude towards love and Lucy's more passionate nature.
Dracula's turning of Lucy into a vampire transforms her into a sexually voracious temptress. The film presents female sexual desire as a dangerous force that should probably not be unleashed, something in keeping with the attitudes of its Victorian setting.
Once a woman has been tainted by vampirism and it's perverse sins, there is only a way to “fix” this problem: to reaffirm one’s belief and commitment to Christianity and its values and, instead of embracing one’s sexuality, the victims (women) should instead commit themselves to loving chastely, like Mina eventually does.
Additionally, queer coded villains and monsters are very common. Monsters like vampires (although ghosts also have a long sapphic history) are commonly portrayed as trying to “seduce” people into queer relationships (not how it works, but ok.) Literary example of this, that comes to mind, are the 1819 short story “The Vampyre” by Byron and Polidori (which involves a gay relationship) or the 1872 novella “Carmilla” by Le Fanu (which involves a lesbian/sapphic relationship).
In Coppola’s movie, this “queer coding” is apparent as well. Two of Dracula’s wives kiss, Mina and Lucy kiss at one point, during “Dracula’s storm” and I agree to the author's claim that there was something going on between Johnathan and Dracula at the castle, especially because of that shaving scene, and when Dracula finds Johnathan with his wives and admonishes them saying “he’s mine.”
Lastly, I think it’s particularly interesting how vampires are monsters that “turn” their victims into the monster. This works well with the themes of the movie, where the threat is less “the East” and more Europeans who have been turned by “the East.” What is framed as most disturbing, in this film, is not the idea that “the other” is going to come and conquer or kill the characters. Rather, the big threat is that the comfortable idea that Christians, Westerners, Europeans etc. could never become “the other” is shown to be false. What is more terrifying than becoming the monster yourself?
Source: Bram Stoker’s Dracula (1992): a failure to reckon with the monstrous “other”
3. Lucy and Mina rapresent Stoker's own closeted queer desires and sexophobia.
Mina and Lucy, in the movie and in the book as well, are emotionally open in a way that Stoker famously was not. They write to each other constantly, take coastal walks together, hold each other's hands all the time and frequently express their “love” for each other. Their dynamic has been interpreted as romantic, which while anathematic in Victorian society, fits perfectly into Stoker’s paranoia over deviant sexuality. This is an angle that Hart’s screenplay elevates, and Coppola’s directing drives home. Mina and Lucy are constantly framed together, the delivery of their dialogue is openly flirty, and when Lucy is first hypnotized by Dracula, Mina breaks the spell by kissing her.
According to this point of view, Mina's pure love saves Lucy from falling victim of Dracula, but this kind of love, isn't a thing a person should express openly. It's a sin. It's deviant.
Lucy also reads as interested in polyamory. She is pursued by three suitors (an apt parallel to Stoker’s three real-life adorations), each of whom asks for her hand in marriage. She dreams of a world where she could love all three men openly, and while Lucy ultimately picks one — Arthur Holmwood (Cary Elwes), the most ‘traditional’ of the three — she constantly expresses that she “didn’t have to choose.” The film continues to lean into this reading, as despite accepting Arthur’s hand in marriage, Lucy remains openly flirtatious with the other two men, making her acceptance of one over the other feel like the fulfillment of a perfunctory social contract more than a decision with any meaning.
While Mina is able to cope and closeted herself, choosing her fiancé instead of her sapphic love interest and pursuing a conventional life, Lucy falls victim of her own emotions and isn't able to resist to her “devious” impulses and desires. Lucy, despite her try to become a traditional wife, fails to conform and is violently punished. As happened to Stoker's dear friend, Oscar Wilde, who was imprisoned for gross indecency during the time Bram Stoker began to write Dracula.
Source: Queer Coding in “Bram Stoker’s Dracula”
Some other interesting analysis on the rapresentation of Dracula in this movie: [X]
Some other consideration by anonymous: [X]
karma for wishing for a childhood dog
Currently catching up on all the official content from AMC and BTS videos and interviews for Interview with the Vampire while waiting for s3 news 🥹🥲 wheeeeennn.
POV: You're video chatting with the butch/masc vampire before going to bed.
+cis het men please don't touch this+
