Carden: A Short Story

The book is laced with emotionally and erotically boosted encounters. A person who would enjoy reading about vampires, the urge to keep reading comes within the first few chapters; in this story early as chapter three. The novel is a new vampire paradigm that casts a steady

The truly shocking and terrible, blood-sucking-monster we once  knew have now changed into beautiful, perfect,and healthy human beings. This paper will discuss the change and the reason why  the change of idea many still accept and like the modern picture of vampires.In order to answer this, I will examine the differences between Bram Stoker's Dracula , the typical figure of horror before, and the soft light just before sunrise or after sunset's Edward Cullen, the obvious example of the 21st century vampire. From this, I will be able to decide out what changed in the features of the vampires we know today.Many would think about Edward Cullen as a "shockingly disrespectful behavior of the vampire old example" (Mole).

Here, Harker has fallen victim to the vampire’s lustful attraction. This also demonstrates an undertone of eroticism within the story since the three vampires “get much closer to Jonathan Harker than proper Victorian ladies should” (Pikula 291).

“This is the moment between before and after, the pivot point upon which story, like a plate, spins.” “pg.1” Jude hasn’t been the same since his little sister, Lily, drowned seven years ago when she was four. Jude was supposed to be watching her, but he was playing his videogames. He found her at the bottom. Since the accident, he keeps more to himself, he doesn’t tell a lot of people his feelings and he doesn’t let people into his heart. His mom has been a wreck but his father has picked himself up a bit and goes running to clear his head.

When reading Jandy Nelson’s I’ll Give You The Sun, the presence of foreshadowing allows the reader to gain a deeper insight into Jude’s life, shedding light onto the greater theme of fate. At a young age, Jude falls in love with a drawing Noah did of a man. She would do anything for that drawing, even trade the metaphorical sun. Jude’s extreme desire for the sketch is demonstrated when she replies, “‘Oh all right,’ she says, totally surprising me. ‘I’ll give you the sun.’ ‘I practically have everything now!’ I say. ‘You’re crazy!’ ‘But I have him.’ She carefully rips the naked english guy out of my sketchbook” (Nelson 74). Jude felt as if the english man was speaking to her, drawing her towards the portrait. This unexplainable connection foreshadows

I look over at Caleb and see that he is unconscious, with blood rolling down his forehead from a shard of glass that hit him when the back windows exploded. Suddenly I hear a loud scream. Sirens, making a noise so blood curdling, like a symphony of women screaming at the top of their lungs. It reminds me of that day when I was eight, except this time it’s my brother who I am hoping is okay, not Tina, who I knew wasn’t going to make it.

The moment Skyler's blood touched her tongue Adriana was lost. The sweet nectar that flowed through her lovers veins washed over every sense the old vampire had. She drank deeply as the warmth washed through every inch of her body. It was the first time in ages Adriana had felt such heat coursing through her veins. Her lover, her wolf tasted like madness and haven all at the same time.

Comparable to Noah and her father’s relationship, Jude and her mother are combative with one another. Jude despises the fact that their mother considers Noah to be the better artist, and that their mother fawns over his dream to get into California School of the Arts. She projects her anger into arguments and disobeys her mom out of rebellion. She wears to short of clothes out to parties and puts on heavy makeup to draw more attention to herself. In response to Jude’s desire for her mother’s love and acceptance, she seeks to fill the gap in other places. She befriends older boys, and mistakes their interest for love. “Does M. love me? No” (Nelson 80). She befriends ‘hornets’ that swarm around everyone to cause disorder. She befriends everyone except her brother, who was once her very best friend. ☺ I’ll Give You The Sun shows that love is fickle, and nothing can replace love from someone they want the most, no matter how hard one

i). "Contemporary readers who have learned to identify an erotic potential in every episode of Bram Stoker's Dracula may be somewhat surprised" (Arata 8).

Braeden woke up alone, and to the smell of bacon and chatter from the floor below.

Monstrous desires are not as exclusive as one might think, and in Karen Russell’s short story “Vampires in the Lemon Grove,” we come to recognize that, despite the fact that the two main characters, Clyde and Magreb, are actual vampires, their “monstrous” urges are all too familiar- perhaps even quintessentially human. In fact, with careful analysis, specifically through psychological criticism, we, as readers of “Vampires in the Lemon Grove,” can see that by understanding psychological urges of the subconscious (in accordance to Freud’s theories), that the “monsters” are just as vulnerably human as the rest of us. We come to understand specific psychological needs such as desire, hunger, and the psychological need for hope and

The first relationship explored in the novel, that of Dracula and Jonathan, defies the constraints of heteronormative sexuality. Dracula’s interest in seducing, penetrating and draining another male are desires that are acted out in the novel, however not solely by the Count himself, but instead by his three vampiric paramours. The homoerotic desire between Dracula and Jonathan is offered a feminine form for the masculine penetration that is being detailed (Craft,

Myer’s depiction of vampires has many similarities of those to traditional literature and stories. The sultry look, dark eyes, abnormal speech patterns, obsession with human life and blood. Along with several differences: Handsome appearances, not hated by the town (almost envied for fortune and looks), multiple sides—not just good or bad. These similarities and differences that Myer’s vampire characters have connect the audience to the Vampires, and in return shows her deeper meaning of what a vampire means for society

Punter and Byron reinforce this claim by stating that, “Dracula is associated with disruption and transgression of accepted limits and boundaries” (231). It is relevant to consider the aggressive behavior of Dracula towards his victims while he is on the prowl to fulfill his thirst for blood, especially with Lucy and Reinfield and the image of female vampires feeding on young children (Lucy). This bolsters the notion that the depiction of vampires in early portrays was violent. Also, as a sexually powerful creature, he preyed on men and women to fulfill his desires. The sexual representation of vampires is also evident from Ernest Jones’ early analysis of folktales, including the vampire. He proceeded to conclude that vampire’s and their counterparts, namely the Churel (India) and the Drud (vampires that prey exclusively on other vampires), do not confine themselves to sucking blood; rather “in the unconscious mind, blood is commonly associated with semen” (106). It would be inaccurate to associate these references to anything but the erotic nature of older folktales. Even in Dracula, the Count is portrayed as a seductive aristocrat who sucks on the blood of men and women, alike. The homosexual aspect of vampire tales is also apparent in “Carmilla” (Joseph le- Fanu 1872). As pointed out by Punter and Byron, Laura experiences intense erotic advances from the female vampire, to the extent of being puzzled

Two men stand in a room. One man’s face is shrouded in darkness, and a large hat crowns his head while a trenchcoat hides his body’s form. The other man is short, stout, and ratlike in his face. His beady eyes dart around the dark room, as though searching for an escape.