Fuck, Kill, Eat: Werewolves and the Death of Love

I’ve been thinking about werewolves a lot lately.

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No, really, like a lot.

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I recently listened to the audiobook of Glen Duncan’s The Last Werewolf, which is probably one of my favorite books of all time. I own a print copy and have read it twice, but decided to listen to it in my car on my way to work over the course of two weeks. I have a 40-minute drive to and from work Monday – Friday, and when I don’t feel like listening to music I listen to audiobooks that I download for free through an online service provided by my local library.

Over the past several months I listened to two Joe Hill novels, Heart-Shaped Box and NOS4A2, and the first two novels in the Vampire Diaries series by L. J. Smith. I had to stop listening to the Vampire Diaries novels, because I was getting pissed off at the fact that there are no people of color in the stories, and Elena Gilbert is a spoiled rich white girl who doesn’t deserve the love and attention of either Salvatore brother. I prefer the TV series to the novels mainly because of the diversity of characters and well…Damon Salvatore is a beautiful monster.

I would happily listen to more Joe Hill novels in my car, but I’ve either read or listened to all of them and last summer I even listened to Doctor Sleep and got my Charlie Manx fix through the world(s) shared between Joe Hill and Stephen King. I got very excited while listening to NOS4A2 when Charlie Manx talks about the different “inscapes” and the people he’s met that use them — Pennywise’s Circus (IT), the True Knot (Doctor Sleep), Christmasland (NOS4A2), the Treehouse of the Mind (Horns), the Night Road and Craddock McDermott (Heart-Shaped Box). Seriously, NOS4A2 is an Easter egg treasure-trove for readers of King and Hill. Treat yourself!

Reality has been kicking my ass, so my goal when choosing entertainment of any kind is to get as far from reality as possible. I often jokingly tell people that if a TV show, movie, or book doesn’t have vampires, werewolves, demons, witches, ghosts, or other paranormal characters, I’m not interested. But, it’s not really a joke.

I have been feeding my brain a steady diet of paranormal romance and dark speculative fiction. I binge-watched seasons 12 and 13 of Supernatural recently and now I’m suffering from Winchester withdrawal. Fox decided to cancel Lucifer, so I watched the last two bonus episodes and now that’s over and done. I started rewatching season 2 of Preacher to psyche myself up for season 3, but I’m not 100% sure of the date of its return to AMC. Then, on a whim, I decided to finally watch Lost Girl on Netflix. It has a Buffy vibe that I really enjoy and it is loaded with sexy, interesting, and often hilarious supernatural creatures. I like the dynamics between the Dark and Light Fae, I like the slow unfolding of the long cultural and political histories of this dual society, and I like the relationships that form between the characters. But, I’m not going to lie, the main reason why I’m watching right now is because of a certain werewolf.

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In the first season of Lost Girl, Dyson and the main character, Bo Dennis, become lovers. Because he is a werewolf chock full of Id and raging sexual energy, he is the first lover she’s ever had that didn’t die after having sex with her. Which, you know, is kind of a big deal when you’re a succubus.

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I mean, imagine if you had spent most of your adult life making love to people you’re attracted to or have strong feelings for, and each time you follow through on your sexual attraction, they end up dead. Sex with you is literally deadly. You are the embodiment of the death of love. Then, one day, you not only discover what you are and why your partners are dying, but you also find a mate who can provide you with what you need — companionship, acceptance, answers to your questions, finger-licking mega-boost sexual energy, and death-free sex. Death-free sex that is totally mind-blowing for both of you. You’d be tempted to think that love might still be in the cards for you.

I mean, love is still in the cards unless the person you love loves you so much that they inadvertently sacrifice their passion for you in an effort to save your life. Hence, the death of love. I mean, what’s more tragic than loving someone so much that you sacrifice everything for them with the consequence of never being able to love them again?

I’ve been on a werewolf kick for a while. Like I said, before I started watching Lost Girl on Netflix roughly a week ago, I listened to Glen Duncan’s The Last Werewolf, read by the late Robin Sachs, who lent his uber-sexy deep British accent to the first-person narrator, Jake Marlowe. Jake is a 200-year-old British werewolf who is facing the certainty of extinction of his species.

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For most of the novel, he accepts the fact that death is coming for him. In fact, he welcomes it. After 200 years, 147 of which he’s spent as a monster killing and eating humans, he’s done. He believes he’s seen it all and there are no new mysteries awaiting him. And then, the Universe has a few more laughs at his expense.

I suppose that most werewolf stories are really about love and it’s loss when you examine them closely enough. Lycanthropy is typically viewed as a curse that ruins the lives of the people who contract it. In most cases, lycanthropy is passed from werewolf to human through a bite. Unless lycanthropy is inherited through a family bloodline, or achieved through magical means, like wearing a belt made from a wolf’s pelt with a little black magic for good measure, werewolves are usually the survivors of violent attacks. And, once their physical wounds heal, the psychological ones are usually just beginning. If the werewolf has a conscience, they will most likely experience the early stages of a mental collapse after the first full moon when they turn into a homicidal maniac in wolf form.

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Jake Marlowe became a werewolf because he was bitten by one and during his first transformation he killed his wife. After killing and eating her, he read her journal and discovered that she was pregnant. His first act as a werewolf was to literally kill and eat love. For 147 years, he spent his life observing the sacred rites of werewolves: Fuck, Kill, Eat. He never found love again. At least, not until he realizes he’s about to be extinct. The Universe likes to laugh at us, but it seems to be especially jovial where monsters are concerned. At least romantic monsters who cling to their humanity in the midst of an extreme identity crisis. Jake assumes he’s the last living werewolf on Earth until he meets his female counterpart, Tallula Demetriou. So, not only is Jake no longer the last werewolf on Earth, but now he has a reason to live: Love.

So, what’s the deal with werewolves and romance? Well, who doesn’t want a passionate lover driven by their Id with superhuman strength, stamina, and a biological need to mate for life? A werewolf mate will literally kill people to keep you safe…or as an insane response to their unbridled jealousy.

At the heart of all werewolves is murderous rage and rapacious sexual energy. Left unchecked, they commit atrocities like Jake Marlowe killing his wife and unborn child, and while in human form they are often slaves to their libido. Without love, werewolves are basically fucking, killing, and eating machines.

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Typically, werewolves are portrayed as strong, handsome men suffering from some sort of identity crisis, or extreme guilt over becoming a murder once a month, and possibly an unbearable, soul-crushing melancholy brought on by unrequited love.

What I like most about Glen Duncan’s Last Werewolf Trilogy is the fact that we see the lives of werewolves from two perspectives, both male and female. Jake Marlowe’s acceptance of his true werewolf self — the good, the bad, the ugly, and the murderous — makes him an oddly likeable character. He has sex with prostitutes and somehow manages to not be a misogynist. He kills and eats humans once a month and somehow manages to be endearing in his descriptions of his own psychology. He’s a conundrum of horror, repulsion, intellect, cynicism, and raw sex appeal. Werewolves are mythological bad boys and they make excellent romantic characters when making terrible choices is your raison d’etre. I probably mentioned this before, but falling in love with monsters is usually a bad idea, regardless of what popular paranormal romance tells us. Whether you join Team Jacob or Team Edward, you’re essentially signing up for assisted suicide.

But, what if the werewolf is female?

If the 2000 cult horror film Ginger Snaps teaches us nothing else, it teaches us that female werewolves are dangerous monsters (and super-fucking cool). Their danger lies not only in the physical power that comes with their transformations each month, but in the empowerment that comes from shedding all the bullshit societal expectations of femininity. Female werewolves embrace their sexuality and engage in the mental gymnastics required to deal with the implied duality of being vessels for the creation of life and choosing to murder to satisfy the bone-rattling hunger for human flesh.

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But hey, don’t most women deal with similar dualities in every day life? Women are expected to be attractive to appease the ever-present male gaze, but only if they maintain the illusion of virginity. Women who ignore the male gaze and express their unique brand of sexuality or lack of interest in sex all together are accused of being sluts or hags. Let’s face it, there’s nothing more monstrous than sex-positive women who take full ownership of their bodies and decide who can and can’t have access to them.

Female werewolves choose their own paths. They embrace their sexuality. They choose multiple partners or mate for life. They become mothers or remain childless. They give the middle finger to societal expectations and rip out the patriarchy’s jugular.

As it turns out, Jake Marlowe is not the last werewolf. Tallula, his lover, his mate, his salvation, the love of his life (no pressure), makes the inevitability of extinction less likely. In fact, he gains strength in knowing that she is a better werewolf than he could ever hope to be. Tallula struggles with internal chorus of right and wrong that developed from her American upbringing and the expectations that women can only occupy certain roles — maiden, mother, and crone. And possibly, harlot. Tallula likes sex and engages in murder with the same ardor. She and Jake kill together and then have sex over the corpse in werewolf form, which ironically brings them closer together as a couple in their human guises. Essentially, their a serial-killing couple. Murder mates. Even monsters need love, right?

So, if female werewolves are more powerful and scarier than male werewolves, that might help explain how male werewolves have become sexually-charged eye candy in a lot of paranormal romantic fiction. I’m just stating that as a fact. It’s not a criticism in the least, because that would make me a hypocrite. There’s nothing I enjoy more than objectifying sexy werewolves…and examining the potentially dangerous ramifications of sexualizing monsters.

Peter Rumancek of Hemlock Grove, the Netflix original series based on Brian McGreevy’s 2012 novel by the same name, is an interesting monster. While he is physically appealing, his real attraction comes from his delightful irreverence and cynicism, and while his Romany upbringing predisposes him to criminal activity, his internal struggles are more geared toward keeping the people he loves safe rather than his guilt over killing and eating people.

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Then we have Alcide Herveaux, who could possibly be the sexiest werewolf ever in paranormal fiction. Charlaine Harris has kindly given us countless fuckable fictional characters, but Alcide is in a class all by himself.

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In Alan Ball’s adaptation of Harris’ Sookie Stackhouse novels for the HBO series True Blood, Alcide gets a much broader story arc than he does in the novels and his flirtations with Sookie Stackhouse got much further. He’s an interesting character who embodies strength and loyalty to a fault. And jealousy. Let’s not forget jealousy, which is essentially Alcide’s kryptonite.

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I have a soft spot in my heart for Alcide because he makes worse relationship decisions than I do. I mean, this guy has TERRIBLE luck with romance and his choice of partners, including Sookie Stackhouse, are pretty much all bad ideas. Plus, there’s the added bonus of him being naked a lot of the time.

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So, in the process of writing this blog post I realized that I have a lot more to say about werewolves and this post might be the jumping off point for a short series of posts. I definitely feel like I have more to say about female werewolves vs. male werewolves, and I’d like to talk more about Glen Duncan’s trilogy. But, I need to think about the subject a little more deeply.

Which reminds me, while I was listening to the second audiobook in the trilogy, Tallula Rising, I was able to solve or at least recognize the solution to an issue in my own writing. Tallula talks about her feelings in relation to motherhood and the acceptance of the terrible things she does and that are done to her. It was a moment of clarity that confirms the idea that in order to become a better writer, you need to read more books. I’m not going to talk about that moment of clarity in this post. I’ll save it for a future post. But, I will say that the irony of finding clarity about my own identity, my own writing, and the world I live in through stories about monsters is not lost on me. My own otherness has made me feel connected to monsters since childhood and I have always felt empathy toward characters who have no control of who or what they are. I suppose, I feel a kinship to monsters and the older I get, the more I take pride in that fact.

I’m going to keep up the ongoing process of self-discovery through writing in the hopes of becoming not only a better writer, but hopefully, my best self. And, I’m going to keep thinking about werewolves.

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I mean seriously, can you blame me?

When Life Gives You Lemons, Daydream About Psychotic Vampires

I don’t know about you, but Life has been kicking my ass lately. Due to some issues with my employment over the past several months, I had to start working for a temp agency to earn some money in order to dig myself out of a huge financial hole. Back in August of last year I walked away from a job after realizing that despite all my hard work and effort, I was never going to be seen as a peer or equal by the people who literally rewrote the job description I wrote for my position so that I would no longer qualify for the job I had been doing for 4 years. So, I cobbled together what little dignity I had to spare, and left.

Then I started working for a small company that was struggling financially, which meant that I was struggling financially. I liked the work and the people, but I had to borrow money and pull money out of savings in order to scrape by. I’m behind on all my bills, and I am often crippled with worry about the future.

I was invited to present a paper about vampires at an academic conference in Romania this summer that I had to pull out of, because I couldn’t afford the trip. I’m still a little broken-hearted over the fact that I can’t go, because it was a dream come true. Well, maybe next year.

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On the bright side, I sold a short story and picked up some freelance work writing web content, and I have some amazingly supportive friends and loving family in my corner. Even if they can’t bail me out of debt, they cheer me up and remind me that life isn’t just about collecting a paycheck. Although, paychecks are obviously necessary and I can’t live without them.

This morning on my way to work, a piece of gravel flew up off the road and cracked my windshield. Now I have to figure out the how the hell I’m going to pay to have it repaired, come up with the money for my son to go to summer camp, and oh yeah, pay my rent.

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I am a 46-year-old, divorced woman of color with three college degrees and lots of valuable work experience. I go on interviews every few months in the hopes of finding a better job, but nothing seems to pan out. I spoke to a woman yesterday on the phone about a job, and she said she was worried that I was overqualified. I explained that I’m a single mom. I’m raising my child alone with no child support. I need a job to survive and I’m looking for a stable position where I get to do work I enjoy. Oddly enough, that seemed like a novel idea to her, as if there were jobs falling out of the sky and I had my pick. We’ll see if I pass the personality test she sent me as part of the interview process. That’s right. I took an online personality test today to see if my personality, not just my education and years of experience are a good match for a job I’m overqualified for. Isn’t Life a scream?

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On top of the fact that I’m in non-stop survival mode, I’ve hit my sexual peak and haven’t dated anyone in over a year because I’m not interested in meaningless hookups. To be fair, I’m not exactly in an ideal phase of my life to attract worthy partners. By worthy, I mean single, attractive, kind, interesting, educated, financially stable men with a dark sense of humor who can laugh at themselves and make me laugh, who didn’t vote for Trump, and aren’t members of the NRA. Too specific? I don’t think so. Actually, if you think you meet these qualifications, I’ll be accepting applications later this month. Just kidding. Sort of.

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Sure, I have pleasant flirtations with friends on social media, but again I haven’t been on an actual date since early last year. Psychologically, I’m not sure I’d be very good company some days, but my friends keep telling me I’m a great catch. Whatever. My plate is kind of full with raising my ASD kid, dealing with my own issues of anxiety and depression, while trying to figure out how the hell I’m supposed to pay for everything. All while trying to work full-time and build a writing career.

Writing is one of the most important and soothing activities in my life. Before I ever even considered publishing my work, I wrote because I wanted to, needed to. Most of my life, I have dealt with times of crisis by finding solace in fiction. I read, I watch films and TV, and I write. Some people might tell you I hide in fiction. Screw them. They aren’t my friends. Fiction is a balm that allows me to escape from reality, and right now, mine is a non-stop shit show.

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Some people enjoy watching sports and reality TV shows, or reading romance novels with happily-ever-afters. Unless there are monsters or other supernatural or magically gifted characters involved, I’m not interested in watching. Don’t get me wrong. I love romance, but I like the paranormal variety, where crazy women fall in love with vampires, werewolves and demons. If you’ve read any of my other blog posts, you know that I absolutely love monsters. Vampires are my favorite monsters, and have been since before I was a teenager. I like complicated characters who are a bit more villain than hero who have faced such great tragedy that they go a little crazy. So, naturally, insane vampires are at the top of my list when it comes to being entertained.

One of the craziest and most entertaining vampires ever is Franklin Mott. Over the weekend, I treated myself by watching all of the True Blood episodes Franklin appears in, so I could laugh, get creeped out, and forget about my troubles for a few hours. I indulged my love of monster soap operas and reminded myself that things could be much worse. I could be tied to a toilet in a cheap motel while being held against my will by an insane vampire who thinks he’s in love with me. Wait. Actually, that sounds like a fun weekend.

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Franklin Mott is a Grade-A psycho. We’re first introduced to Franklin, played by British actor James Frain, in episode two of the third season of True Blood, “Beautifully Broken,” in which Lafayette Reynolds prevents his cousin, Tara Thornton, from committing suicide while mourning the death of her murderous boyfriend, Eggs. Tara is not only mourning the death of her boyfriend, but the fact that the happiest she ever felt in her life was when she was being psychically controlled by a maenad. She compares the experience of being head-over-heels in love with Eggs to being a zombie. That complete lack of control scares her and further challenges her belief in the existence of true love, or at the very least, her belief that she might not be worthy of receiving it.

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Tara hasn’t had a lot of luck in the romance department, and she’s beginning to wonder if the problem is her. So, the fact that the next man she attracts is an exceptionally violent vampire, does little to boost her self-image.

Franklin comes to Bon Temps to gather intelligence on Bill Compton for the Vampire King of Mississippi, Russell Edgington, and learn more about his human companion, Sookie Stackhouse. After finding a secret dossier on Sookie hidden in Bill’s office, and disposing of a dead body Jessica has stashed in the cellar, Franklin goes in search of a little R&R at Bon Temps’ hottest night spot, Merlotte’s.

It’s Tara’s night off, but Lafayette wants to keep an eye on her after her suicide attempt. She’s feeling pretty low, but pitches in behind the bar. When Franklin asks how she’s doing, she tells him she’s trying not to kill herself. He jokingly asks how that’s going for her. She says, “I’m still alive.” He says, “That makes one of us.” Tara then gets up and offers him a bottle of True Blood.

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Later in the episode, we see Tara sitting in the parking lot behind the bar drinking Wild Turkey straight from the bottle. Two drunk rednecks stumble out the backdoor, talking shit about Eggs in less than flattering terms, and one of them takes a piss on the spot where he was shot to death. Tara confronts them and things escalate quickly. She gets into a fist fight, but is outmatched until Franklin suddenly comes to her rescue. He helps out by holding one of the men so Tara can continue punching him, releasing some of her rage and grief. While Franklin holds the man and Tara hits him, Franklin’s fangs pop out, clearly turned on by Tara’s bloodlust.

The next time we see Tara and Franklin, they’re in bed together in a cheap motel. Tara has never had sex with a vampire and the experience is eyeball-rollingly orgasmic for both of them. In the midst of the encounter, Tara tells Franklin to bite her, but he refuses. Confused, she asks why. He tells her it’s because she asked him to, and his tone is teasing, playful.

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They continue to have sex until dawn, and Franklin seems to have taken a liking to Tara. He asks her questions about herself wanting to get to know her. Curious as to where all her rage comes from. At this point, he doesn’t even know her name. Unwilling to develop any sort of attachment, Tara gets dressed and tells him she isn’t interested in forming any kind of lasting bond with him. And you get the sense that his feelings might be a little hurt when she leaves.

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Still on assignment for the Vampire King of Mississippi, Franklin continues to follow leads to gather more intel on Bill and learn more about Sookie. He tracks down Bill’s progeny, Jessica, and lets her know that he’s the one who disposed of the body she was hiding. Then he proceeds to grill her for information. In the process of learning more about Bill and Sookie, he also learns that Tara is staying at Sookie’s while she’s off trying to find Bill. Bill was kidnapped by Russell Edgington and is being held captive in Mississippi. Against his better judgment, Eric provides Sookie with a werewolf bodyguard, Alcide Herveaux, who accompanies her to Mississippi.

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Franklin shows up at Sookie’s and Tara is shocked to see him. She refuses to let him come in until he mesmerizes her and bends her to his will. She invites him in and he asks her questions about Bill and Sookie and discovers that Sookie is in Mississippi looking for Bill. Franklin then proceeds to kidnap Tara, claiming that he loves her and wants them to be together. Apparently, whether she likes it or not. This is when we begin to see just how crazy Franklin really is. We get a glimpse of his possessive, controlling nature when he tells Tara that if she keeps smiling while talking about Jason Stackhouse, he might have to get jealous.

Franklin begins exhibiting some of the classic signs of stalker/abuser behavior. He believes that if he has feelings for Tara, she should have feelings for him. It’s okay if she doesn’t right away, because he’s going to convince her that they’re meant to be together. Even if he has to resort to violence. For instance, he bounds and gags Tara in the bathroom of the cheap motel where they had what she believed was their one-night stand. When the sun goes down, Franklin shows up with flowers that he duct tapes to Tara’s bound hands before putting her in his car.

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When she demands to know where he’s taking her, because she views his actions as kidnapping, he acts offended and tells her she’ll ruin the surprise. She’s angry, confused, and terrified. Again, we get the sense that her refusal to simply enjoy the ride hurts his feelings. He imagines a relationship developing between them that is obviously one-sided.

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At one point, Tara demands to know why he keeps her tied up if he has feelings for her, and he tells her it is for her safety. He gets upset and nearly breaks down crying, because again, his feelings are hurt by her implication that he is keeping her tied up to hurt her, not protect her. His behavior becomes more erratic and confusing the more time she spends in his company. However, Tara is a pro at dealing with abusers, and soon learns how best to manipulate Franklin to protect herself and convince him to do what she wants.

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If she shows signs of being upset, he asks who made her feel that way and threatens to kill them. He apologizes for not taking better care of her when he forgets that she needs to eat regular food. He brings her gifts and tries to make her comfortable. Then, he goes a step too far and proposes to her. She obviously can’t say no, but has no desire to become a vampire. If they are wed, he plans to change her so they can be together forever. One of the obvious drawbacks of falling in love with a vampire, or becoming a vampire’s object of desire, is that in order for any long-term love affair to occur, you have to become like them.

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He loves her so much, he wants to kill her. She doesn’t want to die. In fact, she’s horrified by the thought, which is ironic given the fact that she tried to kill herself at the beginning of the episode in which they met. But, I guess the message here is that she wants to die on her own terms. She wants her death to be her own decision. She wants to be in control of her life and death, not at the mercy of a psychotic, love-sick vampire. Beyond that, Tara also realizes that just because someone desires you, that doesn’t mean they have the right to own you. And, Franklin Mott’s version of love entails ownership.

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While watching the episode in which he offers her what amounts to an eternity of slavery to her bloodlust, it wasn’t lost on me that the setting was an old plantation house in the deep South. Tara is essentially a house slave at the mercy of her owner’s desires. Franklin is not her lover, he’s her master. She’s held against her will and forced to endure his poisonous version of affection. Of course, if you tried to explain this concept to Franklin, he’d probably be so offended that he’d black out in a murderous rage and wake up in a room surrounded by body parts.

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Despite his dangerous flaws, Franklin Mott is an interesting character. He has some of the funniest and most memorable lines in season three. His gallows humor, intelligence, biting sarcasm, and taste in mostly all black clothing make him charming and oddly attractive. Something broke inside Franklin long before he became a vampire. There was darkness in him prior to becoming one of the undead. However, even if he wasn’t a vampire, his attraction to vulnerable women who have essentially given up on life makes him a predator.

As fictional characters go, Franklin Mott is right up my alley, but I wouldn’t want to meet someone like him in the real world.

Battling Our Demons: Fighting the Influence of Evil

The other day, while looking through some of my folders of old writing and abandoned projects, I stumbled across an essay I wrote back in May 2015 for my Readings in the Genre: Contemporary Mysteries course at Seton Hill University as part of my MFA in Writing Popular Fiction program. Of late, I’ve used this blog as a way of kick starting myself into writing on a more regular basis; something I struggle with on an almost pathological level. My friends will tell you that I’m writing all the time. This year, since February I have written a total of 27 blog posts about fictional characters I find sexually appealing, and since around May, I’ve written over 120 haiku poems. I’ve drafted chapters in a novel I’m writing, and I’ve written a few short pieces of fiction here and there. So yeah, I guess I have been writing. But, I don’t feel like I’m writing enough.

And, although I had a short story published in an anthology back in November 2014, I haven’t been able to sell my first novel, Invisible Chains, acquire an agent, or get any other bites on the poetry I’ve been submitting. I currently have poetry out to three publishers and I’ll be submitting three short stories within the next month to different publishers. I’m going to participate in NaNoWriMo 2016 in the hopes of completing that second novel I mentioned, A Marriage Made in Hell. I WILL finish the first draft of Marriage by November 30, come Hell of high water.

Anyway, if you’re interested in reading some of my writing that doesn’t involve lewd comments about my favorite fictions characters, read on…

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Battling Our Demons: Fighting the Influence of Evil in Charlaine Harris’s Dead Until Dark and Stieg Larsson’s The Girl with the Dragon Tattoo

In his famous study on human behavior, Beyond Good and Evil, German philosopher Friedrich Nietzsche warns us to take care to not be influenced by the intrinsic and often seductive nature of darkness when confronting our demons. He proposes, “Whoever fights monsters should see to it that in the process he does not become a monster. And if you gaze long enough into an abyss, the abyss will gaze back into you” (Section 146). Sage advice, but is it possible to confront Evil and not be somehow changed by it? Can you keep company with monsters without becoming like them? This is the dilemma faced by both Sookie Stackhouse in Charlaine Harris’s Dead Until Dark and Lisbeth Salander in Stieg Larsson’s The Girl with the Dragon Tattoo. Each character must face her demons. Tempted as they may be, each character still manages to avoid becoming Evil.

Evil can be a very subjective concept. Each of us defines it a little differently based on our own personal experiences, but we can usually agree on the difference between “right” and “wrong.” The mystery genre uses this dichotomy as one of its central themes or plot points, and while an amateur sleuth or police inspector may be driven to solve a crime in order to uphold the law, at the heart of most mysteries is the desire for Good to win out over Evil. “Crime fiction in general, and detective fiction in particular, is about confronting and taming the monstrous. It is a literature of containment, a narrative that ‘makes safe’” (Plain 3). The battle between Good and Evil has been fought in fiction since before written communication. In the oral tradition, people told tales of epic battles between men and monsters – Beowulf, The Epic of Gilgamesh. With the advent of writing, the popularity of monster tales never waned – The Odyssey, The Iliad, and The Inferno. Monsters have always been with us. They are creatures of myth and legend, and they often stand in as metaphors for the less palatable human behaviors and emotions. Judith Halberstam suggests in her book, Skin Shows: Gothic Horror and the Technology of Monsters that even though our desire for stories about monsters and villains never seems to fade, the appearance of those monsters evolves to meet cultural needs. She says, “The body that scares and appalls changes over time, as do the individual characteristics that add up to monstrosity, as do the preferred interpretations of monstrosity” (8). Monsters change as our society changes, and the monsters of our current fiction, which is especially true in the mystery genre, tend to be humans more so than the beasts of Homer and Dante’s creations.

Like Sookie and Lisbeth, we sometimes find ourselves in less than ideal situations and come face to face with monsters. For some of us, the monsters we must face are people we thought we could trust who later betray us, or worse, cause physical as well as psychological damage in the form of abuse, rape, and ultimately murder. In her essay, “Vivid Villains,” Sandra Scoppettone tells us that “the nature of the villain, and how absorbing a character he or she is, will affect the flavor of the whole rest of the story” (86). The nature of the villain should definitely determine the nature of the protagonist. Whether we’re talking about a serial killer, someone seeking revenge, or jilted lover who commits a crime of passion, as we gain a better understanding of human psychology, we also understand that we are the monsters represented in the fiction we read. Darkness lurks within all of us, but for most people, it will continue to lie dormant until some violent act or traumatic experience awakens the beast within. The real challenge then for any protagonist facing such a worthy opponent, as Nietzsche warns, is to avoid becoming a monster. Sookie and Lisbeth are sexualized others who both fall victim to violence at the hands of human monsters.

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“Forty-six percent of women in Sweden have been subjected to violence by a man” (Larsson 139). In his novel The Girl with Dragon Tattoo, Stieg Larsson wishes to make it very clear to his reader that violence against women is a cultural reality in Sweden, and to most Swedish women, much like his protagonist, Lisbeth Salander, the threat of violence, sexual or otherwise, is an expectation if not an inevitability. Lisbeth is a ward of the state and becomes the victim of rape at the hands of a man assigned to her case. She is an adult, but due to her designation based on a history of aberrant behavior as a youth, she is treated like a child, mentally deficient, and then taken advantage of due to her abuser’s belief that she is somehow stupid. While Lisbeth has experienced quite a bit of emotional and psychological trauma, some of which is not revealed to us, she is far from stupid, and definitely not mentally ill. In fact, she is uncannily smart and more than capable of looking out for herself, except at the hands of the sadistic monster Advokat Nils Bjurman. Over the course of several meetings, Bjurman makes it very clear to Salander that she is at his mercy if she would like access to her bank accounts. Each encounter with Bjurman becomes more and more inappropriate until he forces Salander to perform oral sex on him in his office. Larsson reinforces his point about the violent nature of Swedish society by making Salander another statistic. “In her world, this was the natural order of things. As a girl she was legal prey, especially if she was dressed in a worn black leather jacket and had pierced eyebrows, tattoos, and zero social status” (249). Later, when Salander seeks revenge for this assault, Bjurman restrains and rapes her at his apartment. It is this second act of violence that pushes her to her limits and flips a switch that begins her own transformation. She falls prey to the desire to do monstrous things herself. “Bjurman felt cold terror piercing his chest and lost his composure. He tugged at his handcuffs…He could do nothing to resist when Salander bent over and placed the anal plug between his buttocks” (282). Salander reverses the tables on Bjurman. She assaults and humiliates him much like he did to her. She attempts to restore balance through an act of revenge, pushing her closer to the edge of the abyss. Lisbeth unleashes her darkness to reclaim her power and walks a fine line that could easily transform her into a monster worse than Bjurman. She threatens Bjurman with blackmail and bodily harm to prevent him from hurting her again—an act of self-preservation. By marking him, she hopes to save other women from becoming his victims. Justice is served.

On the surface, Sookie Stackhouse and Lisbeth Salander couldn’t be more different as protagonists go, but when you take a closer look at these two strong female characters, you’ll begin to notice some commonalities. First, they are both amateur sleuths with unique abilities that allow them to have access to information others aren’t privy to in the narrative. Salander’s abilities are half-heartedly explained through the eyes of Salander’s lover, Mikael Blomkvist, who assumes that the young hacker has a form of Asperger’s. Since Sookie’s world has paranormal elements, she has the benefit of being able to hear other people’s thoughts. Calling this ability a benefit is debatable, as Sookie herself sees it as a handicap.

Second, both women often find themselves at the mercy of men who threaten them with violence. Or, at the very least, objectify them sexually. Although they come from very different cultural backgrounds, they both have “zero social status” (249) in the economy of sexuality and gender equality. In Dead Until Dark, a serial killer targets young women who seek out vampires as sexual partners. Sookie not only shares this in common with the victims, but she also fits the profile with her high school education and minimum wage job.

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Monsters exist in Sookie’s world – vampires, weres, and shifters – all of which can be quite dangerous. In fact, her boyfriend is a vampire. Despite the fact that there is trend in fiction romanticizing relationships between vampires and humans, vampires are still monsters. Even if they don’t kill you outright, there is always the chance that things might get out of hand, and a moment of passion may end with the human’s funeral. Even if the vampire poses no direct threat to his partner, the secret lives of vampires seem to be violent by nature – ancient enemies, unresolved love affairs, power struggles with other supernatural beings. All of this adds up to danger for any human who meddles in the affairs of monsters, much less falls in love with them.

Sookie could literally become a monster if she continues to drink vampire blood. Bill Compton gives Sookie his blood several times to speed up the healing process. But when Sookie is recovering in the hospital after her encounter with the serial killer, she refuses to accept Bill’s blood for fear of losing her human qualities. “‘I’ll heal you,’ he offered. ‘Let me give you some blood.’ I remembered the way my hair had lightened, remembered that I was almost twice as strong as I’d ever been. I shook my head” (Harris 310). Sookie resists the urge to become monstrous by refusing to act like one. Sookie reclaims her power by maintaining her humanness.

Sookie and Lisbeth are victims of violent crimes. Both women fight back to protect themselves. They are survivors and each play an important role in vanquishing the monster, or at the very least, identifying the villain. They both realize there are too many villains in the world to fight. Even though they have temporarily restored the balance in their worlds, they know the fight between Good and Evil will continue. Not only externally, but internally as well. Each time you gaze into the abyss, the abyss changes you. So, to answer my earlier question, is it possible to associate with monsters and not become Evil? Yes, but only if you remain vigilant to protect your humanity, and in Salander’s case, the humanity of others.

Works Cited

Halberstam, Judith. Skin Shows: Gothic Horror and the Technology of Monsters. Durham: Duke University Press, 1995. Print.

Harris, Charlaine. Dead Until Dark. New York: Ace Books, 2009. Print

Larsson, Stieg. The Girl with the Dragon Tattoo. New York: Vintage Crime/Black Lizard, 2009. Print.

Nietzsche, Friedrich. Beyond Good & Evil: Prelude to a Philosophy of the Future. New York: Vintage Books Edition, 1989. Print.

Plain, Gill. Twentieth Century Crime Fiction: Gender, Sexuality and the Body. New York: Routledge, 2014. Kindle.

Scoppetone, Sandra. “Vivid Villains.” Writing Mysteries: A Handbook by the Mystery Writers of America. Ed. Sue Grafton. Cincinnati: Writer’s Digest Books, 2002. 86-90. Print.

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Fuckable Fictional Characters: Sam Merlotte

In honor of Mardi Gras, we’ll be taking a trip to Bon Temps, Louisiana to visit with one of the most fuckable characters from Alan Ball’s series, True Blood. As you might imagine, it would be difficult to choose just one character from the series to shower with your affections. I plan on writing posts for multiple characters in this fictional universe, and waffled about who would be first on my list. As much as I love vampires and werewolves, you’d think I’d start with Eric Northman or Alcide Herveaux. But no, I’m going talk about Bon Temp’s handsomest shifter, Sam Merlotte.

February 9: Sam Merlotte

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In a town full of supernatural weirdoes, Sam Merlotte is usually the most level-headed and reliable inhabitant of Bon Temps. As long as you stay on his good side, he’s a loyal friend and stand up guy. Perhaps a little judgmental and over-protective of some of the women in his life, Sam owns the local watering hole, Merlotte’s Bar & Grill. Sam employs a host of interesting characters, including Sookie Stackhouse, Charlaine Harris’s psychic heroine, Arlene Fowler, Tara Thornton, Terry Bellefleur, and my favorite, the fabulous Lafayette Reynolds.

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Sam has relationships with all of his employees that range from tolerant boss to love interest. Aside from Terry and Lafayette who work as cooks, Sam mainly employs female wait staff, all of which are easy on the eyes. Sam likes the ladies, and the ladies like Sam. He’s also easy on the eyes and genuinely a thoughtful and supportive guy. Unless you miss too many shifts or try to cheat him.

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Even Charlaine Harris stops by to check out the local flavor.

Bon Temps is a small town, so everybody knows everybody else’s business, and Merlotte’s is one of the best places to listen to local gossip. The colorful staff have personality traits that set them apart, and life experiences that make them interesting much in the way a train wreck is interesting. They’re daily lives are complicated enough that they do miss shifts from time to time. Sookie Stackhouse misses a lot of shifts after she begins dating a vampire, Bill Compton. The fact that Sookie likes this vampire so much is a source of concern for Sam. He’s not only worried about her safety. Sam is jealous because he wants to date Sookie. Unfortunately for Sam, Sookie seems to have placed him in the friend category indefinitely.

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No matter how much you love her peaches, you’re barking up the wrong tree.

But don’t worry about Sam. He’s never lonely for long. He develops several sexual relationships with local ladies, and as a teen he even managed to have sex with a Maenad, Maryann.

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Maryann teaches a young dog some new tricks.

He has a habit of dating or trying to date his waitresses, but one of his most notable on and off relationships is with his bartender, Tara Thornton. Tara is a complex woman and has nightmarish dating experiences and a history of abuse from her alcoholic born again mother. Let’s just say she has trust issues. But she’s sassy, independent, speaks her mind (perhaps a little too much), and is drop-dead gorgeous. Sam and Tara initially are just drinking buddies who share their concerns about Sookie’s dating habits. Tara and Sookie are best friends and have been for years. They’re tight. More like family than friends. One night after having too many drinks, Sam invites Tara to crash on the couch in his trailer behind Merlotte’s. They have a few more drinks, talk about how lonely they’ve been…and how horny, and pretty soon they’re naked and having some of the hottest sex on the show. Before they have sex, Tara makes it clear that she’s not looking for a serious relationship. Sam hesitates, but agrees that they make good friends, and being friends with benefits might be even better.

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I’d love to spend a bourbon-fueled night of bad choices with these two before sneaking out in the morning to avoid awkward conversation.

As I mentioned, Sam is a shapeshifter, or shifter. Not a werewolf like Alcide and the inbreeding family of werepanthers who kidnap Sookie’s brother, Jason Stackhouse, but a true shifter. Sam can become any animal, but tends to prefer dogs. Maybe because people trust them and he’s a loyal friend. Although vampires have “come out of the coffin”, shifters and weres prefer to remain anonymous to the larger human population. So only a few close friends know about Sam’s ability to transform into animals.

As the storylines become more complex, we learn that Sam has some skeletons in his closet. When he was young he ran away from home and ended up living with a foster family. The first time they caught him shifting, they packed up and moved without him. Sam had to fend for himself and apparently lived a life of crime for a number of years until he settled in Bon Temps. He claims to have bought the restaurant from the previous owners – the actual Merlottes – and he took over the business and the name. We get the sense that Sam has moved around a lot and has needed to reinvent himself on a few occasions.

As a teen abandoned by his foster family, Sam had to learn to survive on his own. He commits petty crimes to feed himself, and one night he unwittingly enters the house of a Maenad. Maryann catches him stealing from her and decides to have some fun with him. She seduces him and invites him to stay for a while. But Sam is kind of uneasy about Maryann. There’s something really strange about her. So, he sneaks out while she’s in the shower. With $30,000 of her money. Years go by, and Sam has managed to avoid many of the problems he’s created for himself by staying on the run. But eventually his past catches up with him in Bon Temps. Not only does Maryann track him down, but so does his real family. He’s not happy to see any of them. Sam prefers to stay a few steps ahead of his past, and no one in Bon Temps really knows his whole story. People get bits and pieces he chooses to reveal, but usually only in times of crisis.

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Like I said, Sam is a great friend when you stay on his good side. But he has a temper, and since he’s been known to not only conceal murders, but also commit them, you really shouldn’t piss him off.

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Maybe Sam isn’t as glamorous as the vampires and weres of Bon Temps, but he sure as hell knows how to wear a western-style shirt. And since he’s a shifter, we get to see him naked a lot.

He’s got a wiry frame and salt and pepper facial hair, which makes him totally fuckable. But for me, it’s his smile that would get me to follow him home to his trailer.

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Let’s get wild in the double-wide.