Suckers

That Twightlight woman? What's her name? Stephanie Meyer? Why doesn't someone just bite her and fuck on the bed while she bleeds out? I mean really...? Wait? Is that a bad thing to say...?
But what she's done is just so wrong. I can't see any other punishment that's fitting.
The thing with vampires; the thing I don't think Stephanie, still living and breathing as I assume she is; doesn't get – is that motherfucker – they're supposed to be bad.
That's why we like them Steph.
And of course that's why Bill Compton, as sexy as the bloodsucking bastard is, is not really sexy. And yes, goddammit, not as sexy as Eric.
There its said now. It can't be taken back.
The vampire has always been most attractive to women. That's what's so great about them. A supernatural creature; a fictional creation; designed especially for the desires of women. Bram Stoker knew what he was up to. At a time when novels were predominantly read by women; bored, middle-class women; he wrote something that would truly excite them. And it still does.
A charming, glamorous creature. A creature of seduction and mystery; and of unbridled violence.
Of course Bram catered for his small, but discerning male audience too. The female vampires; as erotic in his novel as the Francis Ford Coppola ones nearly one hundred years later. No one can resist women who murder children and the scene with the squirming babies in the bag is one of the great ones in the world of the literature of powerful, fearful women.
So why do people; why do women in particular; love a vampire? Or want to be loved by a vampire? Is it as simple as the writers of True Blood would have us believe – that there is something automatically aphrodisiac about being wanted by something so powerful? Bill Clinton syndrome as we more worldly humans might term it?
Is it surrender? The desire to be totally consumed – as one is by a vampire?
The best vampire flick ever made is The Hunger – the ethereal Catherine Deneuve plays the eternal, immortal Miriam. David Bowie, yes THE David Bowie is her turned ex-human lover. Two people so beautiful that gay and straight stop having meaning and the whole realm of human sexual experience opens up. Of course in the film sexual experience ends with your throat being ripped out – but at that point who's asking questions?
Of course nothing this good can last forever. Miriam's human lover's slowly degenerate. She has a basement full of coffins and lost, shrivelled, helpless remmants of souls – still conscious, still wanting, but now, almost devoid of physical form. It is a filmic moment so filled with the pathos of the human experience that its unreality sears.
When Miriam takes the beautiful Sarah (a youthful Susan Sarandon) as her next lover – the ensuing scenes, shrouded in gossamer curtains, are some of the most... engaging... moments of lesbian sex ever put on celluoid.
And its so hot because the violence is so close to the surface, on the surface, those thick cords of arterial blood. And because those lost lovers are just a few feet away in the basement, screaming their torment. Hmmm, sexy.
Of course the vampire has always been a slimly shrouded metaphor. The fear of penetrative sex. Ho hum. The vampire makes sex even above the waist dangerous. A metaphor for AIDS – a disease transferred by blood. A metaphor for everything we hate and fear because we don't understand it.
But who needs the literary critics anyway?
Vampires are sexy because they are all the things we think we should not be. They are amoral, driven by need, more animal than human. And yet they are all the things we want to be; glamorous, clever, powerful, unsatiably needy and desirable.
I don't want to grow fangs. I don't want to meet anyone who has. But they make a nice fantasy and I don't want any uptight mid-westener trying to save me from it.