To jump right into discussing popular theories about vampire literature and why it appeals to young adults, I bring to my defense my term paper for Deb Taylor's 2008 Young Adult Literature class. The final examination for this course was to pick a topic about young adult literature, flush it out, and find at least six - eight books to support your topic. You could write this paper in the style of a collection of book reviews or in the style of an analytical research paper. Being that it was the summer I chose the former option. My library school friend, April, chose "Hope in Suicide" for her paper topic a year later and read books such as Jay Asher's "13 Reasons Why" and Laurie Halse Andersen's "Wintergirls". I'll have more to say on that later, but this is just to give you an example. Another girl on my class did a presentation of books about boarding schools. Come to think of it, I just now thought of a trend in titles that I should probably elaborate on, which is the triptych of seemingly unrelated aspects of a character's life. For example Louise Rennison's "Angus, Thongs and Full Frontal Snogging", Carolyn Mackler's "The Earth, My Butt, and Other Big Round Things", Robin Brande's "Evolution, Me, and Other Freaks of Nature", etc.
But I digress...or rather, that is not the subject for this week's post.
I'll post the introduction to the paper and then refresh each point as it relates to the particular vampire book I'm reviewing, which will be posted in chronological order.
The first book up this week is L. J. Smith's first installment to her now epic 8 book series and CW series, "The Vampire Diaries". L. J. Smith began this series of books in 1991. At the insistence of her fans she "concluded" the series with the fourth installment, Volume IV: Dark Reunion. After the success of Twilight there was more fan demand to resurrect the series. And thus The Vampire Diaries: The Return was born. I do not believe the Television Series follows the books very closely, mostly because the main character is from Degrassi and looks nothing like the Elena described in the books.
Without further adieu, the appeal of vampire literature is relevant to young adults because of a theory upheld by literary scholars equating vampirism as an allegory for adolescence and puberty (De Marco 26). Considering the appeal of vampire literature to young adults and the appropriateness of the adolescence allegory, the focus of the stories accumulated for this bibliography discuss vampires in high school.
In her book Not Your Mother’s Vampire, Deborah Wilson Overstreet expands the allegory of adolescence and vampirism to include three categories which discuss developmental tasks adolescents must face and tally how often they appear in vampire literature for young adults. The first task is physical body changes during puberty and the search for identity, the second task is renegotiating relationships and power dynamics between teens, parents, and peer groups, and the third task is increasing sexuality and interest in pursuing romantic relationships (Overstreet 14-15).
Smith, L.J. The Vampire Diaries: The Awakening. New York: Harper Court, 1991.
Elena Gilbert’s diary entries help chronicle the beginning of her senior year at Robert E. Lee High School, beginning with the sudden death of her parents. When a mysterious Italian student named Stefan starts attending her school, Elena is determined to win his heart. Following Stefan’s arrival is a sudden spike of sporadic attacks where people are mutilated, seemingly by an animal. As the only vampire in town, Stefan cannot help but blame himself for these attacks though he cannot remember committing them. Isolating himself from his classmates and shunning Elena’s advances only increases her desire to pursue him, even at the risk of her life.
The Vampire Diaries fulfills the third developmental characteristic of developing romantic relationships and recognizing sexuality. The romantic pursuit and obtainment of a relationship between Stefan and Elena is the main focus of this book, the first in an ongoing series of seven. Foreshadowing is very prominent, even occurring from the first line, “Dear Diary, Something awful is going to happen today.” Smith uses a particular convention of vampirism as a metaphor for sex, illustrated through her intimate description of Stefan’s creation into a vampire, as well as his consensual exchange of blood with Elena.
Readers who love plot-driven series will be drawn to The Vampire Diaries as well as through the implied love triangle between Elena, Stefan, and his brother, Damon. Similar to Atwater-Rhodes’ vampires, Damon and Stefan Salvatore are described with opposite personalities: the former is the irreprehensible bad boy, and the latter is the sensitive, sympathetic vampire. Elena is a very weak heroine and portrayed as selfish, manipulative, and conniving. The rest of the cast embodies typical personality archetypes with strong secondary characters. The book’s appropriateness leans more toward upper middle school readers because of violent vampire attacks and the implied sexuality through the exchange of blood.
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