The authors observe that vampire tales seem to never dull in their popularity (e.g., the current obsession with “Twilight.”) Why? Here’s the last four graphs, but you should read the whole thing:
Part of the reason for the great success of his “Dracula” is generally acknowledged to be its appearance at a time of great technological revolution. The narrative is full of new gadgets (telegraphs, typing machines), various forms of communication (diaries, ship logs), and cutting-edge science (blood transfusions) — a mash-up of ancient myth in conflict with the world of the present.
Today as well, we stand at the rich uncertain dawn of a new level of scientific innovation. The wireless technology we carry in our pockets today was the stuff of the science fiction in our youth. Our technological arrogance mirrors more and more the Wellsian dystopia of dissatisfaction, while allowing us to feel safe and connected at all times. We can call, see or hear almost anything and anyone no matter where we are. For most people then, the only remote place remains within. “Know thyself” we do not.
Despite our obsessive harnessing of information, we are still ultimately vulnerable to our fates and our nightmares. We enthrone the deadly virus in the very same way that “Dracula” allowed the British public to believe in monsters: through science. Science becomes the modern man’s superstition. It allows him to experience fear and awe again, and to believe in the things he cannot see.
And through awe, we once again regain spiritual humility. The current vampire pandemic serves to remind us that we have no true jurisdiction over our bodies, our climate or our very souls. Monsters will always provide the possibility of mystery in our mundane “reality show” lives, hinting at a larger spiritual world; for if there are demons in our midst, there surely must be angels lurking nearby as well. In the vampire we find Eros and Thanatos fused together in archetypal embrace, spiraling through the ages, undying.
Makes sense to me.