Comments on Glass Houses (Co-Leaders Ro H., Sang H., Madeline K., Kim K, Jenny L, Micaela, M. Musa M.)

Please respond to one or more of the below questions/comments from your student co-leaders.  

The beginning description of Claire sounds almost textbook to me. "Smart and small and average-looking wasn't exactly winning the life litter; you had to fight for it, whatever it was… What normal girl loved physics? Abnormal ones. Ones who were not ever going to be hot." On the other hand, we hear about Monica's perfection and confidence, albeit to Claire's annoyance and despair. 

How do all the beginning character introductions set us up for the rest of the story? What were your original expectations of where the story was going to go, and where did you actually end up?  (Rohaina H)

Glass Houses is different from most of other vampire novels; it does not have typical vampire romance love. Instead, this book has a pretty fast pace with some actions and excitements: more likely focused on hazing. Hence, I think all the characters are strongly related one another.

If you were Claire’s parents and helped, or at least cared, Claire from being bullied, how would the story be different? What would you have done if you were Claire’s parents?

How did Claire’s roommates, Eve, Shane and Michael, change her before she went to the Glass House? (Sang H.)

The hierarchy of vampires is very different in Glass Houses than in the other novels we've read so far. Not only are the humans of Morganville aware of vampires, they're in a submissive role towards them. How is this different from say Hakan serving Eli? What about Mina's relationship with Dracula? How do you think the control over such a large area is beneficial to the vampires? Clair, Shane, and Eve all seem to be incredibly human and anti-vampire, how is this different from what we've seen so far? Or are they similar to say Steve and Ghost, who tried to fight the vampires in Lost Souls? Are the vampires in this book sympathetic, like Eli, or monstrous, like the undead in I Am Legend or Dracula? (Madeline)

In this book, we get a different sense of how vampires could interact with humans.  These vampires are not alone, but work together in groups with a hierarchy in place to run the town.  Do you think this makes the existence of vampires worse than say in Dracula, where the vampire is mostly isolated and working on his own? Do the human "victims" in the novel have to deal with the vampires in a different way now?  How are their dealings similar?

(Kim K)

Similar to the readings we’ve had for this class, “isolation” is arguably a reoccurring theme found in Rachel Caine’s “Glass Houses.” For instance, as Michael attempts to explain of his identity/history to Claire (upon Claire having seen Michael “vanish” in the morning like a ghost), the theme of isolation is exhibited through Michael:

Claire: Why did you let us move in? After – what happened to you?

Michael: I got lonely. And since I can’t leave the house, there’s too much I can’t do. I needed somebody to help with groceries and stuff. And…being a ghost doesn’t exactly pay the bills. Shane – Shane was looking for a place to stay, and he said he’d pitch in for rent. It was perfect. Then Eve…we were friends back in high school…(88)

As exhibited in this quote and throughout the novel, how does isolation affect Michael’s characterization? Also, how does the theme of isolation allow characters in “Glass Houses” resemble and/or contrast to that of other characters from various books we’ve read in class (i.e., Polidori from “The Vampyre”, Neville from “I am Legend”)? Lastly, how does the theme of isolation affect our view on Michael, a non-human ghost and vampire (i.e., do we feel sympathetic towards Michael)?  (Jenny L)

In Glass Houses, the plot of being overrun by a town full of vampires is not a new concept to the vampire genre. The same theme of being outnumbered,       confined, and detained in a small place full of adversaries is seen in other vampire genres, like with Robert Neville in I Am Legend. How does this particular plot help to establish a sense of urgency in the vampire genre? (Musa M)

Glass Houses is the only novel we've read that seems to consistently follow the perspective of a female character, Claire.  There seemed to be some similarities between the ending of Glass Housesand Dracula when Shane's dad and his "biker buddies" attack Michael and Claire seems to be kept out of the fight (even though we don't get to see the end result).  How do you think the fight will end?  Do you think that there is a connection between the way Claire is treated throughout the novel and the way Mina was treated in Dracula or that there might be some similarities between Claire's character and Mina's? (Micaela M.)

Commentary on the last chapters of Dracula (Co-Leaders, Jess, G. Kim K., Rosy R.)

Please reply to one or more of the below comments by your student co-leaders:

In the last chapter, we finally see “the posse” tracking down Count Dracula all the way back to his Transylvanian castle. How is their journey to his castle different from the one Jonathan experiences in the opening of the novel? How is it similar? Think of how each person takes in the environment and reacts to the locals. We do still heavily hear about the superstitions of the locals, but are they taken more seriously now that the Westerners believe in a being like the vampire?

This is what Mina notices about the locals:
“They are very, very superstitious. In the first house where we stopped, when the woman who served us

saw the scar on my forehead, she crossed herself and put out two fingers towards me, to keep off the evil eye. I believe they went to the trouble of putting an extra amount of garlic into our food, and I can't abide garlic. Ever since then I have taken care not to take off my hat or veil, and so have escaped their suspicions.”

Compare to Jonathan’s interaction in Chapter 1:
“When we started, the crowd round the inn door, which had by this time swelled to a considerable size, all made the sign of the cross and pointed two fingers towards me.
With some difficulty, I got a fellow passenger to tell me what they meant. He would not answer at first, but on learning that I was English, he explained that it was a charm or guard against the evil eye.
This was not very pleasant for me, just starting for an unknown place to meet an unknown man. But everyone seemed so kind-hearted, and so sorrowful, and so sympathetic that I could not but be touched.” (Kim K)

“She lay in her Vampire sleep, so full of life and voluptuous beauty that I shudder as though I have come to do murder. Ah, I doubt not that in the old time, when such things were, many a man who set forth to do such a task as mine, found at the last his heart fail him, and then his nerve. So he delay, and delay, and delay, till the mere beauty and the fascination of the wanton Undead have hypnotize him. “

In the novel there are a lot of instances in which men are seen as having a “duty” to protect women; these types of gender stereotypes emphasize men having superior strength. This particular quote seems to show the opposite, women having a sort of hypnotizing power over men. Is beauty what gives the female vampire power over the men? Or is some sort of supernatural vampire at work? What are some other instances in which gender stereotypes have been ignored? (Jess G)

In Chapter 23, Mina shows sympathy for Dracula and tells the men to have pity on him. Her speech for them is shown below:

“That poor soul who has wrought all this misery is the saddest case of all. Just think what will be his joy when he, too, is destroyed in his worser part that his better part may have spiritual immortality. You must be pitiful to him, too, though it may not hold your hands from his destruction.”

This is the first time that Dracula as seen as a victim in this story rather than the aggressor. Do you agree with this statement and believe that the men should have pity on Dracula? What message do you think Mina is trying to convey?  Do you think that Dracula is leading a miserable life? And if so, what leads you to believe this? Please provide examples from the story that add to or refute this argument. (Rosy R.)

After spending multiple chapters chasing down Dracula, he dies in an almost anti-climatic way. "But, on the instant, came the sweep and flash of Jonathan's great knife. I shrieked as I saw it shear through the throat. Whilst at the same moment Mr. Morris's bowie knife plunged into the heart. It was like a miracle, but before our very eyes, and almost in the drawing of a breath, the whole body crumbled into dust and passed from our sight. I shall be glad as long as I live that even in that moment of final dissolution, there was in the face a look of peace, such as I never could have imagined might have rested there." Throughout the novel we have seen that Dracula is vulnerable only to the traditional weapons of superstition such as garlic and communion wafers. Why does he fall now to conventional weapons? That last sentence is also intriguing. The ritualized killing of Lucy also resulted in a vision of peace. Was Dracula perhaps once a pure spirit who was then corrupted by the Vampire's curse? Why is Mina now glad to see peace for the monster who took so much from her? (Rick R.)

Commentary on Let the Right One In, Part 4 through Epilogue (Student co-leaders Rhi H., Tony J, Josh K, Lucy P)

Please respond to one or more of the below comments/questions from student co-leaders.

In Dracula, we have discussed that it seems that the vampires enjoy what they do, and feel no remorse for the blood and lives they take. I Am Legend showed us very hostile creatures that seemed to not have a real sense of "right" and "wrong" or any emotions, they just did what they had to do to survive. In The Lost Souls, each vampire seems to feel different emotions for each act they carry out. Christian seemed to feel remorse, while Zillah, Twig, and Molochai seemed to take pride in taking someone's life and feel no sense of sorrow. In Let The Right One In, we see Virginia slowly turning into a vampire, describing it at an infection that, "had its own life, its own force, completely independent of her body," (pg 299). In this section, the author describes Virginia realizing that she needed someone else's blood to survive (because drinking her own blood wasn't cutting it). She feel "anguish" when she realizes this, and later thinks, "I am never again to see anyone I love."
Do you feel any sense of sympathy for vampires in general and/or the vampires we have read about through the class? Further, do you think any characters in any of the novels feel a real sympathy for the vampires they are in contact with? Do you think any vampires feel sorry for themselves and their fate? In what ways do the authors of the novels influence the readers' opinions of the vampires in the way they are described? Is there a particular vampires character that you have felt a strong sense of sympathy or hate towards? Why? (Rhi H.)

In the second half of "Let the Right One In", we have many of the characters contemplating what has become or is becoming of their lives. First is Oskar, who now has learned about what Eli really is and has experienced her past through Eli's vision, he begins to see his everyday life as something he isn't connected to. He starts to think about Eli constantly; even when his life is in danger at the train station, he doesn't resist simply because he only wants to reach Eli's apartment faster to make sure she is alright. Second, we have Virginia, who has accepted her fate of becoming a vampire, wanting to not see the ones she loves because she does not want them to suffer the curse that she has contracted from Eli's attack. We also have Lacke, who gives a very thoughtful speech about life in Blackberg. He says that the plans for the city were laid out so the city would be a perfect place to live, but somewhere there was a wrong "angle", as Lacke puts it, that skews this "perfect" life into something dreadful and detestable. He states that he feels suffocated by Blackberg and wants to get away from it all.

From these multiple character view points, we have many different looks on life. From the various events in the novel, what do you think Lindqvist is trying to say about living or which view on life leads to the most success. (Tony J)

Compare to other novels we have discussed in the class, Let The Right One In shows different characteristics of a vampire. The novel seems to ignore what many people believe about vampires. Also, in this novel, the vampire seems very vulnerable as normal humans; in other words, more man-like than the vampires from the other novels. Eli, the vampire from the novel appears to be a victim as well as Oskar. How does this relationship between two "victims" from the novel influence the whole story of the novel? Do you think if they share common things, human and vampire can become friends? Also, do you think Eli's excitement toward killing others for blood has anything to do with her appearing to be a victim? (Josh K.)


After being attacked by Eli, we witness Virginia's transformation into a vampire. Virginia's transformation offers some insight on vampires, how they become what they are, and the thought process behind it all. There seems to be a kind of battle going on in Virginia's head as she transforms into a vampire-- a battle between the old, human Virginia who has a conscience and the new, vampire Virginia who only wants to feed. Eventually, the old Virginia wins and commits suicide, rather than allow herself to exist as a vampire. Why do you think Lindqvist has Virginia kill herself instead of just letting her become a vampire? Also, why do you think that Eli didn't follow down the same path as Virginia? (Lucy P)

Comments for Dracula, Chaps 18-22 (Co-Leaders Robert F, Jill G, Rhi H., Sang H, Tony J, Giancarlo L, Musa M)

Please respond to one or more of the below questions from your student co-leaders.

In Chapter 18, we see the men attempting to bear the burden of doing the dirty work when it comes to doing away with Dracula.

“We men are determined, nay, are we not pledged, to destroy this monster?  But it is no part for a woman.” 

They seem to not want Mina involved in anyway, but this doesn’t work out as Dracula has been coming into contact with her during the night, drinking her blood and even making her drink his blood in Chapter 21.

Do you think there might have been a different outcome had the men allowed Mina to stay involved in their efforts? How do you think gender roles played a part in the events of these chapter? Do you think Mina may end up playing a major role in defeating Dracula and if so how? (Robert F.)

In this section there is a lot of exclusion of the female characters for what the male characters describe as a man's duty/work or as not appropriate for women to take part in. How do the roles of females in the other novels we've read differ from Dracula? How do you think this view of women effects the vampire narrative? (Jill G)

When Van Helsing arrives at the asylum, he compliments Mina's organization of Seward's diaries and letters but expresses his hopes that she won't have to partake in the men's future duty of finding Dracula. He notes that it is, "no part for a woman," (Stoker 274). Later in the chapter, in one of Mina's journal entries, while she and Van Helsing are conversing he says, "We are men, and are able to bear; but you must be our star and our hope, and we shall act all the more free that you are not in the danger, such as we are," (Stoker 281). We have previously talked about the female sexuality in the vampire novel, as well as the idea of the "new woman." Despite Mina's intelligence and knowledge on the subject of vampires, she is still not allowed to partake in finding and destroying Dracula. Do you think this is because the characters are genuinely concerned for Mina's safety? Or could it be due to the fact that she is a woman and assumed that she cannot handle herself? Further, how has female vs. male been relevant in the novel thus far, as well as our other readings throughout the semester? (Rhiannon H.)

Lots of things happen in chapter 21. Jonathan and Mina encounter the Count from a mist. After the mist formed into a man, Dracula casts a sleeping spell on Jonathan. He then turns his attention towards Mina and forces her to become a slave to him.

"With his left hand he held both Mrs Harker's hands, keeping them away with her arms at full tension; his right hand gripped her by the back of the neck, forcing her face down on his bosom. Her white nightdress was smeared with blood, and a thin stream trickled down the man's bare breast, which was shown by his torn open dress." , Mina is drinking Dracula's blood thus complete the slave like process that Dracula has put forth .

What is significant of this quote? Does this quote mean Mina is a vampire? If so, could that be a reason why Dracula made Mina as a slave instead of killing her? If not, what could be some other reasons he made Mina as a slave?  (Sang H.)

In this batch of chapters in Dracula, we read much more about Renfield and his death caused by the Count. We do not know much about Renfield's origin or how he became to be "zoophagous", although we do know that he is a patient of John Seward's before Dracula even arrives in London where he starts his reign of terror. From a few of the outbursts of Renfield, we know that Renfield is aware of Dracula's presence before Van Helsing and the others come to the conclusion that Dracula is a vampire. Then from these latest chapters, we learn that Dracula makes an offer to Renfield to become a subject under Dracula, which at first accepts, but when he figures Dracula has fed on Mina, he rebukes Dracula's offer.

I wonder how exactly did Renfield know of Dracula or how did Dracula know of Renfield. And why in the end of things did Renfield choose Mina's well-being over being a servant of Dracula, where he would get all the life that he would desire. (Tony J)

As previous accounts have shown, Stoker uses Dracula to provide commentary on the Victorian ideals of gender. Recurrent themes have been maternalism and purity of the female, with power and control being upheld by man. Keeping such ideals in mind, how does the scene of Mina drinking the blood from Dracula’s chest, while Jonathon lays helplessly unconscious, play on Victorian notions of gender? What does Dracula gain from such a manipulation, and do you think Stoker uses this scene to critique Victorian gender roles? How?

Throughout Dracula, there has been numerous analogies made between Dracula and animals. One example was when Van Helsing said "One lesson, too, we have learned, if it be allowable to argue a particulari that the brute beasts which are to the Count's command are yet themselves amenable to his spiritual power; for look, these rats that would come to his call, just as from his castle top he summon the wolves..." (Stoker 292-293). In what ways do animals depict the vampiric nature of Dracula? Also, does Dracula's controlling relationship over animals symbolize the relationship he has with humans? (Musa M)

Co-Lead Comments/Questions on _Let the Right One In_, Parts 1, 2, & 3 (Co-Leaders Jess G., Carlie L, Kirsa M, Andy S.

Please respond to at least one of the following comments/questions from your student co-leaders (your response is due by 9am on Tuesday 4/16).  Please make your response as specific as possible.

Very early in the novel, there is an obvious predator/prey relationship seen by some of the characters. The specific sections of the novel I am think of are Oskar being trapped in the bathroom by Johnny:

“He couldn't have pulled back the lock, they couldn't simply have climbed over the sides of the stall in the three seconds, because those weren't the rules of the game...Theirs was the intoxication of the hunter, his the terror of the prey.”

And the less obvious Hakan Bengtsoon “tracking” of the girl he follows from the subway:

“He would have wanted to get even closer...so close in fact that he would be able to smell te scent of her hair. He stopped, let the girl increase the distance between them...He waited or maybe a minute, listened to the chaffinch singing...Then he went in after her”.

In the other novels that we have read, the term predator is usually reserved for the “vampires” looking for their victims, but here we are not certain that either of the predators is for sure a vampire. What predator/prey relationships have we seen so far in the other novels? Do you think the mention of the predator/prey relationship so early in the novel is a foreshadowing of the true predator of the novel who has yet to make an appearance?  (Jess G)

Oskar is, as it seems are almost all the non-vampire protagonists we have encountered in our texts, introduced to us in an especially vulnerable position. However, Eli, the vampire, is not the cause of his vulnerability. She is an "other," as is Oskar, and this shared position seems to have helped foster their friendship. In Let The Right One In, does Lindqvist create a space where vampires and children can have something in common? If so, what is that space and what are its rules (think of the 'rules' of horror movies/Dracula)? Or, if not, why is the setting ineffective for a 'real' friendship? And so far, how does theirs compare to the relationships between vampires and humans we have seen in such texts as Dracula and Lost Souls? (Carlie L)

Hakan is a homosexual evil child molester and loves Eli. He serves him by procuring blood from the living, fighting against his conscience and choosing victims whom he can physically trap. Something that struck me as interesting was the sexual lust that Hakan had for Eli. The homosexual relationship is something that you don’t see often in Vampire novels. We get a chance to see the erotic undercurrent he experiences when he commit murders.  During the story there are a lot of homosexual instances. This is a very unusual thing in vampirism because you see more heterosexual relations when reading novels. One question I had was where do you think the author is going by using homosexual suggestion in the novel? Also, In thinking about sex and vampires do you think that the sexual relationship between males goes against any norms that you usually see in sexual relationships in vampire relationships? (Kirsa M.)

The book has a lot of themes about protection. Eli protects Oskar, Hakan protects Eli through acquiring his blood and self-disfiguration in capture, and Oskar protects Eli's secret. Does the nature of those protections and the feelings present justify some of the actions in the novel, like killing and keeping vampires secret? (Andy S.)

Commentary on _Dracula_, Chapters 12-17 (Co-Leaders Akanimoh E., Madeline K, Sarah S. Brandon W.)

Please post a comment in response to one or more of the below questions from your student co-leaders:

Dracula and the supernatural in this novel seem to be rejuvenated from the “eating” or draining of life. Renfield is a particularly interesting character because earlier in the novel we are given the impression that he is human (because we are not otherwise told that he is supernatural), yet he also takes life away from the living. What do you think is the significance of this parallel between the two worlds? Is this another attempt at making the connection between vampire and humanity? In chapter 17 Seward remarks that Renfield’s “outbreaks were in some way linked with the proximity of the Count.” What do these clues indicate to you about the Count and Renfield’s relationship? Do you think they have a relationship? Why do you think Renfield suddenly wants to go home? Do you think that Renfield is scared of Dracula? If so, do you think he believes in the “supernatural”? What do you think will be Renfield’s fate if he does indeed believe?

(Akanimoh E)

The way Dracula feeds upon his victims is very different than the vampires we've seen so far (Zillah, Molochai, and Twig, but also the vampires in I Am Legend). Instead of ripping them apart, he uses them slowly over a long period of time; it takes week for Lucy to become weak enough to die. However, is this only because Dracula is turning Lucy into another vampire? Do you think that Dracula does have a "feeding frenzy" side like the other vampires we've seen? In addition, why do you think Dracula takes the time to turn Lucy? We know he has three women at Castle Dracula already, so what is it about Lucy that Dracula seems so drawn to? (Madeline K)

Within chapter 13 of Dracula we read about the preparation of Lucy's body for burial after her "illness" has taken its toll. Repeatedly the return of her beauty is brought to the reader's attention and highlighted within the beginning of the chapter, as well as mentioned at the end of chapter 12.  Do you think the appearance of beauty and revitalization would have been so frequently mentioned had it been the death of a man within the novel? Moreover, do you believe the mark of beauty is strictly reserved for women transitioning into vampirism, or is this a gender-neutral trait? (Sarah S)

In chapter 17 shortly after meeting Arthur, Mina empathizes with his feelings of sorrow over the loss of Lucy and gives him a shoulder to cry on despite just having met him. She goes on to explain this as due to her natural maternal instincts, writing, “We women have something of the mother in us that makes us rise above smaller matters when the mother-spirit is invoked; […]I stroked his hair as though he were my own child.” Contrast that to Lucy’s behavior as a vampire where, “With a careless motion, she flung to the ground, callous as a devil, the child that up to now she had clutched strenuously to her breast, growling over it as a dog growls over a bone. The child gave a sharp cry, and lay there moaning.” What does the difference between Mina’s maternal behavior and Lucy’s lack there of highlight about the two characters? What, if anything, do Mina’s statements tell us about the role of the “New Woman” in society or even Stoker’s portrayal of the “New Woman” or maternity? (Brandon W)

Comments on _Lost Souls_, Chapter 20-Epilogue (Co-Leaders Sara S., Jillian G., Kevin S.)

Please respond to one or more of the below questions.

Within chapters 20 and 21 of Lost Souls the reader becomes fully aware of the relationship between Zillah and Nothing as father and son.  Though they both now know of this relationship, they passionately continue their incestuous activities.  Do you think the lack of concern, guilt, or feelings of wrong-doing regarding this relationship stems more from the vampiric nature of the two or from their personal character?  If they were both completely human do you think their feelings would be different? (Sarah S.)

In chapter 21, Nothing ponders the fact that he is involved in an intense sexual relationship with his father, but he can't seem to make himself feel ashamed or regretful of it. He doesn't even feel offended by the idea of his non-vampire friends having sex with their non-vampire fathers. He even thinks, "were members of his race born with some sort of amoral instinct that shielded them from the guilt of killing to stay alive? " and later, when it's mentioned that they should eat Zillah and Ann's baby, Brite writes, "The idea did not strike Christian as particularly immoral, but it made him sad." What do you think about this? Do you agree with Nothing's idea that vampires are born with an amoral instinct? If so, when do you think these vampires begin to develop that instinct? Additionally, why do you think the vampires in this novel have such a liberal view on sexuality, so much so that they are not phased by things like age or incest? Is it for the same reason that they can kill without guilt? (Jillian G.)

Do you think that Steve has jealousy for Ghost's new mysterious friend Arkady Raventon? I think Steve and Ghost have a bond stronger than what they lead on to have. From learning about Poppy Z Brite and his whole sexual revolution and the change he made in his life, I think this reflects in his work, between these two characters. When Ghost meets Arkady it seems he's instantly drawn to him and Steve's reaction to him, isn't as welcoming. This is the line that I read that lead me to this thought. 

"You said you brought yourself back from the dead," Ghost reminded Arkady as they finished descending the stairs. Behind him, Ghost heard Steve mutter something, but he ignored it." (Kevin S.)

In class we have discussed how Lost Souls is a multiplot novel, the various narrative strands of which eventually converge.  Given that the novel is a well-known vampire tale an example of gothic horror, what do you think is the meaning and impact of the Steve/Ann plot?  That is, how does the inclusion of this plot in what otherwise might be the story of Nothing's self-discovery affect the meaning and telling of a vampire narrative? (Lauren G)

Dracula Comments, Chapter 6-12, Co-Leaders: Melanie E., Alex I, Lucy P., Andy S.

Please respond to one or more of the below questions from today's student co-leaders.

In Chapter 6, Mr. Swales denotes his inability to believe haunting legends, and informs Mina and Lucy that the graves at Whitby churchyard are vacant because these individuals perished at sea. Later, in Chapter 7 Mr. Swales is found with a broken neck. Is there a repeated theme of death surrounding those who refuse to believe? For instance, in Polidori's "The Vampyre", Aubrey refuses to believe the vampire stories told by Ianthe and her parents, and later she is found killed. Is this meant to be a coincidence in vampire narratives? (Melanie E.)

Half of the chapters for this week’s Dracula readings revolve around the journal entries and letters of the two main female protagonists, Mina and Lucy.  Initially, these characters are portrayed as objects of virtue, beauty, and vulnerability. Compare and contrast these descriptions to Stoker’s characterizations of the female vampires at the castle. What insights do these comparisons yield about sexuality and womanly virtue in Dracula? How do these insights contribute to the larger theme of good vs. evil with regards to women? (Alex I)

Throughout chapters 6-11, we see Lucy's health gradually deteriorate. Although we know that her illness is connected to Dracula, none of the characters suspect that there is a supernatural element to Lucy's illness. Dr. Seward, unable to help Lucy through the use of modern medicine, calls upon the aid of Dr. Van Helsing, who employs less scientific and traditional methods. What do you think Stoker is trying to say about science and modern medicine, and the society that they are products of? Why does he place so much emphasis on superstition? Do you think that the dichotomy between science and superstition will be a theme throughout the rest of the novel? (Lucy P.)

In a direct contrast to the citizens of Transylvania, whose lives are permeated by superstitious ideas, characters in Victorian society respond with reason and skepticism.  One such example is Mr. Swales, who all but laughs at the haunting stories about the town of Whitby.  Additionally, Dr. Seward looks upon Van Helsing's placing of garlic on Lucy when she falls ill as somewhat silly, as does her mother when she removes them and Lucy suffers another attack.  In essence, adherence to science and reason while refuting superstition and supernatural possibilities dooms her, making Dracula's reign of terror in England all the more effective.  Could this be by his design, knowing this characteristic of the populace he terrorizes?  Moreover, could this be a sort of warning/belief on Stoker's part that sometimes reason and science aren't everything? (Andy S.)

Brite's _Lost Souls_, chapters 1-19, Rohaina, Akanimoh, Robert F.

Please comment on one or more of the below questions for the student co-leaders for today:

Throughout Lost Souls [so far], there doesn't seem to be a glaring spotlight on the protagonist. Each character gets their 'fifteen minutes of fame' alternating in each chapter. What sort of effect does this have on our development of the characters? Does this leave us with a disconnect towards the protagonist? Does this form of storytelling leave you fulfilled? Alongside this question, there is an obvious protagonist, explicitly told to us… However, I'm curious if you think that any other character(s) could be considered as the protagonist and why? (Rohaina H.)

Sexuality seems to be a reoccurring attribute of vampire fiction that we can not escape.In what ways does this aspect of vampire sexuality "beef up" the novels we have read? In other words,how does it take them further? Is some sexuality something you have come to expect when reading vampire literature?  In what ways has vampire sexuality been similar or different between the books I Am Legend,  Dracula, and Lost Souls. Do you tend to think of a vampire's sexuality as "selfish"? (Akanimoh E.)

Throughout Lost Souls, Poppy Z. Brite creates vivid imagery through the use of very colorful and sometimes glamorous descriptions of both characters and the environments. How do you feel the imagery of this novel compares to that of other vampire novels? How does this effect the transition from older to more modern interpretations of the vampire? (Robert F.)