But other vampire stories? Well, no, I really haven't read too

"But other vampire stories? Well, no, I really haven't read too many, and I can't say I'm crazy about romantic vampires anyway - to me the vampire is simply an evil monster." – Brian Lumley. In this striking declaration, Lumley draws a sharp line between the traditional and romanticized portrayals of vampires. For him, the vampire is not a creature of tragic beauty or longing; rather, it is an embodiment of evil, a monster that feeds upon the very essence of life. This view starkly contrasts with the more romantic interpretations of the vampire, where these creatures of darkness are often depicted as tragic figures, torn between their monstrous nature and their desire for human connection. Lumley’s quote reflects the deep-rooted conflict between idealization and horror, and it calls attention to the power of storytelling to shape our perceptions of morality, desire, and humanity itself.

In the ancient world, monsters were often symbolic representations of the dangers lurking in the unknown. The myth of the Minotaur, a fearsome beast that dwelt in the labyrinth of Crete, was not merely a tale of a man-eating creature but a story about confronting the darkness within us all. The Minotaur was a creature of chaos and destruction, representing the uncontrolled forces that could tear societies apart. Similarly, the vampire in its more traditional form is an embodiment of evil—a creature that thrives on death, decay, and the corruption of life. By rejecting the romanticized version of the vampire, Lumley returns to this older, darker tradition, where the vampire is a force of destruction, a reminder of the dangers inherent in unchecked desire.

Consider the story of Dracula, perhaps the most famous vampire in literature, created by Bram Stoker. Count Dracula is not a tragic figure of yearning and unfulfilled love, but a predator who seeks to dominate and destroy. His very existence is rooted in the sacrifice of others, feeding upon their blood to perpetuate his own immortal life. Dracula represents the dark side of human nature—those aspects of ourselves that crave power and immortality at the cost of others. While some may choose to see Dracula as a tragic antihero, it is impossible to deny the malevolent forces he represents. In rejecting the romantic vampire, Lumley echoes the more ancient and primal view of the vampire as a demon, a figure of destruction and chaos.

In the Middle Ages, the vampire was often viewed as a symbol of unholy forces, linked to dark magic and the forces of evil. People believed that vampires rose from the graves of those who had lived wicked lives or who had been cursed by dark powers. The vampire was a harbinger of death, and in folklore, the act of becoming a vampire was a punishment—a fate worse than death. To be transformed into such a creature was seen as an eternal torment, a curse that trapped one between life and death, condemned to prey upon others for eternity. Lumley’s view of the vampire aligns with this traditional folklore: a monster who exists to destroy rather than to long for redemption or reconciliation.

The lesson embedded in Lumley’s words is a call to recognize the dangers of idealizing the monstrous. The vampire, in its romantic incarnation, often represents the allure of forbidden desires, the temptation to embrace darkness without facing its true consequences. Romantic vampires, such as those in modern fiction, often embody the tension between good and evil, allowing audiences to indulge in the fantasy of an idealized monster—a creature that is both charming and dangerous. However, Lumley reminds us that monsters are not meant to be idealized or romanticized. Monsters are symbols of excess—the unchecked desires that lead us down dangerous paths. The true horror lies not in their tragic backstories but in their insatiable hunger, which mirrors the darkness within our own souls when left unchecked.

In our own lives, we must recognize the monsters that exist not only in fiction but within ourselves. Just as the vampire feeds upon others, we too can fall prey to the desires and impulses that can consume us. We must not romanticize our darker natures or turn a blind eye to the destructive forces within us. Instead, we must face them, acknowledging the dangers they represent, and take action to master our own impulses, ensuring that we do not become the monsters we fear. Just as Lumley suggests, we should not be fooled by the allure of the romanticized vampire but must instead understand that the true evil lies in the unrestrained pursuit of what is dark and destructive.

Thus, let us take heed of Lumley’s call to return to the truth of the vampire’s nature—not as a tragic figure of unfulfilled love, but as a symbol of the unchecked forces that threaten our very humanity. Let us reflect on the monsters within, confronting them with the courage and wisdom to restrain our darker desires. In doing so, we can build a life that is not dominated by fear or darkness, but one that is guided by the light of self-control, purpose, and integrity. Only through this balance can we truly defeat the monsters of our own making and embrace the fullness of life without falling prey to its dangers.