I was excited to see that the American Library Association had published a new readers advisory guide, Fang-tastic Fiction, with the subtitle “Twenty-First Century Paranormal Fiction”. It’s not often that a professional readers advisory guide appears that supports the librarians and readers who use our site (kind of- the author, Patricia O’Brien-Matthews, attempts immediately to remove the horror genre from her definition of paranormal fiction- but that’s not as easy as it sounds).

I’ll try to do a complete review of the book soon, but something she said in her introduction really jarred me. She wrote that vampires have “all the traits of the all-American hero”. What?

To put it in context, she’s writing about the transition of vampires from monsters to sympathetic leading characters. She attributes the change to the Twilight books and Anita Blake series, but I think that’s a stretch. Would you really pair Edward or Jean-Claude with Mom and apple pie? Deborah Wilson Overstreet was writing about this evolution before Twilight was even published, in her book Not Your Mother’s Vampire (Twilight came out in the fall of 2005, and Overstreet’s book was published shortly afterwards, in 2006, so it doesn’t mention Twilight), and she described the new, more sympathetic vampire as the “postmodern vampire”, which I think is a more accurate description. The postmodern vampire owes a lot to the media and literary franchise created by Joss Whedon, called Buffy the Vampire Slayer. He (usually he) is more angsty, more likely to land a human soulmate, and may be a little more public- heck, he may be working towards redemption- but he isn’t any less a monster. A sympathetic character, perhaps, but what makes them sexy is the danger. Not the sparkles.

Of course, there are differences between the scholarly book Overstreet produced in the pre-Twilight days and O’Brien-Matthews’ guide to readers’ advisory for practicing librarians looking for immediate references. O’Brien-Matthews isn’t doing critical literary analysis- that would be WAY outside the scope of her book, which still has to cover an extremely broad field of literature for some very busy people. But all-American hero? Isn’t it enough to be a sympathetic protagonist in the world of the book?