The Emergence: A Succubus Tale - Part 1 (A Short Paranormal Erotica)

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Thus many of these novels share the obligatory feisty female protago- nist [pic 37], who is present both from a generic imperative and due to what is so- cially acceptable in present-day Western society, particularly when a largely female readership is involved. Yet contradictions emerge between this and the prevalent submission to pack hierarchy and to the dominant alpha male that the heroine half- willingly acquiesces to.

She simply is this creature of uncontrollable sexuality—it is her essence and rooted in her biology. These narratives again echo contemporary anti-humanist ideologies of evolutionary psychology. The temptations of postmodernism are resisted and a valorisation of the spirit of Enlightenment is attempted.

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The trilogy is tantalisingly ambivalent about the appeal of the instinctual and the bor- derline between an embodied humanity and the animal, particularly as manifested in the love affair of the teenage protagonists. For Marcuse, the surplus-repression of the proximity senses smell, taste enforces the isolation of individuals in civilisation. Stiefvater continually emphasises the sense of smell both as a trigger to sexual attrac- tion and as an aspect of the pack sociality and sense of belonging of the wolves.

Through such devices, she concretely renders the nearness of Grace and Sam her young lovers to wolfhood. The narrative refuses to endorse simplistic oppositions between the animal and the human, recognising and celebrating the embodied consciousness that is being human, and aware of the complex affinity of romance and instinct. Stiefvater points towards a transcendence of such antinomies though, ultimately, she asserts the distinctively hu- man powers of language, of individual identity, and goal-oriented agency as her char- acters find their voice and define their projects. Faeries These pretty, tiny little creatures that flit through the Victorian imagination are our usual idea of fairies [pic 39].

But the fairies of Celtic myth are more dangerous and unpredictable still, and often not pretty or delicate. It has a magical ring to it. Sixteen is supposed to be the age when girls become princesses and fall in love and go to dances and proms and such. Countless stories, songs, and poems have been written about this wonderful age, when a girl finds true love and the stars shine for her and the handsome prince carries her off into the sunset. Here, the ruling creature is the faery. But they are associated not with death—rather with intensified life, life out of human control, and thus, in general, nature.

In the twenty-first century this inevitably evokes the values and concerns of environmentalism, though the scary na- ture of faeries means that the incorporation of these values is not uncritical. Kagawa neatly draws on the folkloric motif of faery aversion to iron, which represents a con- temporary questioning of modernity in many dark faery books. In The Iron King the Romance quest narrative is contiguous with the romantic fiction plot; it follows the episodic quest structure far more closely than does My Love Lies Bleeding, for example.

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Meghan, it will appear, is the daughter of Oberon, King of the Summer Fey, by her human mother. The faery half-breed as a central character is a very common figure in these books. They em- body alienation from the human group, yet the full strangeness of Otherness still re- tains its power over that character when they encounter the paranormal.

Robbie Good- fell, turns out to be Robin Goodfellow, the ambivalent Puck of folklore. Kagawa both introduces folkloric motifs and blends literary allusions together.

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One distinctive feature of dark faery romance is a plot function which necessarily in- volves a genre shift too. Faery narratives, unlike most other dark romances, almost always include a moment of entry into the other world. Lewis, Alan Garner, and Philip Pullman, the descent into the underworld of epic, and, of course, the Tam Lin theme of traditional faery lore itself. Where other supernatural beings dominate, the locale is most often contemporary, and sometimes urban, and the fabulous is intermingled with the mun- dane.

The first transition, into the lands of the Summer and Winter fey, brings with it a wealth of allusions, and we enter into the Romance world, though fantasy and folklore are drawn on. The different Romance landscapes are employed as a contrasting per- spective to modernity and the disenchantment it brings. Kagawa uses this setting to explore utopian desires that appear both in Romance proper and in romantic fiction.

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What Faerie offers is the kind of transformed love of romantic fiction, supernaturally intensified as Bella Swan experiences , and a trans- formed world that protests against the disenchantment of modernity. She wanted more from her life than what she was getting. She wanted something extraordinary to happen. Thus, these land- scapes of romance also serve as locale for the modulation into romantic fiction. The encounter with the male love object here is very familiar from that genre. Ash is a son of the Winter Queen to whom Meghan becomes attracted despite his hostile atten- tions towards her.

More than gorgeous, he was beautiful. Regal beautiful, prince- of-a-foreign-nation beautiful. In this, of course, he follows Edward Cullen, though in not quite as sparkly a manner. Though even Cullen has a touch of this dan- gerous duality. Further on, the two genres intersect in order to explore desire and autonomy.

Faery music and dance is a frequent method for dramatising romance otherness , and is metonymous with romance and romantic love itself—irresistible, beyond reason thus exploring free will again. This is also a vivid awakening, for Meghan, to the possibilities of sexuality: Music played, haunting and feral, and faeries danced, leaped, and cavorted in wild abandon.

A satyr knelt behind an unresisting girl with red skin, running his hands up her ribs and kissing her neck. Two women with fox ears circled a dazed-looking brownie, their eyes bright with hunger. A group of fey nobles danced in hypnotic patterns, their movements erotic, sensual, lost in music and passion.

I felt the wild urge to join them, to throw back my head and spin into the music, not caring where it took me. I closed my eyes for a moment, feeling the lilting strands lift my soul and make it soar to- ward the heavens. I opened my eyes with a start. This is faithful to the source material, of course, but in these books it is novelised, rendered vivid and par- ticular, and the danger, attraction, and resistance is felt by the characters.

Here, Romance is modulated by science fiction, par- ticularly as the subgenres of post-apocalyptic narrative and steampunk. The vision of the third Court is one of technological entropy and science fictional apocalypse: A twisted landscape stretched out before us, barren and dark, the sky a sickly yellow-gray.

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Mountains of rubble dominated the land: ancient computers, rusty cars, televisions, dial phones, radios [. He has the recti- linearity of modernism; mirroring the sharp-edged vegetation of the Iron Fey land. Machina wants Meghan for his bride and offers her eternal life in another manifesta- tion of the simultaneous menace and the temptation that the dark lover offers. Now how sexy are these? And yet. There are the dead who come back to life, often to carry on their inter- rupted love affair with a mortal, but not in the mangled and degraded form of the cinematic zombie.

It has been ex- plored, wittingly or unwittingly, in many contemporary fictions of the Undead. Vam- pires have conveniently represented alterity, whether foreignness or deviant sexuality, or both. Lately, zombies have been spotted lurching alongside their fellow undead in greater numbers, embodying otherness in a different, perhaps less exotic manner. This is at a time, the late s, when identity politics in the US and Western world generally became somewhat absorbed into the establishment. Here, cultures of the undead are either tol- erated, if not granted legal status, or are persecuted for their difference, and these is- sues are very self-consciously raised with regard to carefully specified demon identi- ties.

Vampires are cool; they have long been seen as sexy and glamorous. And yet zombies do seem to be very popular at the moment for other reasons. This may well be due to the need to fill a monstrous gap left by the as- similation of the vampire into human society. Thus the Undead may appear in zombie fictions as alien and monstrous but there are also narratives featuring returning loved ones though here the zombification is usu- ally sanitised, even prettified where a new, sympathetic zombie has been constructed. Yet despite these isolated models of sympathetic zombies, none of them are perceived as social beings.

None of them aspire to be citizens. All over the US, teenagers, and only teenagers, are mysteriously coming back from the dead, but with their move- ments and, perhaps, thought processes impaired, and sometimes bearing the wounds of their death.

Generation Dead and its sequels tackle identity politics more subtly and acutely than others in this genre, highlighting through satire and the paranoid thriller subplot the limitations and indeed ideological force of that politics - yet recognising the need to affirm particular identity within some sort of more collective affiliation. It also explores with great sensitivity questions of identity, particularly as experienced by young adults; yet it also satirises the language and uncritical as- sumptions of varieties of identity politics.

Over the three novels in the series, a sinister narrative accumulates which exposes the latent threat of the state and allied sectors. Thus, the satire is not a cheap, or indeed illiberal, gibe, but works as part of this unmasking. The empathy that the text creates is one with people who are struggling with very real barriers to their mobility and self-expression; the cultural politics is that of disabled people.

In Waters there is an almost existentialist concern with becoming and with self-fashioning, which is thus very much to do with the origins of identity itself. Phoebe and her best friends — Margi; and Colette, now dead and risen - are Goths, mocked by jocks and cheerleaders but defiant and able to articulate what defines their specificity.

What is it like to be living impaired? Adam chooses not to be bound by the identities which threaten to entrap him, either working-class or jock, but he will encounter the far more ineluctable ones of death, then living death. Waters destabilises any kind of naturalism in order to further his attack on the reification of human beings. Resurrection is not presented as particularly uncanny; the supernatural is not invoked. It simply happens; inexplicably and as contingently as life itself. Other causes are offered by various characters, all signifying contemporary anxieties: inocu- lations, junk food, radioactivity - even alien abduction and the Apocalypse.

The lack of subjectivity and autonomy that almost axiomatically define the zombie narrowly constrain its potential to elicit sympathy. Its abject repulsiveness is a further barrier and certainly bars it from the role of paranormal lover. Faeries and vampires have their glamour and hypnotic allure; even the werewolf or shapeshifter can be a lover in their human form their bestial alter ego is, of course, highly effective in fig- uring human sexuality in these narratives.

Through this, he is able to explore identity politics with great depth and flexibility. These undead are humans, despite their shambling gait and mutilated bodies and absence of a pulse, engaged in dialogue with others.