A review of Silvia Moreno-Garcia’s Certain Dark Things (St. Martin’s Press, 2016).
By Derek Newman-Stille
One type of vampire story tend to flood the market – the sexy male vampire who is iridescently pale, wealthy, and feeds on women in an erotic embrace. Silvia Moreno-Garcia has again and again demonstrated her love for horror, but also her desire to shift the tired old narratives, dust off the layers of racism and sexism to find new narratives. Certain Dark Things is a revitalization of the vampire narrative, allowing it to kick off the detritus of the past to tell some new stories.
Moreno-Garcia sets her story in Mexico City in contrast to the vast number of vampire narratives set in the United States or the United Kingdom. Her vampires are not the pale, white European figures of vampire romances, or, at least not all of them are. Her narrative focuses on Atl, a Tlahuihpochtli, an indigenous vampire of the Mexico region who can trace her lineage back to the Aztecs. Moreno-Garcia’s vampires have multiple different subsets, each with different characteristics and hailing from different geographies, and often the only thing they share in common is their hunger for blood. There are European vampires in her narrative, calling themselves Necros and fitting most of the characteristics of the vampires that generally populate the pages of paranormal romance novels, but these vampires are not sexy, otherworldly beings. They control human beings through their bite, which can turn human beings into slaves, without any will.
Moreno-Garcia explores displacement narratives in her interactions between the Tlahuihpochtli and the Necros, exploring the way that the European Necros brought diseases with them when they came to Mexico and have been trying to push the Tlahuihpochtli out of their native landscapes. She makes connection between this displacement by Europeans and historical displacements of human indigenous populations by Europeans. The Necros brought pathogens with them that made the blood of many humans intolerable to the Tlahuihpochtli, and with the rise of a new disease Croneng’s disease, the government has decided to create sanitation groups whose goals seem to be as much about harassing the homeless population and institutionalizing people with disabilities as they are about dealing with the spread of a pathogen.
Health is a huge part of Moreno-Garcia’s narrative. Uniting the vampire with ideas of health is powerful since the vampire is often a figure of excessive health, and yet, in most vampire narratives, vampirism spreads like a pathogen. In Certain Dark Things vampirism is an ethnicity, a genetic group and cannot be passed from one person to another, but that doesn’t eliminate the health narrative Moreno-Garcia explores. She examines the role of institutionalization and its impact on populations in poverty, exploring the way that health and wealth often go hand in hand. The bite of the Necros vampires, although not able to turn someone into a vampire, does take away all of their agency, turning them into a slave through a viral contagion in their saliva that will eventually kill the human host. All vampire species are hard to kill and long-lived, but one of the other vampire species is especially known for its interaction with health – the Revenant. The Revenant subspecies is exceptionally long-lived, and can feed on both blood and the life force of others. These Revenants seem to de-age when they are infused with enough life force, appearing younger, and in creating them, Moreno-Garcia plays with the traditional narrative of the person who gains eternal youth by becoming a vampire. These vampires always look somewhat disabled no matter how young they become, still having a hunched appearance, complicating ideas of the excessive ability of the vampire and the ableism that often comes along with this portrayal of the vampire. Many of the governments in the world of Certain Dark Things perceive of vampires as a plague even though they are a racial group, and this complicated relationship between ideas of health, illness and race bring attention to the way that in our own world there is often an assumption that illnesses come from outside, which affects travel, immigration, and often means that any pathogens that arise are eventually believed to come from other regions.
Certain Dark Things doesn’t create a romantic story of wealth, but rather explores poverty. Her central human character, Domingo, is a street teen who has made his living collecting and purposing garbage. Domingo relishes his invisibility, the way people work to ignore him and pretend that he isn’t there because it is easier to do so than to admit that there are homeless young people. Yet, in pointing out the invisibility of homeless Youth, Moreno-Garcia brings it to the reader’s attention, reminding us of how hard we work to ignore social inequalities. This is a story of drug cartels, poverty, government and police abuses of power, and the monstrousness of corruption itself, which is a far more dangerous monster than Atl or her vampire cousins. But, she does use the figure of one Necros vampire, Nick, to point out the excesses of privilege that come with wealth and whiteness, having Nick frequently prioritize himself over anyone else, having him eat in excess, and showing the ease with which he exercises his power over women around him, particularly marginalized women.
Certain Dark Things disrupts the Eurocentrism of vampire tales, providing an under-represented tale that needed to be told.
To discover more about Silvia Moreno-Garcia’s work, visit her website at http://www.silviamoreno-garcia.com/blog/