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4 years ago

Live to Die

A mini-essay on how vampirism is used in literature and why vampires are dope.

  Vampirism has been used as a tool to convey many fears, anxieties, and desires of humans, including the fear of death, the longing for ever-lasting youth, and the concept of eternity.

As mortals, humans are constantly faced with the looming presence of death. Most of us hope to make it to old age, yet it is not a guarantee. At any given moment tragedy can strike us or a loved one. The theme of immortality that plays out in vampire fiction is something we can only wish for. Escaping death is something we can only dream of and becoming a vampire would let us live out this desire. 

  Escaping the reaper ties into our next theme: the longing for eternal youth. As humans grow old, we gain knowledge and outgrow our childish naivete, yet this comes with a cost. While our mind matures, our body withers with the waves of time. Vampires seem to have the best of both worlds, gaining knowledge and experience in life without upcoming to its less tasteful consequences. 

  Lastly, while never-ending life seems like a dream, vampirism lets humans toy with one last concept: the toll eternity takes on a person. As the cliche goes, while vampires seem to live forever without withering or decaying, they also must face the consequences of immortality: while their loved ones come and go, they stay. Forever. The world around you decays, yet they don’t. This puts humans in a more desirable position, despite our fragility. 

  We use vampires not only to explore our desires but to teach ourselves a valuable lesson: what makes life valuable is its inevitable termination. Not only do we live to die, but really, we die so that we can live in fulfillment. 

A/n: the fact that I wrote this is ten minutes but haven’t touched my history essay in a week scares me.


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7 years ago

Punk Spirit

Punk is an aesthetic, a form of music, a style of dress, but it’s also a spirit, a spirit in two parts. It isn’t concerned with how things are supposed to be done. It doesn’t ask for anything. It doesn’t owe anyone. It does things its own way. That’s the first thing. Consequences aren’t important. There’s nothing worth compromising yourself for. That’s the beginning of punk spirit.

Well the park bench, door, and sleeping in the rain / Little kids sitting in the shooting gallery / Set yourself up from innocence to misery / Well this is what you want, not the way of what they fucking say. —Tim Armstrong of Rancid in the song “1998”, from the album “Life Won’t Wait”

There are consequences. You’ll never be on anyone’s short list, or long list. You’ll never get a record contract. You’ll never have a big budget, or any budget. After you’re dead, no one will do a retrospective of your work, no one will make a documentary about your life, your name won’t be used as an adjective. You’ll always need a day job. You’ll die in obscurity, and you’ll stay there.

These things might not turn out to be true—nothing's certain about the future—but you have to believe they will. You can be happy about it, or unhappy about it, but you have to believe it, and you have to persist.

I had nothing, I had nothing to lose, and all that I was doing I was doing straight, always driven by the motto, “Either this way or no way.” —Blixa Bargeld in the 2008 TV show “Mein Leben”, viewable on youtube, translated by Google and corrected by me

Pig-headedness is only half of it. The other half is solidarity with the other punks, the other people taking their own way and taking it to the end.

Further, ever since ancient times, the skeptical Indra, Lord of Heaven, has come to test the intentions of practitioners, as has Mara the Tempter come to disturb and obstruct the practitioner’s training in the Way. All instances of this have occurred when someone has not let go of hopes for fame and gain. When great compassion is deep within you, and your wish to spiritually aid sentient beings everywhere is well seasoned, there are no such obstructions. —Eihei Dōgen in “Keisei Sanshoku” of his “Shōbōgenzō” as translated by Hubert Nearman


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