Nice To Eat You Analysis

Thomas C. Foster introduces his topic in chapter 3, Nice to Eat You: Acts of Vampires, by presenting to us his guidelines to finding vampires in literature. He breaks down this chapter by starting off with the father of all vampires, the infamous Dracula. Foster points out to us that in every movie or book that contains Dracula he is always portrayed as always alluring, dangerous, mysterious, and tends to focus on beautiful virgin women. The reason for this is for him to gain back youth and become more alive by using these women. Now in stories, as Foster claims, the vampire does not necessarily has to have fangs and drink people’s blood. What we look for in characteristics for finding our vampires in novels are age (a nasty old man), has …show more content…
Writers use bits and pieces of their childhood experience, past readings , everything that is roaming in your mind. Writers use prior texts quite consciously and purposefully, like O’Brien’s work Going After Cacciato (1978). As Foster points out, O’Brien signals the difference between novelist and character in the structuring of the two narrative frames. In the novel the characters in the fall through a hole in the road, as Foster takes notice this has a connection to Alice in Wonderland (1865).Foster compares literature to a eels being held in a barrel, as one book is finished is it added to the collection of all the books ever written. He explains the definition of intertextuality, the ongoing interaction between poems or stories. It depends and enriches the reading experience, bringing many meaningful layers to the texts. The more similarities we see the more alive the text will be. We see an example in Angela Carter’s novel Wise Children (1992) where there can be found Shakespearean parallels. “Carter employs not only responses to them in order to double-cross us, to set us up for a certain kind of thinking so that she can play a larger trick in the