The book is old enough now to have been a kind of prequel to the current vampire craze. Prior to picking up the tome, however, I didn’t know that it as a vampire story. I’m not sure it made as much of an impact as the shudder-inducing Twilight series (and that is a shudder of the most ironic kind). ‘Salem’s Lot is, after all, a fairly conventional vampire story—a Dracula reset in rural Maine. Instead of a Jonathan Harker we have a Ben Mears. Instead of Abraham van Helsing, we have Matt Burke. The plot is much the same, the end result is much the same. And vampires are banished by religious paraphernalia, as we’ve come to expect. For me the ultimate Maine vampire will always be Barnabas Collins (the kind fitting more the description of Jonathan Frith than Johnny Depp). Barlow, as a vampire, is entirely too self-serving. Barnabas is a deeply conflicted ghoul, a monster you can love. But not too much, because then we’d be left in the twilight. Mixing the vampire just right is tricky, and it seems that a soap opera was the place that got it right.
The movie Thirty Days of Night, based on the graphic novel, places vampires squarely in the middle of winter. In the thirty days of no sunshine in the Arctic Circle, the vampires of winter flood the town. Perhaps the idea relates to ‘Salem’s Lot for an entire town to come under siege. Or maybe not. When I read vampire stories I hope to come out transformed, I guess. Elizabeth Kostova’s The Historian may have spoiled me in that regard. As with most King novels, however, ‘Salem’s Lot is artfully written and at least for the characters a new story with a small twist on the old ending. In at least one regard, it is true to life—although they learn that the church banishes vampires, nobody joins and they only pray as a last resort.