~ A "Queer" Perspective On Forever Knight ~

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     There are probably as many takes on Forever Knight as there are Forever Knight fans. There isn't even one "queer" perspective on the show and the many metaphors it offers us. It has been noted, however, that there are certain similarities between Nick Knight's experiences as a vampire and that of a homosexual in our society. Nick, the protagonist, is "in the closet" with a "condition" which includes his sexuality, which is dangerous for him to reveal to the world at large. This greatly interferes with his ability to be intimate emotionally with the mortals he cares about, alienating him from the society he yearns to belong to. Nick, given the realities of both the mortal and the immortal communities, doesn't dare "come out," as doing so would no doubt be fatal to himself and perhaps his family and friends, both vampire and human. (Being openly gay is not as assuredly dangerous as this, but homophobic attacks and murders occur with a frightening regularity.) He lives with the constant anxiety that something he will do or say will "out" him, exposing his secret.
     Nick's vampirism does make him a member of a Community, whether he wishes it or not. Like the homosexual society in the pre-Stonewall era, this community has a strict code rooted in the need for discretion and secrecy for the sake of its members' survival. Vampires live double lives, "passing" as human, free to be open emotionally and intimately only with other vampires. Nick rejects this community and the intimacies it offers him. Nick, like many homosexuals, past and present, finds the "condition" which makes him different from society at large morally reprehensible. (This is, of course, where vampirism fails as a metaphor for homosexuality. Though many people disagree, homosexuality is not a danger to individuals or society, whereas vampirism certainly is. Nick's vampirism also falls down as a parallel to homosexuality in that Nick chose to become a vampire. People do not choose to be homosexual. They, of course, do make choices upon becoming aware of their erotic attraction to their own sex.) This vampire community both attracts and repels him, and he struggles with the deep emotional bonds he has for his "family," his lovers and friends. Though he doesn't approve of them (or himself) he cannot cut himself off from them completely. He is drawn back again and again, almost against his will, to get his "vampiric" needs met. This, of course, pulls him away from the mortal society that he feels he should belong to.
     Of course, much of the show's impetus comes from Nick's desire for a "cure" for his condition. While many homosexuals have and still do search for a way to change the focus of their erotic attraction, in some ways this places Nick's experiences closer to that of a transsexual. Again, given that he chose vampirism, the parallels are not exact. But he finds himself in a body which does not match his internal image of who he feels himself truly to be. His internal reality does not match his outward form. His basic erotic impulses are thwarted by a physical response that clashes violently with what he actually desires to do. He struggles at great personal cost to himself and those around him to find a "cure" and make a transition from one state of being to another.

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     The show itself explicitly offers a connection to the "queer" experience. This is in the episode "Fever," when vampires are dying, infected with a virus intended to cure AIDS. Lacroix confronts one of the creators of this virus, ironically, a gay man himself dying of AIDS with:   "How many deaths will be on your conscience, Doctor? A dozen ... a hundred ... a whole race. A race that dare not speak its name..." This description of vampires as "a race that dare not speak its name" is an allusion to a poem by Oscar Wilde's lover, Lord Alfred Douglas. His poem, "Two Loves," personifies two types of love; one declares himself "true Love," that between "boy and girl." The other, Love between two men, sadly calls himself, "the love that dare not speak its name." This poem was used against Oscar Wilde during his trial in 1895 on charges of "indecency," in other words of having sexual relations with other men.
     It is ironic and poignant together that the character we see die of the disease is Screed, a carouche, a vampire seen as outside the pale by the "normal" vampire community. And like gay men at the outset of the AIDS epidemic he dies "silently, invisibly, out of the light." And then, the community which shunned him discovers the disease which slew him slaying them as well, infecting even Nick, even the ancient, powerful Lacroix. None are immune.
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(This essay is a compilation of conversations had on the Rainbow Knights discussion list. ~Loose Cannon)

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