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42 pages 1 hour read

S. T. Gibson

A Dowry of Blood

Fiction | Novel | Adult | Published in 2022

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Themes

Abuse and Vampirism

Content Warning: This section of the guide contains discussions of abusive relationships.

A Dowry of Blood deconstructs abusive relationships through the exaggerated lens of a vampiric marriage. While human relationships last decades at most, vampiric ones can last centuries—or until one partner gets a stake through the heart. The lengthy lifespans of Dracula and his spouses magnify the complexities of emotionally and physically abusive relationships, underscoring the insidious, cyclical nature of abuse.

Constanta’s, Magdalena’s, and Alexi’s marriages to Dracula illustrate the cycle of an emotionally abusive relationship: a honeymoon phase, a buildup of tension, the abuser exerting increasing control over their partner or partners, a major fight, a reconciliation, and a repetition of the same cycle over again. A Dowry of Blood refers to literal honeymoons when it describes the honeymoon phase of the cycle, while in reality, a “honeymoon phase” is a term that psychologists use to describe the happier times in an emotionally abusive relationship. Constanta, as the first of Dracula’s three spouses in the novel (though not, as she will come to learn, his first spouse ever) witnesses this cycle play out multiple times over hundreds of years of marriage. The repetition of this centuries-long toxic cycle only compounds Constanta’s entrapment in her marriage as she comes to feel protective over both Magdalena and Alexi, fearful that Dracula will harm them if she leaves.

Dracula uses vampirism as an excuse to isolate his spouses. When they try to make connections with humans, he tells them that humans are dangerous, inferior to vampires, and incapable of really understanding the vampire experience. Remaining isolated from the world is a way to remain safe, he suggests. It is common for emotionally abusive individuals to isolate their partners, but in Dracula’s case, there is truth to the idea that forming close human relationships could be dangerous for vampires: When the villagers learn that Dracula is a vampire after witnessing him attempting to take a victim, they form an angry mob and storm his castle. Dracula leverages his advanced knowledge of vampirism and his physical strength to maintain control over his partners, refusing to answer their questions or tell them about what it means to be a vampire. His emotions are highly volatile, and it falls to his partners, especially Constanta and Magdalena, to manage those emotions, as Dracula refuses to take responsibility for his actions.

Dracula is given no interiority in Constanta’s narrative, as she tells her story from her own first-person perspective. Therefore, her vampire husband’s intentions are intentionally unclear. Readers, like Constanta, do not know whether Dracula is acting with intentional cruelty or whether he truly loves his spouses, as Alexi believes. This lack of clarity into Dracula’s motivations underscores that abuse can occur regardless of the abuser’s intentions. Though Constanta comes to believe that her husband is deliberately cruel, her narrative makes clear that Dracula’s actions are harming her and that she is justified in escaping his abuse, regardless of the motivations behind his behavior.

Immortality, Violence, and Morality

A Dowry of Blood, like many vampire narratives, explores morality in the face of an inherently violent existence. Many texts question whether it is possible for beings who drink blood to survive to live morally, and if so, what that might look like. Bram Stoker’s Dracula is one of the few texts not to address these questions: Vampires in Stoker’s novel are unilaterally evil, and they cannot (and do not wish to) live lives that have a meaningful moral dimension. Later texts, including A Dowry of Blood, humanize vampires, depicting their struggles to balance their morality and their survival.

Constanta considers several ways to exist as a vampire without acting immorally, a project that is impeded by both her abusive husband and her own need for survival. She and Magdalena try drinking only a little blood at a time from their victims, leaving them alive. This strategy works, but it puts them at serious risk of discovery, and the idea is not explored in detail. Another option that Constanta takes more seriously is using her vampirism to kill evil people and enact vengeance. She tries to find people who have abused or harmed others. Sometimes, she frames her eating habits as a way for her to serve God. Other times, she thinks about the people she is helping or about her own love of vengeance. Dracula objects to her entire moral project on the basis that vampires are not humans and do not need to be bound by human morality. Dracula is much older than his spouses, and he does not have the same connection to and love for humanity that they all share. Sometimes, he forces Constanta to drink the blood of people that she considers innocent. Other times, Constanta willingly, if regretfully, consumes innocent blood when she knows it to be necessary for survival, as when she drinks the blood of the plague doctor before leaving Romania.

While vampires’ survival is dependent on enacting violence on humans, Constanta has little fear of inter-vampire violence until she witnesses Dracula hit Alexi. She is convinced for most of the book that Dracula would never hurt her, Magdalena, or Alexi, though she is aware that Dracula has killed several of his former lovers. She has seen him murder many humans before this point, but while she is opposed to harming innocent people, she understands that killing humans to eat is necessary, if unsavory. Violence against other vampires is, by contrast, purely gratuitous, so she considers it a more serious crime. For this reason, Dracula’s violence against Alexi is a turning point in Constanta’s understanding of her husband’s capacity for harm. Under her moral framework, killing “evil-doers” is not only acceptable but also God-like. Therefore, Dracula’s display of wholly unnecessary physical violence enables Constanta to kill him, using the moral project her husband so despised to justify her final act of violence against him.

Rebirth and Self-Discovery

A Dowry of Blood, like many vampire stories, is catalyzed by an act of rebirth: Constanta’s near-death and subsequent transformation into a vampire. Constanta’s past life is a mystery. Even her true name gets erased when Dracula renames her and takes her away from her home. Because Dracula is the one who made Constanta, their relationship includes elements of a father-daughter relationship even as they profess themselves to be husband and wife. Constanta struggles to assert her boundaries, and Dracula leverages his power over her at every possible opportunity. 

Through her literal rebirth as a vampire, Constanta discovers new things about herself, a process that is mirrored and magnified by Magdalena’s transformation. Constanta learns that she has a taste for vengeance and violence, provided she sees them as justified. When Magdalena enters Constanta’s life, both learn to love each other while also loving Dracula. They find in each other a kindred spirit who can understand the vampire experience like nobody else. Magdalena helps Constanta grow as a person, a transformative experience that her brief friendship with Hanne did not provide her. Both women discover that they love busy cities and that they want to be full participants in the world instead of being sequestered away from it.

Alexi’s transformation is another moment of rebirth that similarly aids Constanta in her self-discovery journey. He awakens maternal feelings in Constanta, even though she does also fall in love with him. As a new vampire, Alexi tries to live up to his full potential by befriending artists in Paris, but he is frustrated whenever Dracula reins him back in. He helps push Constanta and Magdalena toward the book’s eventual conclusion by standing up to Dracula and helping to expose his relentless cruelty toward his lovers. The ending of the book is a final moment of rebirth for all three of them. Dracula is dead, and they are now free to go their own ways and truly discover who they are after centuries of living a sad, cloistered life.

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