Interview with the Vampire

Culture shock is the feeling of personal disorientation, experienced in an unfamiliar way of life due to immigration or visiting to a new country, or moving from one social environments and type of life into a new one. One of the most common causes of culture shock involves individuals in a foreign environment.

Culture shock isn't a clinical term or medical condition. A confusing and nervous feeling a person may have after leaving a familiar culture to live in a new and different culture. When moving to a new place, you're bound to face a lot of changes. It can be exciting and stimulating, but it can also be overwhelming. You may feel sad, anxious, frustrated, and want to go home.

It's natural to have difficulty to adjusting to a new culture. People from other cultures may have with different values and beliefs from yours. The things they talk about, the ways they express themselves, and the importance of various ideas may be very different from what you are used to. But the good news is that culture shock is temporary.

Phases In Culture Shock

Culture shock consists of four distinct phases:

i. Honeymoon,

ii. Negotiation,

iii. Adjustment, and

iv. Mastery,

a. Honeymoon phase

During this period, the differences between the old and new culture are seen in a romantic light. For example, in moving to a new country, an individual might love the new food, the pace of life, and the locals' habits. During the first few weeks, most people are fascinated by the new culture. They associate with nationals who speak their language, and who are polite to the foreigners. This period is full of observations and new discoveries. Like most honeymoon periods, this stage eventually ends.

b. Negotiation phase

After some time (usually around three months, depending on the individual), differences between the old and new culture become apparent and may create anxiety. Excitement may eventually give way to unpleasant feelings of frustration and anger as one continues to experience unfavorable events that may be perceived as strange and offensive to one's cultural attitude. Language barriers, stark differences in public hygiene, traffic safety, food accessibility and quality may heighten the sense of disconnection from the surroundings.

While being transferred into a different environment puts special pressure on communication skills, there are practical difficulties to overcome, such as circadian rhythm disruption that often leads to insomnia and daylight drowsiness; adaptation of gut flora to different bacteria levels and concentrations in food and water; difficulty in seeking treatment for illness, as medicines may have different names from the native country's and the same active ingredients might be hard to recognize.

Still, the most important change in the period is communication: People adjusting to a new culture often feel lonely and homesick because they are not yet used to the new environment and meet people with whom they are not familiar every day. The language barrier may become a major obstacle in creating new relationships: special attention must be paid to one's and others' culture-specific body language signs, linguistic faux pas, conversation tone, linguistic nuances and customs, and false friends.

In the case of students studying abroad, some develop additional symptoms of loneliness that ultimately affect their lifestyles as a whole. Due to the strain of living in a different country without parental support, international students often feel anxious and feel more pressure while adjusting to new cultures—even more so when the cultural distances are wide, as patterns of logic and speech are different and a special emphasis is put on rhetoric.

c. Adjustment phase

Again, after some time (usually 6 to 12 months), one grows accustomed to the new culture and develops routines. One knows what to expect in most situations and the host country no longer feels all that new. One becomes concerned with basic living again, and things become more "normal". One starts to develop problem-solving skills for dealing with the culture and begins to accept the culture's ways with a positive attitude. The culture begins to make sense, and negative reactions and responses to the culture are reduced.

d. Mastery phase

In the mastery stage assignees are able to participate fully and comfortably in the host culture. Mastery does not mean total conversion; people often keep many traits from their earlier culture, such as accents and languages. It is often referred to as the biculturalism stage

Reverse culture shock

Reverse Culture Shock (a.k.a. "Re-entry Shock", or "own culture shock") may take place — returning to one's home culture after growing accustomed to a new one can produce the same effects as described above. This results from the psychosomatic and psychological consequences of the readjustment process to the primary culture. The affected person often finds this more surprising and difficult to deal with than the original culture shock. This phenomenon, the reactions that members of the re-entered culture exhibit toward the re-entrant, and the inevitability of the two are encapsulated in the saying "you can't go home again," first coined by Thomas Wolfe in his book of that title.

Outcomes

There are three basic outcomes of the Adjustment Phase:

Some people find it impossible to accept the foreign culture and integrate. They isolate themselves from the host country's environment, which they come to perceive as hostile, withdraw into a "ghetto" and see return to their own culture as the only way out. These "Rejectors" also have the greatest problems re-integrating back home after return.

Some people integrate fully and take on all parts of the host culture while losing their original identity. They normally remain in the host country forever. This group is sometimes known as "Adopters".

Some people manage to adapt to the aspects of the host culture they see as positive, while keeping some of their own and creating their unique blend. They have no major problems returning home or relocating elsewhere. This group can be thought to be somewhat cosmopolitan.

Culture shock has many different effects, time spans, and degrees of severity. Many people are handicapped by its presence and do not recognize what is bothering them.

Transition shock

Culture shock is a subcategory of a more universal construct called transition shock. Transition shock is a state of loss and disorientation predicated by a change in one's familiar environment which requires adjustment. There are many symptoms of transition shock, some which include:

Excessive concern over cleanliness and health

Feelings of helplessness and withdrawal

Irritability

Anger

Glazed stare

Desire for home and old friends

Physiological stress reactions

Homesickness

Boredom

Withdrawal

Getting "stuck" on one thing

Suicidal or fatalistic thoughts

Excessive sleep

Compulsive eating/drinking/weight gain

Stereotyping host nationals

Hostility towards host nationals

Interview with the Vampire

ANNE RICE

PART I

"I see..." said the vampire thoughtfully, and slowly he walked across the room towards the window. For a long time he stood there against the dim light from Divisadero Street and the passing beams of traffic. The boy could see the furnishings of the room more clearly now, the round oak table, the chairs. A wash basin hung on one wall with a mirror. He set his brief case on the table and waited.

"But how much tape do you have with you?" asked the vampire, turning now so the boy could see his profile. "Enough for the story of a life?"

"Sure, if it's a good life. Sometimes I interview as many as three or four people a night if I'm lucky. But it has to be a good story. That's only fair, isn't it?"

"Admirably fair," the vampire answered. "I would like to tell you the story of my life, then. I would like to do that very much."

"Great," said the boy. And quickly he removed the small tape recorder from his brief case, making a check of the cassette and the batteries. "I'm really anxious to hear why you believe this, why you..."

"No," said the vampire abruptly. "We can't begin that way. Is your equipment ready?"

"Yes," said the boy.

"Then sit down. I'm going to turn on the overhead light."

"But I thought vampires didn't like light," said the boy. "If you think the dark adds to the atmosphere."

But then he stopped. The vampire was watching him with his back to the window. The boy could make out nothing of his face now, and something about the still figure there distracted him. He started to say something again but he said nothing. And then he sighed with relief when the vampire moved towards the table and reached for the overhead cord.

At once the room was flooded with a harsh yellow light. And the boy, staring up at the vampire, could not repress a gasp. His fingers danced backwards on the table to grasp the edge. "Dear God!" he whispered, and then he gazed, speechless, at the vampire.

The vampire was utterly white and smooth, as if he were sculpted from bleached bone, and his face was as seemingly inanimate as a statue, except for two brilliant green eyes that looked down at the boy intently like flames in a skull. But then the vampire smiled almost wistfully, and the smooth white substance of his face moved with the infinitely flexible but minimal lines of a cartoon. "Do you see?" he asked softly.

The boy shuddered, lifting his hand as if to shield himself from a powerful light. His eyes moved slowly over the finely tailored black coat he'd only glimpsed in the bar, the long folds of the cape, the black silk tie knotted at the throat, and the gleam of the white collar that was as white as the vampire's flesh. He stared at the vampire's full black hair, the waves that were combed back over the tips of the ears, the curls that barely touched the edge of the white collar.

"Now, do you still want the interview?" the vampire asked.

The boy's mouth was open before the sound came out. He was nodding. Then he said, "Yes."

The vampire sat down slowly opposite him and, leaning forward, said gently, confidentially, "Don't be afraid. Just start the tape."

And then he reached out over the length of the table. The boy recoiled, sweat running down the sides of his face. The vampire clamped a hand on the boy's shoulder and said, "Believe me, I won't hurt you. I want this opportunity. It's more important to me than you can realize now. I want you to begin." And he withdrew his hand and sat collected, waiting.

It took a moment for the boy to wipe his forehead and his lips with a handkerchief, to stammer that the microphone was in the machine, to press the button, to say that the machine was on.

"You weren't always a vampire, were you?" he began.

"No," answered the vampire. "I was a twenty-five year-old man when I became a vampire, and the year was seventeen ninety-one."

The boy was startled by the preciseness of the date and he repeated it before he asked, "How did it come about?"

"There's a simple answer to that. I don't believe I want to give simple answers," said the vampire. "I think I want to tell the real story..."

"Yes," the boy said quickly. He was folding his handkerchief over and over and wiping his lips now with it again.

"There was a tragedy..." the vampire started. "It was my younger brother... He died." And then he stopped, so that the boy cleared his throat and wiped at his face again before stuffing the handkerchief almost impatiently into his pocket.

"It's not painful, is it?" he asked timidly.

"Does it seem so?" asked the vampire. "No." He shook his head. "It's simply that I've only told this story to one other person. And that was so long ago. No, it's not pa'

"We were living in Louisiana then. We'd received a land grant and settled two indigo plantations on the Mississippi very near New Orleans..."

"Ah, that's the accent..." the boy said softly.

For a moment the vampire stared blankly. "I have an accent?" He began to laugh.

And the boy, flustered, answered quickly. "I noticed it in the bar when I asked you what you did for a living. It's just a slight sharpness to the consonants, that's all. I never guessed it was French."

"It's all right," the vampire assured him. "I'm not as shocked as I pretend to be. It's only that I forget it from time to time. But let me go on...."

"Please..." said the boy.

"I was talking about the plantations. They had a great deal to do with it, really, my becoming a vampire. But I'll come to that. Our life there was both luxurious and primitive. And we ourselves found it extremely attractive. You see, we lived far better there than we could have ever lived in France. Perhaps the sheer wilderness of Louisiana only made it seem so, but seeming so, it was. I remember the imported furniture that cluttered the house." The vampire smiled. "And the harpsichord; that was lovely. My sister used to play it. On summer evenings, she would sit at the keys with her back to the open French windows. And I can still remember that thin, rapid music and the vision of the swamp rising beyond her, the moss-hung cypresses floating against the sky. And there were the sounds of the swamp, a chorus of creatures, the cry of the birds. I think we loved it. It made the rosewood furniture all the more precious, the music more delicate and desirable. Even when the wisteria tore the shutters oft the attic windows and worked its tendrils right into the whitewashed brick in less than a year.... Yes, we loved it. All except my brother. I don't think I ever heard him complain of anything, but I knew how he felt. My father was dead then, and I was head of the family and I had to defend him constantly from my mother and sister. They wanted to take him visiting, and to New Orleans for parties, but he hated these things. I think he stopped going altogether before he was twelve. Prayer was what mattered to him, prayer and his leather-bound lives of the saints.

"Finally I built him an oratory removed from the house, and he began to spend most of every day there and often the early evening. It was ironic, really. He was so different from us, so different from everyone, and I was so regular! There was nothing extraordinary about me whatsoever." The vampire smiled.

"Sometimes in the evening I would go out to him and find him in the garden near the oratory, sitting absolutely composed on a stone bench there, and I'd tell him my troubles, the difficulties I had with the slaves, how I distrusted the overseer or the weather or my brokers... all the problems that made up the length and breadth of my existence. And he would listen, making only a few comments, always sympathetic, so that when I left him I had the distinct impression he had solved everything for me. I didn't think I could deny him anything, and I vowed that no matter how it would break my heart to lose him, he could enter the priesthood when the time came. Of course, I was wrong." The vampire stopped.

For a moment the boy only gazed at him and then he started as if awakened from deep thought, and he floundered, as if he could not find the right words. "Ah... he didn't want to be a priest?" the boy asked. The vampire studied him as if trying to discern the meaning of his expression. Then he said:

"I meant that I was wrong about myself, about my not denying him anything." His eyes moved over the far wall and fixed on the panes of the window. "He began to see visions."

"Real visions?" the boy asked, but again there was hesitation, as if he were thinking of something else.

"I didn't think so," the vampire answered. It happened when he was fifteen. He was very handsome then. He had the smoothest skin and the largest blue eyes. He was robust, not thin as I am now and was then... but his eyes... it was as if when I looked into his eyes I was standing alone on the edge of the world... on a windswept ocean beach. There was nothing but the soft roar of the waves. Well," he said, his eyes still fixed on the window panes, "he began to see visions. He only hinted at this at first, and he stopped taking his meals altogether. He lived in the oratory. At any hour of day or night, I could find him on the bare flagstones kneeling before the altar. And the oratory itself was neglected. He stopped tending the candles or changing the altar cloths or even sweeping out the leaves. One night I became really alarmed when I stood in the rose arbor watching him for one solid hour, during which he never moved from his knees and never once lowered his arms, which he held outstretched in the form of a cross. The slaves all thought he was mad." The vampire raised his eyebrows in wonder. "I was convinced that he was only... overzealous. That in his love for God, he had perhaps gone too far. Then he told me about the visions. Both St. Dominic and the Blessed Virgin Mary had come to him in the oratory. They had told him he was to sell all our property in Louisiana, everything we owned, and use the money to do God's work in France. My brother was to be a great religious leader, to return the country to its former fervor, to turn the tide against atheism and the Revolution. Of course, he had no money of his own. I was to sell the plantations and our town houses in New Orleans and give the money to him."

Again the vampire stopped. And the boy sat motionless regarding him, astonished. "Ah... excuse me," he whispered. "What did you say? Did you sell the plantations?"

"No," said the vampire, his face calm as it had been from the start. "I laughed at him. And he... he became incensed. He insisted his command came from the Virgin herself. Who was I to disregard it? Who indeed?" he asked softly, as if he were thinking of this again. "Who indeed? And the more he tried to convince me, the more I laughed. It was nonsense, I told him, the product of an immature and even morbid mind. The oratory was a mistake, I said to him; I would have it torn down at once. He would go to school in New Orleans and get such inane notions out of his head. I don't remember all that I said. But I remember the feeling. Behind all this contemptuous dismissal on my part was a smoldering anger and a disappointment. I was bitterly disappointed. I didn't believe him at all."

"But that's understandable," said the boy quickly when the vampire paused, his expression of astonishment softening. "I mean, would anyone have believed him?"

"Is it so understandable?" The vampire looked at the boy. "I think perhaps it was vicious egotism. Let me explain. I loved my brother, as I told you, and at times I believed him to be a living saint. I encouraged him in his prayer and meditations, as I said, and I was willing to give him up to the priesthood. And if someone had told me of a saint in Arles or Lourdes who saw visions, I would have believed it. I was a Catholic; I believed in saints. I lit tapers before their marble statues in churches; I knew their pictures, their symbols, their names. But I didn't, couldn't believe my brother. Not only did I not believe he saw visions, I couldn't entertain the notion for a moment. Now, why? Because he was my brother. Holy he might be, peculiar most definitely; but Francis of Assisi, no. Not my brother. No brother of mine could be such. That is egotism. Do you see?"

The boy thought about it before he answered and then he nodded and said that yes, he thought that he did.

"Perhaps he saw the visions," said the vampire.

"Then you... you don't claim to know... now... whether he did or not?"

"No, but I do know that he never wavered in his conviction for a second. That I know now and knew then the night he left my room crazed and grieved. He never wavered for an instant. And within minutes, he was dead."

"How?" the boy asked.

"He simply walked out of the French doors onto the gallery and stood for a moment at the head of the brick stairs. And then he fell. He was dead when I reached the bottom, his neck broken." The vampire shook his head in consternation, but his face was still serene.

"'Did you see him fall?" asked the boy. "Did he lose his footing?"

"No, but two of the servants saw it happen. They said that he had looked up as if he had just seen something in the air. Then his entire body moved forward as if being swept by a wind. One of them said he was about to say something when he fell. I thought that he was about to say something too, but it was at that moment I turned away from the window. My back was turned when I heard the noise." He glanced at the tape recorder. "I could not forgive myself. I felt responsible for his death," he said. "And everyone else seemed to think I was responsible also."

"But how could they? You said they saw him fall"

"It wasn't a direct accusation. They simply knew that something had passed between us that was unpleasant. That we had argued minutes before the fall.

"The servants had heard us, my mother had heard us. My mother would not stop asking me what had happened and why my brother, who was so quiet, had been shouting. Then my sister joined in, and of course I refused to say. I was so bitterly shocked and miserable that I had no patience with anyone, only the vague determination they would not know about his 'visions.' They would not know that he had become, finally, not a saint, but only a... fanatic. My sister went to bed rather than face the funeral, and my mother told everyone in the parish that something horrible had happened in my room which I would not reveal, and even the police questioned me, on the word of my own mother. Finally the priest came to see me and demanded to know what had gone on. I told no one. It was only a discussion, I said. I was not on the gallery when he fell, I protested, and they all stared at me as if I'd killed him. And I felt that I'd killed him. I sat in the parlor beside his coffin for two days thinking, I have killed him. I stared at his face until spots appeared before my eyes and I nearly fainted. The back of his skull had been shattered on the pavement, and his head had the wrong shape on the pillow. I forced myself to stare at it, to study it simply because I could hardly endure the pain and the smell of decay, and I was tempted over and over to try to open his eyes. All these were mad thoughts, mad impulses. The main thought was this: I had laughed at him; I had not believed him; I had not been kind to him. He had fallen because of me."

"This really happened, didn't it?" the boy whispered. "You're telling me something... that's true."

"Yes," said the vampire, looking at him without surprise. "I want to go on telling you." But as his eyes passed over the boy and returned to the window, he showed only faint interest in the boy, who seemed engaged in some silent inner struggle.

"But you said you didn't know about the visions, that you, a vampire... didn't know for certain whether..."

"I want to take things in order," said the vampire, "I want to go on telling you things as they happened.

"No, I don't know about the visions. To this day." And again he waited until the boy said.

"Yes, please, please go on."

"Well, I wanted to sell the plantations. I never wanted to see the house or the oratory again. I leased them finally to an agency which would work them for me and manage things so I need never go there, and I moved my mother and sister to one of the town houses in New Orleans. Of course, I did not escape my brother for a moment. I could think of nothing but his body rotting in the ground. He was buried in the St. Louis cemetery in New Orleans, and I did everything to avoid passing those gates; but still I thought of him constantly... Drunk or sober, I saw his body rotting in the coffin, and I couldn't bear it. Over and over I dreamed that he was at the head of the steps and I was holding his arm, talking kindly to him, urging him back into the bedroom, telling him gently that I did believe him, that he must pray for me to have faith. Meantime, the slaves on Pointe du Lac (that was my plantation) had begun to talk of seeing his ghost on the gallery, and the overseer couldn't keep order. People in society asked my sister offensive questions about the whole incident, and she became an hysteric. She wasn't really an hysteric. She simply thought she ought to react that way, so she did. I drank all the time and was at home as little as possible. I lived like a man who wanted to die but who had no courage to do it himself. I walked black streets and alleys alone; I passed out in cabarets. I backed out of two duels more from apathy than cowardice and truly wished to be murdered. And then I was attacked. It might have been anyone---and my invitation was open to sailors, thieves, maniacs, anyone. But it was a vampire. He caught me just a few steps from my door one night and left me for dead, or so I thought."

"You mean... he sucked your blood?" the boy asked.

"Yes," the vampire laughed. "He sucked my blood. That is the way it's done."

"But you lived," said the young man. "You said he left you for dead."

"Well, he drained me almost to the point of death, which was for him sufficient. I was put to bed as soon as I was found, confused and really unaware of what had happened to me. I suppose I thought that drink had finally caused a stroke. I expected to die now and had no interest in eating of drinking or talking to the doctor. My mother sent for the priest. I was feverish by then and I told the priest everything, all about my brother's visions and what I had done. I remember I clung to his arm, making him swear over and over he would tell no one. 'I know I didn't kill him,' I said to the priest finally. 'It's that I cannot live now that he's dead. Not after the way I treated him.' "

" 'That's ridiculous,' he answered me. 'Of course you can live. There's nothing wrong with you but self-indulgence. Your mother needs you, not to mention your sister. And as for this brother of yours, he was possessed of the devil.' I was so stunned when he said this I couldn't protest. The devil made the visions, he went on to explain. The devil was rampant. The entire country of France was under the influence of the devil, and the Revolution had been his greatest triumph. Nothing would have saved my brother but exorcism, prayer, and fasting, men to hold him down while the devil raged in his body and tried to throw him about. 'The devil threw him down the steps; it's perfectly obvious,' he declared. 'You weren't talking to your brother in that room, you were talking to the devil.' Well, this enraged me. I believed before that I had been pushed to my limits, but I had not. He went on talking about the devil, about voodoo amongst the slaves and cases of possession in other parts of the world. And I went wild. I wrecked the room in the process of nearly killing him."

"But your strength... the vampire...?" asked the boy.

"I was out of my mind," the vampire explained. "I did things I could not have done in perfect health. The scene is confused, pale, fantastical now. But I do remember that I drove him out of the back doors of the house, across the courtyard, and against the brick wall of the kitchen, where I pounded his head until I nearly killed him. When I was subdued finally, and exhausted then almost to the point of death, they bled me. The fools. But I was going to say something else. It was then that I conceived of my own egotism. Perhaps I'd seen it reflected in the priest. His contemptuous attitude towards my brother reflected my own; his immediate and shallow carping about the devil; his refusal to even entertain the idea that sanctity had passed so close."

"But he did believe in possession by the devil."

"That is a much more mundane idea," said the vampire immediately. "People who cease to believe in God or goodness altogether still believe in the devil. I don't know why. No, I do indeed know why. Evil is always possible. And goodness is eternally difficult. But you must understand, possession is really another way of saying someone is mad. I felt it was, for the priest. I'm sure he'd seen madness. Perhaps he had stood right over raving madness and pronounced it possession. You don't have to see Satan when he is exorcised. But to stand in the presence of a saint... To believe that the saint has seen a vision. No, it's egotism, our refusal to believe it could occur in our midst."

"I never thought of it in that way," said the boy. "But what happened to you? You said they bled you to cure you, and that must have nearly killed you."

The vampire laughed. "Yes. It certainly did. But the vampire came back that night. You see, he wanted Pointe du Lac, my plantation.

"It was very late, after my sister had fallen asleep. I can remember it as if it were yesterday. He came in from the courtyard, opening the French doors without a sound, a tall fair-skinned man with a mass of blond hair and a graceful, almost feline quality to his movements. And gently, he draped a shawl over my sister's eyes and lowered the wick of the lamp. She dozed there beside the basin and the cloth with which she'd bathed my forehead, and she never once stirred under that shawl until morning. But by that time I was greatly changed."

Date: 2015-01-02; view: 538