Darkly Hedonistic

I think I first read this novel back in 2001 and certain sequences from this book are etched in my memory. Brite's prose is decadent, luscious and darkly sensuous, tapping into the darker aspects of human psyche. His characters are simultaneously ethereal and tactile seeping into your consciousness, whispering in your ear of their wants, needs and desires. The plot of Lost Souls plays out like a fever dream dripping with psychedelic images never letting go, lingering long after it finishes.

Patton's narration is superb. The energy he puts into it brings out the distinct yearning of each character. The audio quality is consistent with no noticeable issues.

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Deeply gothic and perverse tale

After the first few chapters you are hooked. The characters are all ones you love and hate and it works. It’s depraved and perfectly gothic. Recommend specially if you’re a fan of the author.

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One of the best vampire novels to date

On the surface, this book seems like just another edgy YA. However, when looked from the perspective of previous vampire novels (from Carmilla to Interview with a Vampire) this text is so refreshing. Seeing queer vampires so open is one thing, but to have the traditional power dynamics usually in gothic novels totally flipped is glorious. It has been such a pleasure to read, re-read and analyse this piece for an essay. Thank you, Billy Martin!!

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2 people found this helpful

Like being 15 again

I first read this when I was 15, the same age as the main protagonist. It still seems like a novel written from - and glorifying - the perspective of an adolescent boy.

As an adult I can't say I still relate to of approve of Nothing and his actions. That's the price of growing up, I'm afraid (which isn't actually as bad as Nothing assumes it would be). But even after all these years I still have enough nostalgia to appreciate this book for what it is.

For one thing, it's actually scary, unlike the more famous novel written from the perspective of vampires in New Orleans. The creepy twins are particularly unnerving, and the gore and Zillah's psychopathic amorality place this work firmly in the realm of horror.

As an adult, I can appreciate the prose, the pacing, the originality, and all the other signs of talent on display. I also have the opportunity of sympathizing more with Steve and Ghost than I did as a teenager (and which I suspect was the author's intention all along).

As for the performance, Chris Patton never stumbles over or seems uncomfortable reading out the explicit sex scenes, which gives respect to Brite's work and vision. He also gives Nothing a high-pitched, whiney, almost annoying voice, which was not at all how I imagined him as a young reader but I now feel is entirely appropriate to his character.

This book is, or should be, an iconic work of early nineties vampire horror and a must-read for anyone who's interested in or was part of early third-wave Goth (you can make a drinking game out of references to Bauhaus and black eyeliner).

This will always be part of my youth, but I think it remains a good book on its own merit and is definitely worth a read.

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