Surviving the Civil War of the Vampires

Mark O’ Connell, one of the better chroniclers of our lightning-paced transitions through tech-disrupted realities, had an intriguing mini-essay published in yesterday’s New York Times. His topic is the vampiric desire for immortality as expressed by the elites of this world, from the political despots of Russia and China to the posthumanist dreamers of Silicon Valley.

As O’Connell notes, the desire for immortality is nothing new. It is a by-product of human wrestling with our mortal condition and thus is itself immortal, switching up only its face, clothing and name as the centuries pass.

In this sense, the techbro quest for infinite longevity becomes, as O’Connell states, a contemporary analogue for medieval alchemy, and the kind of arsenic and mercury-based witches’ brews which seduced a series of Chinese emperors into a truncated rather than extended lifespan.

But O’Connell’s vampire metaphor, if it is best thought of as mere metaphor, put me in mind of another recent use of the term by one of his essay’s protagonists, Vladimir Putin.

O’Connell relates Putin’s overheard conversation with President Xi in Beijing, a forbidden topic in the Forbidden City, about how as septuagenarians they are still mere children. This amiable discourse between dictators should of course fill us all with an eldritch chill. Their shared desire to continue in power forever, like the dessicated cybernetic Emperor in the popular Warhammer 40k mythos, reminds us of just how impervious to traditional threat and opposition they believe themselves to be.

Yet of course, they are fully aware of the threat which they face. It is not you or I, or the hundreds of millions of ordinary citizens they preside over, of course. We – they – are mere meatsacks who exist in order to be ruled, to be leveraged in pursuit of endless political power. Mere mortal plebs are the threat they can marshall against others, be it Ukraine or Taiwan, or be it dissidents in England or Tibetan separatists.

The threat that they face is the civil war of the vampires, and they are fully aware of this. In March 2024, Vladimir Putin was engaging in one of his habitual polemics against the Western Powers in an interview with the journalist Dmitri Kisilev, when he made a revealing statement which O’Connell’s essay brought back to my mind.

Here is what he said in Russian, to avoid any accusations of misrepresentation: «В западных элитах очень сильно желание заморозить существующее положение, несправедливое положение вещей в международных делах. Они привыкли столетиями набивать брюхо человеческой плотью, а карманы — деньгами. Но они должны понять, что бал вампиров заканчивается.»

How might we translate this? Forgive me for falling back on the machines, as the posthumanists would have us do, but my Russian is too rusty to suffice here. Instead, let Microsoft’s translation software attempt to convey it: “In the Western elites, there is a very strong desire to freeze the existing situation, the unfair state of affairs in international matters. They have been accustomed for centuries to stuffing their bellies with human flesh and their pockets with money. But they must understand that the vampire ball is coming to an end.”

There are a few things to note here. Firstly, Putin does not attempt to replicate the demonisation of entire peoples such as have been levied against the people of Russia by the media and institutions – banking, sporting, cultural, legal – of the West. His target is much narrower, the Western Elites. Secondly, what exactly is his accusation? That global geopolitics is a rigged game, designed to direct wealth and power to those Western Elites at the expense of everyone else. And what is his warning? That this era, which he alleges has lasted for centuries, is about to end.

So even if the last dance is being played out at the vampire’s ball, what evidence is there that a vampiric civil war is set to follow? It’s worth noting that generally such series of events overlap rather than follow serially. The dancing and music continued on the Titanic long after the iceberg was first struck. Wars tend to build to a crescendo and recede rather than switch on or off in a binary fashion. Therefore, we must acknowledge that the vampiric civil war is already under way.

And what form does it take in these early stages? We can see the open gorging on human blood and flesh in a range of locations already, not merely the weeping wounds of conflicts like those in Ukraine, Syria, Sudan or Lebanon, but also in the uptick in various forms of terrorist violence all across the globe, often of an Islamofascist nature but also taking many other forms too of which the most likely to catch fire uncontrollably is the ethnonationalist one. But perhaps all of these can better seen as the jockeying of the minor vampires for a seat at the next feast.

O’Connell correctly links Putin’s overheard comments to Xi about tech-enabled longevity to the kind of warped vision quests of the Cali techbros, and in particular to Marc Andressen’s astonishing credo in his 2023 “Techno-Optimist Manifesto,” that “We believe artificial intelligence is our alchemy, our Philosophers’ Stone — we are literally making sand think.”

One wonders what the sand does think, and to what extent it will be happy to be yoked to the posthumanist longevity quests of the various vampiric cliques. We can be sure of one thing, however. Whatever genies or demons the vampires summon in order to pursue their immortality will not be shared with the meat masses. The posthumanist dream dangled before us is conversion to vampirism. Only the elites will be bitten. The rest of us will be consumed instead.

If mortality grants poignancy and meaning to human life, then what is immortality? Is it really infinite meaning and endless feeling, or instead a senile decline into static autocracy such as we see in Warhammer or Dune? Anne Rice encouraged us to have sympathy with the vampire, and we are still in her era of revisionism, of loving the cold dead predator as if it were merely cool and detached.

It is instead time for us to resurrect our historic loathing of the vampire, because the real victims of the vampiric civil war will inevitably be us mere mortals. Only by sharpening our stakes against the posthuman desires of the vampires can we hope to survive their civil war.

Chapter Two is Not the Final Word

If you look up Jakob Ehrlich you’ll probably be directed by Wikipedia and other sources either to the biography of the nominatively anglicised Jack Earle, who was a carnival sideshow performer in the early 20th century known for his extreme height, or else the Viennese Zionist Jakob Ehrlich, who died in 1938, having been beaten to death in the Dachau concentration camp.

But in January 2025, another Jakob Ehrlich died, a man in his Nineties who had lived the latter part of his life in Florida. He left behind a life fully lived, which is detailed in his slender autobiography, which I had reason to examine earlier this week.

Ehrlich, unlike his Viennese namesake, survived the Nazis. Born in Sarajevo, he was a child when they came to power and with a degree of foresight his parents fled with their children to live for some years in refugee camps in Yugoslavia and Italy. Eventually, Ehrlich moved to South America and ultimately to the United States.

In his all-too-brief account of his life, the period of the holocaust takes up chapter two of ten chapters in the text. One imagines that to a young boy, displaced repeatedly during a terrifying war, it didn’t feel much like chapter two to him at the time. And yet there were still eight chapters of his life ahead of him.

Looking at the index of Ehrlich’s text thus becomes a numerical lesson in humility, resilience, and optimism in the face of darkness. I suspect many people who find themselves in similar dark periods of their lives, darkened either by personal or geopolitical or even global circumstances, often feel apocalyptic in the moment, and struggle to imagine a brighter future.

But a lot of life revolves around refusing to accept the Chapter Twos as endings or conclusions, and also refusing to allow them to prevent future chapters from being written.

It’s perfectly possible, as Jakob Ehrlich demonstrated, to allow such moments to permanently colour your life – indeed, how could they not? – without also allowing them to be the final word.

AI Art Aspires to the Condition of Muzak

Most food you can get is mass-produced in factories, or constructed on assembly lines. But people will still pay more to cook from scratch with good ingredients, or pay someone to do so for them.

Most furniture these days is factory-made or flat-pack. But if you pay enough, you can get something of lasting quality, made by a craftsman either now or centuries past.

Most clothes are fast fashion, made in Asian sweatshops, and fall apart or fade after a few washes. But for enough money, you can get tailored clothes which will last decades.

And if it doesn’t murder us all or melt the planet, this is possibly where AI is taking us. To a future where most words, most images, most music, most entertainment will be algorithm-generated.

But if you’re prepared to pay, humans will still be around to make you a quality product.

Walter Pater famously said that all art aspires to the condition of music. In his Jerry Cornelius series of novels, Michael Moorcock subverted this to the mass media age, suggesting that all art aspires instead to the condition of muzak.

We now know of course that it is not ALL art which thus aspires. But certainly all algorithmically-generated content does, by definition.

Capitalism is using algorithms to enforce industrialisation upon creativity, that having been resisted by humanity until now, despite the concerns of generations before us, from the Luddites to William Morris.

But at the fringes, where the poor and the hyperrich almost meet in a kind of horseshoe of behavioural patterns, human-created art, without any AI involvement, will be the art of choice for those who cannot afford the mass-produced option, as well as those who can afford to pay extra for its status symbolism, quality and the longevity.

Does the Protagonist wear Prada?

Writers have their little tricks. Nearly all of them use a thesaurus to avoid overusing their favourite words, for example. And some like to dip into a phone book (or its modern equivalent the internet) to generate names for characters.

I’ve been writing fiction on and off for nearly four decades (no jokes about my journalism career please!), ever since Heinemann published me alongside Salman Rushdie, Nadine Gordimer, William Trevor and others in their Best Short Stories of the Year anthology when I was still in short trousers, so to speak.

But one thing I’ve never managed to do successfully is dress characters.

Anthony Burgess was a famously terrible dresser, partly because he was colourblind. If you watch him on old chatshow clips, he’s wearing brown shirts with green ties and so on.

But he knew his characters deserved better, so he would get his glamorous Italian wife to tell him what each of his characters ought to be wearing.

That’s what I could definitely use – someone to dress my characters for me. (Not the glamorous Italian wife – I’d need to be on Anthony Burgess level royalties to afford one.)