This thesis focuses on Bram Stoker’s 1897 British novel 'Dracula' and its association of medical technology with a myriad of Victorian British societal anxieties, facilitating an examination of current and historical fears about medical intervention and medical innovation. Dracula’s parallel yet opposite portrayals of blood transfusion and vampirism allow fears of medical technology to be exaggerated and explored within the realm of the supernatural. In Dracula and today, the desire to restore the health of ourselves and our loved ones is accompanied by fears that medical treatment will cause harm; will reshape our conceptualization of death and thus our relationship with death; and, as new technologies with unestablished consequences are employed, that medical intervention may in fact erode our basic identity and humanity.

Late Victorian fiction presents scenes of near-death experience that places characters within the literature in a state of precarity. The precarious existence manifests itself as a perpetual near-death experience that makes visible the necropolitical power dynamic and the “death-in-life” condition. Key moments in H.G. Wells’ The Island of Doctor Moreau and Bram Stoker’s Dracula provide evidence for the precarity under which people live in late Victorian literature. Both novels uniquely feature a process of becoming-object, Moreau’s humanization process and Dracula’s vampirization process, that places the victims in a state of precarity and death-in-life. Previous scholars have examined these processes as a means of establishing precarity and as a near-death experience, yet none have contextualized these scenes of precarity within Achille Mbembe’s theory of necropolitics. In an extended reading of both novels, this essay shows how Victorians function as administrators of necropolitics, victimizing non-Victorians to processes of becoming-object, and pushing these victim-objects to the brink of death, where they continue to live in a state of death-in-life. This essay focuses on these two novels because of their genre differences and their geographical differences, which further demonstrates the Victorian attentiveness towards scenes of precarity involving the marginalized and the “Oriental.” Despite scenes of precarity involving select Victorians, both novels inevitably reinforce the necropolitical Victorian hegemony. In the face of over a century of British colonialism, the threat of the colonized breaking the necropolitical hegemony of the Victorian empire is hyper-present in both late Victorian science fiction and gothic fiction, suggesting this anxiety of having precarity established over their own lives by the former oppressed was shared by the majority of the Victorian Empire.

The application of Toni Morrison’s Beloved as a lens through which one can analyze intergenerational trauma on an individual and communal level results in a blueprint towards a remedial process. The characters and their experiences in her novel are representative of a myriad of ways in which trauma is manifested. I have broken down the concept of intergenerational trauma into the idea that it can be seen as the state where one is both simultaneously “falling” and “fallen” at the same time. Used here, the term “falling” refers to the consistent, individual trauma that one is experiencing. On the other hand, the term “fallen” refers to the trauma that a community as a whole has experienced and internalized. This framework that I establish based off of Beloved is a launching point for the conversation surrounding the topic of remedial actions in relation to intergenerational trauma that resulted from slavery. Using it as a basis of knowledge allows one to truly gather the weight of the situation regarding trauma postbellum. Considering the current climate surrounding any meaningful dialogue, knowledge is one of the most important aspects. Along with the concepts of “falling”/”fallen,” I also coined the term productive memory, which refers to the act of confrontation as well as the remembering of intergenerational trauma. The use of productive memory is imperative in addressing the prior ideas presented regarding intergenerational trauma and the possible pathways to move forward.

This thesis examines statements made about immigration and mental health in Americanah by Chimamanda Ngozi Adichie and The Book of Unknown Americans by Cristina Henriquez. Americanah by Chimamanda Ngozi Adichie follows a young Nigerian immigrant as she navigates her move to the U.S. and explores the meaning of belonging and identity in the U.S. and Nigeria. Henriquez’s The Book of Unknown Americans is about a Mexican family that immigrates to Delaware in order to secure better treatment for their daughter and touches on the nuances of the Latinx immigrant identity in the U.S. Both of these texts feature the lack of resources and support available for immigrants of color which eventually lead the characters to return to their country of origin. This thesis posits that Adichie and Henriquez are both suggesting in their respective works that the U.S. fails to ensure the success and well-being of immigrants which leads to a deterioration of mental health and feelings of not belonging. A Portrait of Neglect considers the real life implications of Adichie’s and Henriquez’s ideas and the impact of their representations of immigration and mental health.

Reasons to Stay Alive is a short story that follows the protagonist, Corinne Larson, and her experiences with depression and anxiety as well as self-harm and suicidal ideations. It is meant to act as an antithesis to media that romanticizes suicide, such as the television show 13 Reasons Why (2017), and instead glorify growth and healing. Specifically, it focuses on the importance of social support in the healing process. The story is separated into three different formats: narrative, letter, and free-verse poetry. It is prefaced by a poem titled ‘death by suicide’ that discusses the stigma around suicide and the reason why the phrase ‘commit suicide’ was changed to ‘death by suicide’. The story then starts with a letter written by Corinne to her future self during a time she was really struggling with depression and self-harm and suicidal ideations. It is a plea with her future self to tell her everything will be alright. The rest of the story is broken into four parts, each about a specific and important person in Corinne’s life. Each part starts off as a first person narrative from Corinne’s point of view and is a memorable experience she had with each person and ends with a short letter addressed directly to each person. The letters are a chance for Corinne to tell each person how important they are to her, how they made an impact in her life, and how they gave her a reason to stay alive. Between each part is a poem that deals with different themes relating to depression or anxiety. The story ends with a letter written by Corinne to her future self that goes back and addresses the first letter. It gives past Corinne some words of advice and tells her that her reasons to stay alive are the important people in life as well as herself and the person she will become.

Unbeknown to her, Lonnie is the key between two realities - a result of her family’s grief and feuding. When she finally discovers her vital role, she is forcefully placed on a path of finding - and fixing - the truth about her family and the two battling realities. Struggling with her mental health as she continues down this path, her understanding of good versus evil is challenged.