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“My organs seem to remember what it's like to be alive and working. Either way, I feel satiated and don't even feel my hunger; I forget my need to eat entirely. Ben's neck presents itself to me, right under my nose, right next to my mouth, and I can taste the sweat that has coated it like a film, but the urge to bite isn't there at all. All it is is a neck, a human neck, and all I am is a human next to it.”

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“What does my birth certificate prove, anyway? That I was once born? That I was once fully human? I know these things without needing a piece of paper that I can't even read because it's sewn into one of a pair of gloves. Also, I'll have forever to build up a collection of books, and a collection of clothes for myself. In fact, I plan on one day having a library, which will be in one of the rooms of my own house. I'll also own a gallery. I'll set it up in my own name, and I'll run it for a few years, and then hire other people to manage it while I retreat into the background, overseeing things from a distance. In that time, I'll be making artwork under different names; then, eventually, I'll write up a press release declaring that I have died peacefully at home from old age and that I am passing my gallery and estate down to my adult daughter, who will just be me. And I'll repeat the process again, and then again. I'll have artwork belonging to me, books, a building with my name on it.”

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“The memory of human blood manifests now as a kind of visceral reaction to seeing people's veins and their necks. The skin on a neck appears to me as different from the skin anywhere else on a body. It seems as thin and consumable as rice paper wrapped around a sweet. It is too blank compared with skin everywhere else, as though it is asking to have marks made on it, like very expensive calligraphy paper, or cold-pressed Fabriano. Often, I wonder whether the urge I have to make art is the same as the urge to consume and destroy the blankness of a human neck. While at art college, I read that the best paper used by artists in the seventeenth century was made from the skins of lamb fetuses. This skin was soft and absorbent, and had an even texture right across its surface. For a long time, the process of creating art has been linked to the killing of living things. My dad, even, used fine silk stretched across wooden frames in his own work as a painter. Once, when we still had some of his pieces, I looked at the odd geometric shapes he created on a huge sheet and thought about all the silkworms who had had their cocoons torn open before they were able to become moths.”

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“I suck the blood out of Ben's towel for what feels like hours. I lie down on the floor, the towel hanging from my mouth and spread out across my chest. I'm in bliss. I can't really describe how it feels to have another person's blood in your veins, feeding to your heart, even just a little bit: a human's blood, not a pig's, two legs, upright and elegant, hints of something---of foods and memories and experiences, of birth, of being ill and getting better, of love and grief and fear---in its flavor. I feel huge; I feel like, if I were to stand up and run toward my studio wall, I'd just break through it. Like I could trample on cars and people outside, whole families under one foot, roaring until shop windows shatter. The sun would be drawn to me and would be consumed by my hair, which would grow and grow and then spread across the sky and turn day into night. The ground would quake around me; little moles that had been sleeping would emerge from their holes, and rabbits from their burrows, and I'd pluck them out of the ground like bean shoots and swallow them whole.”

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“I look at the selection behind the glass. There are a few pasties and pastries, things like Scotch eggs and potato salad, as well as sliced meat and wrapped cuts. "Can I have a Scotch egg and..." The man's hand reaches for the Scotch egg at the top of the pile and wraps it in thin plastic, then places it on the counter. "...a cheese and... bacon pastry thing..." I point, and he gets a small paper bag from behind him and uses tongs to pick the pastry up. "And one of those sausages, maybe a couple of those smaller sausages too, some potato salad---and yeah... um... do you have, like, some pig blood?”

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“Dried pig blood for making black pudding; black pudding-making kit with dried pig blood; dried pig blood bulk buy. And recipes at the bottom. Blood sausage hash, Tolosa stew, hot pot, sweet potato gnocchi with black pudding and chili. A menu for a posh restaurant in Leeds comes up too, and one of the starter options is dried pig blood and snail eggs. People are weird, I think.”

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“Before I was turned, my human body sustained itself, albeit only for days. Something in me must have kept my heart beating and the muscles in my ribs tightening and relaxing, letting air into and out of my lungs. It's completely possible that that human power is still there, only dormant. Perhaps there is actually a lot of human potential in me. Last night, as my body had been warmed by Ben, I'd felt alive in a way I've never felt before. My heart had woken up and was beating faster than the demon could ever pump it; I'd felt a pleasure better and more intense than eating; I'd felt Ben's blood coursing through his veins but felt no desire to drink it, and only gratitude that he was alive and with me. It had been the duck that had repelled Ben---death had, essentially, repelled him: the remnants of my last meal. If I deny myself blood, perhaps the human side of me will get stronger until I can consume and live off human food, and I'll attract humans to me too, and a human life for myself, and human love.”

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“How best to portray the story of Lydia---a woman who has mixed Japanese, Malaysian, and English heritage, and who is a vampire, a creature inherently half-demon, half-human---who is constantly trying to resist the temptation of her nature? I designed many versions of this cover; some depicted Lydia, while others focused on specific details from the story, like bite marks, or a pig whose blood she drinks in order to stave off her cravings for human blood. In the end, though, the most powerful visual was not one of Lydia herself, but of the novel's antagonist. Because Lydia is an artist, it felt fitting to use a painting on the cover, but it needed to be a piece that spoke to the story on multiple levels. Caravaggio's Boy with a Basket of Fruit felt just right; the sidelong glance peering back at the viewer, the lush basket filled with food that Lydia can never eat, not to mention Caravaggio's own less-than-pristine reputation, not dissimilar to our antagonist's. The final touch: a perfectly-placed crack in the canvas---or is it a bite mark?”

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“Memories fill my mind, as though they are my own, of not just events from Gideon's life, but of various flavors and textures: breast milk running easily down into my stomach, chicken cooked with butter and parsley, split peas and runner beans and butter beans, and oranges and peaches, strawberries freshly picked from the plant; hot, strong coffees each morning; pasta and walnuts and bread and brie; then something sweet: a pan cotta, with rose and saffron, and a white wine: tannin, soil, stone fruits, white blossom; and---oh my god---ramen, soba, udon, topped with nori and sesame seeds; miso with tofu and spring onions, fugu and tuna sashimi dipped in soy sauce, onigiri with a soured plum stuffed in the middle; and then something I don't know, something unfamiliar but at the same time deeply familiar, something I didn't realize I craved: crispy ground lamb, thick, broken noodles, chili oil, fragrant rice cooked in coconut milk, tamarind... and then a bright green dessert---the sweet, floral flavor of pandan fills my mouth.”

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“I watch a couple more. My favorites are the cultural ones, because they have the strange feeling of being instruction manuals on becoming whatever ethnicity the person in the video is. One of my favorites has over six million views and combines the what-I-eat genres of "in a week," "Japanese food," "realistic," "teen," and "ASMR." I watch an entire twenty-five minutes of a girl in Tokyo with dyed wine-red-fading-into-pink hair eating sausages, toast, a Japanese corn dog made with hotcake mix dipped in ketchup, demae hot sesame ramen with an egg plopped in, pizza, stir-fried udon, seaweed salad and barley rice, tapioca and black tea ice cream, soy-glazed salmon on okayu, pearl milk bubble tea. Each time she eats, the microphone hones in on the sounds of her eating---slurping, chewing, crunching. When she drinks her bubble tea, there's a loud pop as the straw goes through the lid, and the sound of gulping. Gulp, gulp, gulp. I realize that I'm gulping along to the video, imagining that the bubble tea is blood.”

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“I go to one of my favorite Instagram profiles, the.korean.vegan, and I watch her last video, in which she makes peach-topped tteok. The Korean vegan, Joanne, cooks while talking about various things in her life. As she splits open a peach, she explains why she gave up meat. As she adds lemon juice, brown sugar, nutmeg, a pinch of salt, cinnamon, almond extract, maple syrup, then vegan butter and vegan milk and sifted almond and rice flour, she talks about how she worried about whitewashing her diet, about denying herself a fundamental part of her culture, and then about how others don't see her as authentically Korean since she is a vegan. I watch other videos by Joanne, soothed by her voice into feeling human myself, and into craving the experiences of love she talks of and the food she cooks as she does. I go to another profile, and watch a person's hands delicately handle little knots of shirataki noodles and wash them in cold water, before placing them in a clear oden soup that is already filled with stock-boiled eggs, daikon, and pure white triangles of hanpen. Next, they place a cube of rice cake in a little deep-fried tofu pouch, and seal the pouch with a toothpick so it looks like a tiny drawstring bag; they place the bag in with the other ingredients. "Every winter my mum made this dish for me," a voice says over the video, "just like how every winter my grandma made it for my mum when she was a child." The person in the video is half Japanese like me, and her name is Mei; she appears on the screen, rosy cheeked, chopsticks in her hand, and sits down with her dish and eats it, facing the camera. Food means so much in Japan. Soya beans thrown out of temples in February to tempt out demons before the coming of spring bring the eater prosperity and luck; sushi rolls eaten facing a specific direction decided each year bring luck and fortune to the eater; soba noodles consumed at New Year help time progress, connecting one year to the next; when the noodles snap, the eater can move on from bad events from the last year. In China too, long noodles consumed at New Year grant the eater a long life. In Korea, when rice-cake soup is eaten at New Year, every Korean ages a year, together, in unison. All these things feel crucial to East Asian identity, no matter which country you are from.”

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“There are several books on Walter Potter---one is called Sweet Death: A Feast With Kittens; another, The Victorian Visionary: Inventor of Kitsch. There are some on carnivals, fairgrounds, prison murals, prison art, and a hefty book with a title in gold, Portraits of Icons: From Alexamenos Graffito to Peter Blake's Sgt. Pepper. There are also books I have seen before, books I used to, until very recently when I lost my suitcase, own. One is a book on the abstract expressionist Bernice Bing; colors from her piece Burney Falls cascade down the spine---deep red, tinged with orange, outlined in black against white, brown and peach like skin. There's a book on the performance artist Senga Nengudi too, and another on the painter Amrita Sher-Gil. I take this last one off the shelf, and it falls open to a middle page, which has a picture of her painting Three Girls on it. I stand there for a moment, looking at the three girls' faces: calm, patiently waiting. They are huddled close together, as though perhaps they are sisters, but I don't think they could be; they look too different. I had a postcard of this painting taped to my wall while I was growing up. It was blank on the other side, but I kept it because I had found it tucked in the wooden frame of one of Dad's paintings. It went missing at some point, but while I had it, I looked at it often and felt that I knew---like really knew, as though I had a sense about these things---that the girls depicted were vampires, and that they were still out there in the world, looking exactly the same as when Sher-Gil painted them in 1935, and that I would one day meet them. The painting, I decided when I was a child, depicted the three girls quietly waiting for three brothers to come out of a house so that they could eat them.”

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“I opened the fridge but there was nothing in it; apart from the stubby end of a black pudding sausage wrapped in cling film, which had been in there for god knows how long, as an emergency stash for when we ran out of blood or the butcher's was closed. I chopped it up into little pieces and carried them in the palm of my hand, like I was offering bread crumbs to the birds, while I went around the house one last time. I took little pieces one by one and popped them in my mouth. The black pudding tasted bad, especially so cold from the fridge. And my body couldn't take much of the egg and oats and pepper that were mixed with the blood to make the sausage; I had to spit most of it out. But it was sustenance, enough to tide me over.”

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“There is a plant called the ghost pipe, because it is ghostly white, almost blue. Were you to cut open this flower and study it, you'd find no chlorophyll inside. It can grow in the dark, under the cover of fallen leaves and undergrowth in forests, under soil. It doesn't need to photosynthesize, because it is a parasite. It uses fungal networks to suck energy from photosynthesizing trees. Its roots look like clusters of tiny fingers that grope toward and connect with huge white webs of fungus that in turn connect with the thick roots of trees.”

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“I've been watching Buffy on my laptop. I'm at the end of season two where the instructions for restoring Angel's soul have been saved onto a floppy disk, but Willow's lost the floppy disk down the side of a desk, so Angel's not going to get his soul back in time and Buffy will end up having to kill him. It's such a dumb reason for a vampire to have to die---just a stupid yellow floppy disk, and the fact that a desk and a cabinet aren't pushed close enough together. If it were today, the instructions would have worked out fine.”

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“I've been watching Buffy on my laptop. I'm at the end of season two where the instructions for restoring Angel's soul have been saved onto a floppy disk, but Willow's lost the floppy disk down the side of a desk, so Angel's not going to get his soul back in time and Buffy will end up having to kill him. It's such a dumb reason for a vampire to have to die---just a stupid yellow floppy disk, and the fact that a desk and a cabinet aren't pushed close enough together. If it were today, the instructions would have been backed up to the cloud, so everything would have worked out fine.”

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“In the refrigerated-food section, I pick up a few items, like another customer does next to me, and turn them over to read the nutritional information. I like reading the various numbers that tell me how what I am holding will transform inside a human's body. Energy: 326 cal, Fat: 16g, Carbohydrates: 38g; Protein: 11g. This meal has grains and pomegranate seeds, spring onion, olive oil, mustard seeds, garlic, and lemon. It is called a "Superfood, Super-Clean Salad.”

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“The theme of this exhibition is folk art, and the building, which is usually a typical white-cube space, has been dressed up to look like a circus. The walls are covered in strange murals; level with my head are alligators eating trapeze artists who are, in turn, eating small alligators. In large display cases are arrangements by the famous Victorian taxidermist and artist, Walter Potter. There's a feast being had by little ginger kittens that look like they were once---before dying and being stuffed with hay and then seated on miniature dining chairs and put in front of tiny cakes, pots of tea, and samovars---from the same litter. Their eyes are beautiful, black, glistening marbles. Next to the cat feast is another Walter Potter---rabbits diligently working at desks in a miniature classroom. It's thrilling seeing these works. I've known them for years; I studied them for my A-levels. In photographs, they seem clean and unreal. Up close, I can see the little dimples in the animals' skin where their muscles used to attach; I can smell the tiny, microscopic traces of hundred-year-old-blood inside them.”

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