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It’s been roughly a year since the beginning of a contagion that seemingly turns humans into vampires, and Robert Neville is the last living person in Los Angeles. He wakes one day to find the weather cloudy, which complicates his usual routine—as the Undead (infected people who specifically died and came back to life) trying to kill him are most susceptible to daylight, like vampires. He checks his house and the hothouse in the yard for any loose or broken planks from the Undead’s nightly attempts to attack him, replaces them, then collects fresh garlic to hang around the front door. Neville also has a mirror hanging there, but worries that it will soon crack and prove useless at warding off the Undead. He does not bother to keep his house clean as “he was a man and he was alone and these things had no importance to him” (3). He then uses his workshop to make stakes from wooden dowels. Neville completes his daily chores in a state of anger and frustration, though he notes how easy it is to become used to this mode of life because he has no choice.
Neville makes himself a dinner of frozen food and canned vegetables; he keeps his larder of nonperishables in his daughter’s former room. He likes listening to classical music, but the volume on his record player can’t go high enough to drown out the screams of the Undead once night falls. Ben Cortman, a former friend and now an Undead, calls nightly for Neville to leave his house so he can drink his blood.
Neville struggles to concentrate on reading as he imagines the Undead women outside. He is distracted by lust and loneliness, as the rise of the Undead “forced celibacy on him” (8). He drinks heavily on a daily basis to cope with his situation. While getting ready for bed, Neville remarks that the cross he had tattooed on his chest while serving in the military might be the reason he’s survived, as the Undead fear crosses like vampires.
Neville wakes the next morning and makes himself a list of tasks to stay on track. The weather is clear, so he can leave the house safely. He brings stakes and a mallet with him. Two Undead women lay on Neville’s lawn, killed by their own kind. He drives stakes into their chests, places them in the back of his station wagon, then takes them to the city’s mass grave, in which low embers are always burning. The grave had been built the previous year in 1975, and is where he was forced by authorities to bring his daughter Kathy after she was infected. Neville spends the afternoon going into neighboring houses and driving stakes into the chests of comatose Undead hiding from the sun.
Neville questions how he manages to stab the Undead’s hearts every time without strong anatomical knowledge (the implied solution of vampire legend). Neville’s father was a scientist and would have wanted him to devote more time to research and experimentation of the nature of the Undead, as he himself never believed them to be vampires—despite their hatred of garlic, mirrors, and the cross.
Neville spends the evening reading Bram Stoker’s 1897 novel Dracula and comparing the nature of the Undead to the book’s vampires. The more whiskey he drinks, the more he questions why he has not died by suicide (perhaps by going out at night so the Undead kill him). After all, he lacks purpose and hope of finding other uninfected humans. In a fit of rage, Neville shatters his whiskey glass and cuts his hand. He bandages himself, continues drinking, and imagines himself giving a lecture on the vampire, wondering “is the vampire so bad? All he does is drink blood” (21). When he hears Ben Cortman calling for him, he almost leaves the house.
Neville oversleeps the next morning and wakes with a hangover. He is enraged to find that it is a cloudy day, but resolves to leave the house regardless of the threat. He does not bother locking the garage door when he leaves. Neville drives to the local cemetery to visit his wife, Virginia, in her coffin in the crypt. He is tormented by guilt over having followed governmental restrictions when his daughter Kathy died, having her burned in the mass grave instead of entombed like Virginia: “Why had he followed so blindly, listening to those fools who set up their stupid regulations during the plague?” (25). Inside the crypt, Neville finds an Undead man in his daytime coma, hiding from the sun. He furiously throws the Undead outside.
Several hours pass in which Neville sits beside Virginia’s coffin, ruminating on whether or not he could deliver her from death. When he leaves, he finds the Undead man destroyed and decomposing in the sunlight, as if he had been dead for days. He becomes excited at the prospect of dragging other Undead into the sunlight to destroy them instead of having to stake them. Neville knows there’s a difference between Undead and the alive but infected (simply called the “infected”), but doesn’t know how to distinguish it.
As an experiment, Neville drags an Undead woman from a nearby house into the sunlight. He watches as her body begins to decompose, but will only know if she is truly destroyed if she doesn’t wake up in the evening. He places her in his station wagon and begins driving home. Neville checks his watch to confirm he has enough time before sundown, but notices that it has stopped.
As the sun sets, Neville races back home, but arrives after the Undead have already gathered in front of his house. Some have entered through the unlocked garage door to break his generator. Neville drives through the crowd, pursued by Ben Cortman, until his car stalls. Ben Cortman reaches through the open window to attack Neville; Neville punches him and starts the car again, driving through the neighborhood with the Undead chasing him “like a pack of wolves” (33). Neville loses them, doubling back to the house and hastily parking on the lawn. Ben Cortman runs out of the garage and the two fight, with Neville barely able to hold him off. When the other Undead catch up, Neville fights his way back into the house and locks himself in.
Safe, though without electricity, Neville immediately begins drinking whiskey to calm his nerves. Through a peephole, he watches the Undead destroy his car with bricks and stones. Enraged, Neville opens the door long enough to shoot several Undead with his pistols. The infected die, while the Undead recover instantly. Neville locks the door.
I Am Legend introduces the character of Robert Neville, the presumed last human man on Earth. Neville has spent months alone in his house, fending off the bloodthirsty Undead outside his door; this lonely, terrifying life consumes Neville, who wishes for a female companion. The beginning chapters are rife with Neville’s constant thoughts of women, companionship, and sex. He resents the “celibacy” forced on him by the apocalypse, this thought introducing the novel’s theme of Femininity and Horror. Neville’s third-person omniscient narration provides insight into how he perceives gender differences as well as commentary on representation of women in early horror. The framing of a woman’s body as a vehicle for sex comes through in the Undead women’s attempted seduction of Neville (in trying to get him to leave his home). This is a common motif in horror and Gothic tradition, and can be found in Bram Stoker’s Dracula—which includes three female vampires who live in Dracula’s castle and seduce one of the male protagonists.
Neville associating women with general sustenance is seen in his use of daughter Kathy’s bedroom as a food larder. This connection between having to eat and the necessity of having women in his life—whether lover, wife, or daughter—emphasizes the novel’s commentary on traditional gender roles. As the protagonist of I Am Legend, Neville is poised to receive support from female characters. In their absence, he struggles with alcoholism and suicidal thoughts, as his loneliness causes him to question his very purpose. Furthermore, the moment he takes on the traditionally masculine role of protector (of a stray dog and female character Ruth), Neville’s drinking and depression abate.
Bram Stoker’s Dracula is quoted in Chapter 3 and provides a reference for Neville’s expectations of what a vampire should be. Neville and the rest of the population expect the Undead to fear garlic, mirrors, and crosses because these vampiric traits are so deeply ingrained in popular culture; as such, they threaten to undermine scientific study of the Undead. The main setback in confronting the Undead is this very conflict, as per the novel’s theme of Science Versus Legend. Neville believes the key to understanding the Undead is understanding the role that legends play in science, since “before science has caught up with the legend, the legend had swallowed science” (17). Until he clarifies the connection, he is unable to morally situate himself against the Undead, regardless of his practice of killing them. For example, he questions if vampires are as bad as humans, considering the latter are responsible for war and countless other atrocities. This talk of Moral Relativism and War suggests that Neville will eventually develop sympathy for the Undead as victims of human society.