(n.) -(often l.c.) a style of art and literature developed principally in the 20th century, stressing the subconscious or nonrational significance of imagery arrived at by automatism or the exploitation of chance effects, unexpected juxtapositions, etc.

The Passive Vampire is not what you think.  It's not a book about vampires.  It's not a book about passivity.  It's not science fiction and it's not a horror story.  What it is is challenging, semi-autobiographical, surrealist dissertation, erotic in a removed, intellectual George Bataille sort of way, and a book with a lot to offer but only to those who are open to understanding it (subtext=THIS IS NOT A BEACH READ! Not even a rocky beach read).  It is not a novel, even though there is narrative, it is not a poem, but it is poetic, it is not a memoir, although it is revealing-it is, my friends, a book to reckon with with all your might.

Gherasim Luca, a prominent force of the Romanian Surrealist movement, was mainly a poet but has created a genuine artifact of the genre bending kind. When I began reading this book, which was originally published in 1945, I couldn't quite figure out what I was reading.  Soon I realized that it was better that I didn't;  I just experienced it without qualifying it as I would with a piece of art.  The books is divided into two parts:  The Objectively Offered Object and The Passive Vampire.  The first part being more philosophical and intellectual while the second part is more lyrical and personal.  Luca introduces us to the idea of offering objects and what it takes to give and receive them:

For a found or made object to be transformed into an offered object, and for it to be able to change its nature in line with the new relationships established in the interior life of the individual seeking a new balance between the internal and external, the pretext to this transformation must have an interpretive value that is, if not always negligible, at least very limited.  The offering of an object might have as its setting the pretext of decoration, or a celebration, or some other external and circumstantial accident, just as the manifest life of a dream uses diurnal remnants and random internal and external stimuli to provide the sleeper a framework of no interpretational value within which the action of the dream can unfold.

In today's society, the offered object bears no qualitative relation to the gift.  The gift is an object that is bestowed only after having been stripped of its objective erotic character.  Its emotive force is neutralised by its standardisations, which has allowed the bourgeoisie to thwart the differentiation of individual tendencies and thus offer one more argument in support of contemporary morality, which is presented as the only all-encompassing morality possible.*

*Bourgeoisie love, practised within defined forms, runs from the useless engagement present to the useful and costly wedding gift via the two quantitative phases of the same sentimentalism.

Objects, these mysterious suits of armour beneath which desire awaits us, nocturnal and laid bare, these snares made of velvet, of bronze, of gossamer that we throw at ourselves with each step we take; hunter and prey int he shadows of forests, at once forest, poacher, and woodcutter, that woodcutter killed at the foot of a tree and covered with his own beard smelling of incense, well-being, and of the that's -not-possible; free at last, alone at last with ourselves and with everyone else, advancing in the darkness with feline eyes, with jackals' teeth, with hair in lyrical, tousled ringlets, beneath a shirt of veins and arteries through which the blood flows for the first time, we're lit up inside ourselves bu the giant spotlights of the very first gesture, saying what must be said, doing what must be done, led among the lianas, butterflies, and bats, like the black and white on a chessboard; no one would dream of forbidding the black squares and the bishop--the ants vanish, the king and queen vanish, the alarm clocks vanish in turn, we reintroduce the walking stick, the bicycle with odd wheels, the timepiece, the airship, keeping the siphon, the telephone receiver, the shower head, the lift, the syringe, the automatic mechanisms that deliver chocolate when numbered buttons are pressed;