Bram Stoker's Dracula (Optimized for Kindle)

I'll comment on the features of the Norton Critical Edition of "Dracula", as reviews of the novel can be found elsewhere. The novel, itself, is reproduced from the 1897 British edition that was published by Archbald Constable and Company and is preceded by a short but useful Preface that discusses the contexts in which "Dracula" was written and received over a century ago. The text of the novel is amply footnoted. Not only are terms defined, but allusions are explained, and passages of particular interest are treated with some commentary. The footnotes are worthwhile, but easy to ignore if you prefer. I had reservations about the footnotes in the early chapters of the book. Too many of them referred to points later in the story, acting as minor spoilers. I found this stopped after the action moved to England, so it only applies to a small portion of the book. Following the text of the novel are sections on Contexts, Reviews and Reactions, Dramatic and Film Variations, and Criticism.

"Contexts" includes some 19th century source material on vampires, Bram Stoker's working papers for the novel annotated by Christopher Frayling, and "Dracula's Guest", which was originally to be the novel's opening chapter, before Bram Stoker decided to situate the novel in Transylvania. The working papers are thoroughly uninteresting, and "Dracula's Guest" is not as chilling as the introduction that replaced it. "Reviews and Reactions" includes 5 reviews of the novel written shortly after it was published, in 1897 and in 1899, three of which are favorable.

"Dramatic and Film Variations" contains an essay about "Dracula"'s theatrical adaptations, including a list of major plays, by David J. Skal, who wrote "Hollywood Gothic: The Tangled Web of Dracula from Novel to Stage to Screen" and is one of this edition's editors. An essay by Gregory Waller discusses Tod Browning's 1931 film "Dracula". Editor Nina Auerbach gives "Dracula" a feminist reading in her essay about the later film adaptations of the novel: the Hammer films of the 1950s and 1960s and John Badham's 1979 film. There is also a list of major film adaptations.

"Criticism" includes 7 essays that represent widely varying interpretations of Bram Stoker's novel, including Oedipal, Marxist, sexual, gender reversal, xenophobic, and homoerotic interpretations. These essays vary in quality a great deal. The best, in my view, are Christopher Craft's "Gender and Inversion" and Stephen D. Arata's "Reverse Colonization" essays. But, taken together, all of the essays give insight into "Dracula"s continuing -in fact, ever-growing- popularity. The novel can be interpreted through virtually any doctrine. There is a chronology of events in Bram Stoker's life at the end of the book.

If you plan to purchase a copy of "Dracula", this Norton Critical Edition provides the most material for your buck and the best footnotes that I've seen in any edition currently in print.

"Dracula" was not the first vampire novel, nor was it Bram Stoker's first book. But he managed to craft the ultimate vampire novel, which has spawned countless movies, spinoffs, and books that follow the blueprint of the Transylvanian count. Eerie, horrifying and genuinely mysterious, "Dracula" is undoubtedly the most striking and unique vampire novel yet penned.

Real estate agent Jonathan Harker arrives in Transylvania, to arrange a London house sale to Count Dracula. But as the days go by, Harker witnesses increasingly horrific events, leading him to believe that Dracula is not actually human. His fiancee Mina arrives in Transylvania, and finds that he has been feverish. Meanwhile the count has vanished -- along with countless boxes filled with dirt.

And soon afterwards, strange things happen: a ship piloted by a dead man crashes on the shore, after a mysterious thing killed the crew. A lunatic talks about "Him" coming. And Mina's pal Lucy dies of mysterious blood loss, only to come back as an undead seductress. Dracula has arrived in England -- then the center of the Western world -- and intends to make it his own...

"Dracula" is the grandaddy of Lestat and other elegantly alluring bloodsuckers, but that isn't the sole reason why this novel is a classic. It's also incredibly atmospheric, and very well-written. Not only is it very freaky, in an ornate Victorian style, but it is also full of restrained, quiet horror and creepy eroticism. What's more, it's shaped the portrayal of vampires in movies and books, even to this day.

Despite already knowing what's going on for the first half of the book, it's actually kind of creepy to see these people whose lives are being disrupted by Dracula, but don't know about vampires. It's a bit tempting to yell "It's a vampire, you idiots!" every now and then, but you can't really blame them. Then the second half kicks in, with accented professor Van Helsing taking our heroes on a quest to save Mina from Dracula.

And along the way, while our heroes try to figure stuff out, Stoker spins up all these creepy hints of Dracula's arrival. Though he wrote in the late 19th-century manner, very verbose and a bit stuffy, his skill shines through. The book is crammed with intense, evocative language, with moments like Dracula creeping down a wall, or the dead captain found tied to the wheel. Once read, they stick in your mind throughout the book.

It's also a credit to Stoker that he keeps his characters from seeming like idiots or freaks, which they could have easily seemed like. Instead, he puts little moments of humanity in them, like Van Helsing admitting that his wife is in an asylum. Even the letters and diaries are written in different styles; for example, Seward's is restrained and analytical, while Mina's is exuberant and bright.

Even Dracula himself is an overpowering presence despite his small amount of actual screen time, and not just as a vampire -- Stoker presents him as passionate, intense, malignant, and probably the smartest person in the entire book. If Van Helsing hadn't thwarted him, he probably would have taken over the world -- not the Victorian audience's ideal ending.

This particular edition has been made to look almost exactly like the very first edition, down to the illusively-tattered dust jacket and distinctive title print. It also contains an early, gushing newspaper review -- as well as a couple short chapters from Dacre Stoker's forthcoming sequel, "Dracula the Un-Dead."

The excerpts in question are rather different from Bram's work (third person narrative) and takes place a couple decades later. We're reintroduced to a beloved character who is now a morphine junkie haunted by the past and the Jack the Ripper cases. It also introduces a new vampiric figure from history, which can twist the plot in intriguing directions.

Intelligent, frightening and very well-written, "Dracula" is the well-deserved godfather of all modern vampire books and movies -- and its unique villain still dwarfs the more recent undead.

This is the horror novel that launched a thousand vampires.

Actually, it's not really a novel - it's a collection of letters. Two women, best friends Mina and Lucy, are happily sharing their love lives with eachother on paper. Mina is about to marry her beau Jonathan Harker; and Lucy is trying to choose between Dr. Arthur Seward and Quincey Morris, true-blue good guys both. Suddenly, a stranger from Transylvania comes to town and Lucy becomes gravely ill. Seward writes to his mentor, Dr. Van Helsing for help. The good doctor does indeed know what they're dealing with, but he's too late to save Lucy. The group barely has time to grieve before strange things start happening, and by the time they realize that the stranger,Dracula, is in fact a vampire, he's set his malevolent eye on Mina...

Some people find the letters tedious, and that there's far less of Drac around than they'd expected - but try to read them as if you also don't know what he is yet. The "news clipping" about the Ghost-ship's arrival from Transylvania, for example, is still chilling - and the final chase scene, in which the friends lose one of their own, still packs an emotional and adrenaline punch.

If, by want or necessity, you need to listen to Bram Stoker's classic tale then this is, without question, the best version to purchase. While there are numerous other offerings of the nefarious Count (and as a Dracula aficionado I have heard many of them) none, in my opinion, come close to Brilliant Audio's production. The use of multiple professional voice actors is the key. While most audio readings are done with one person reading all the parts, male as well as female, Brilliance employed numerous actors and cast them exceptionally well. Sheila Hart's portrayal of Mina is particularly good. This is a performance - not just a verbatim reading. I have enjoyed this audio book more times than I care to mention, and never grow tired of it. I whole-heartedly recommend it to you, good reader.

Everything I've read in the Norton Critical Editions is always very good. It of course includes the text of the work, usually complete (Herodotus was an exception). But most useful is a selection of critical opinion over time so that the reader is able to compare his own evaluation with that of others. And it is amazing what a non-professional (like me, in the field of literature) misses and how professional critics can deepen understanding. But read the novel first, and then the critics.