83 books like Dracul

Older than the rest and still one of the best, Dracula was my introduction to the epistolary format. My eleven-year-old self was pleasantly surprised when the diaries and letters never gave way to straight narration. Reading the book gave me the chance to see how much detail was left out of the various movie adaptations.

After a slow start with Harker’s travelogue, the book unleashed some gruesome and haunting imagery. I thought Renfield’s scenes were especially chilling. I can’t wait to check out the complete, uncut version of the novel, released in Sweden as Powers of Darkness, to see what other creepiness Stoker originally planned for his readers.

The whole storyline is unique.

It’s not a typical paranormal romance, it’s a vampire book without it. It’s well written, and I love how the author takes the reader on a journey around the world not based in one location.

There is suspense but with a historical factor driving it and that’s what makes it such a unique book.

I definitely recommend this book for the audience who is steering away from the paranormal romance tropes and wants to sit down to read a unique book. 

This Icelandic Dracula remained hidden from the world-at-large as merely a translation of the original for more than a century before Hans Corneel de Roos translated the Icelandic back into English. What he discovered is that Asmundsson took the liberty of making Dracula his own book. A Nordic spin on the vampire is reason enough to discover this interesting take on Stoker’s Dracula. Two-thirds of the book takes place at the Count’s castle in Transylvania where the notorious vampire is given much more depth and voice. Nordic lore spices this story up as well as a very seductive vampiress. The book is also much shorter than Stoker’s, which makes it an easy read.

I love that this book is set in an alternative Victorian-era Britain where vampires are citizens rubbing shoulders with humankind. At the heart of the book is the Jack the Ripper mystery with vampire, rather than human, prostitutes.

The crimes are investigated by Charles Beauregard, assisted by one of Newman’s original creations – a 400-year-old female vampire, Geneviève Dieudonné.

Along the way, the pair encounter other monsters – with humans as monstrous as the undead – as well as popular 19th-century literary figures and political events like the growth of communism/socialism.

I loved the main characters and unique mystery but also the fascinating cast Newman spiced and seasoned the story with – figures taken from the literature of Conan Doyle, Bram Stoker, and Alexander Dumas among others.

Frayling’s book is very much a forerunner of Groom’s, being one of the first serious (but also immensely readable) studies of the vampire in culture. This one keeps its sights trained more on the nineteenth-century vampire. It begins with The Vampyre, the story written by John Polidori at the Villa Diodati at the same infamous gathering that spawned Marty Shelley’s Frankenstein. Polidori was Lord Byron’s physician, but the two men fell out badly, and Polidori’s aristocratic bloodsucker Lord Ruthven is widely regarded as modeled on Byron. Although now little remembered, The Vampyre began the Victorian craze for vampires that culminated in Bram Stoker’s Dracula. Frayling is the perfect guide, being not only a cultural historian of wide learning but also a splendid communicator.

Leslie Klinger’s annotated version of Dracula is one of the most recent editions, and it surely is the most entertaining one, suitable for readers who are no Dracula experts (yet). Some of his comments build on the (purely fictional) assumption that the Count himself had his hand in editing Stoker’s text. In a single instance, when it comes to the historical Dracula family, Klinger drops the ball, but he makes a unique contribution to Dracula Studies by comparing Dracula’s final text with that of Stoker’s typescript, found in a barn in Pennsylvania in the 1980s. His attention to geographical details greatly inspired my own research into this matter. The book comes with a number of illustrations and helpful appendixes.

This book has engendered controversy for almost forcefully bridging the gap between the 15th Century Wallachian Prince Vlad III or Vlad the Impaler or Dracula. Stoker had already constructed his character, called “Count Wampyr,” before he learned of his future namesake. However, he quite clearly establishes a connection between the two through an explanation provided by Abraham Van Helsing. The Dracula of the eponymous novel is a heavily fictionalized version of the real-life figure, but so are most similarly positioned characters in literature, film, and television. Florescu and McNally provide a cursory overview of Slavic and Balkan vampire folklore, a biographical sketch of Vlad the Impaler, and illuminate the process by which Stoker adapted this violent, cunning, and sometimes brilliant nationalist and military tactician into a fictional monster.

This book is key to understanding the “transmediation” of Dracula: the metamorphosis of Stoker’s story by adapting it for new media, such as theatrical and movie versions. As Bram Stoker died in 1911, his widow Florence played a key role in negotiating the rights for such modifications, and fighting the pirated screen version of Nosferatu created in Germany by Prana Film. As David Skal put it, Dracula is very much a story about control, and the subsequent developments show how Bram and then Florence tried to keep the lid on the unauthorized dissemination and adaptation of the Dracula novel—but failed in the end. Highly recommended reading for all who are interested in the question of how Dracula became so popular all over the world.

A man is sent to visit a mysterious count in his secluded mountaintop fortress, where a diabolical plot unfolds, involving an attack on England using his Angels of Death, women under his hypnotic command. The man finds himself slowly becoming a prisoner, leading to his planning an escape and a race to stop the Count’s plot from unfolding.

Sound familiar? It is, essentially, the plot of Dracula. It is also the plot of Ian Fleming’s On Her Majesty’s Secret Service, the tenth James Bond novel. If Count Dracula is the king of vampires, then James Bond is inarguably the king of spies.

Another Detroiter like myself, Estleman, is known for both great westerns and a number of hard-boiled mystery series that are all good, but he did this one early in his career, and the immaculate execution and thorough research showcase this book.

Dracula is moving on London, but Holmes is moving behind the scenes to support Van Helsing’s defense of London, and it makes all the difference!