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In Search of Dracula.
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From an early age, I have been fascinated with anything supernatural and occult. My Aunt would read my palm, and then, as a teenager, I would visit clairvoyants to see what the future held for me. As I grew older, I found I had an ability, a gift of seership, and after reading many books, embarked on my pagan journey, from which I have never looked back, and am now studying Druidry,which is very much nature-based. I hope you love the books on this list as much as I do!
I read this book at the tender age of ten and instantly became ever so slightly obsessed with vampires; I love how the atmosphere builds slowly, sucking me to the point that I am genuinely afraid that the wolves might attack.
The description of the locations and the journal and letter writing are wonderful story breakers, and what a uniquely wonderful story it is. For me, it is a timeless masterpiece.
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What is this book about?
'The very best story of diablerie which I have read for many years' Arthur Conan Doyle
A masterpiece of the horror genre, Dracula also probes identity, sanity and the dark corners of Victorian sexuality and desire. It begins when Jonathan Harker visits Transylvania to help Count Dracula purchase a London house, and makes horrifying discoveries in his client's castle. Soon afterwards, disturbing incidents unfold in England - an unmanned ship is wrecked; strange puncture marks appear on a young woman's neck; a lunatic asylum inmate raves about the imminent arrival of his 'Master' - and a determined group of adversaries…
I started my professional writing career in 1987 having founded the small press writers’ magazine, Quartos, which ran for nine years until its merger with Acclaim in 1996 to become The New Writer, as well as authoring several creative writing how-to books – including Horror Upon Horror. In addition to acting as judge for national writing competitions, I've also tutored at writers’ workshops including The Annual Writers’ Conference (Winchester College), The Summer School (University of Wales), Horncastle College (Lincolnshire), and the Cheltenham Literature Festival. Having been a staunch supporter of the Gothic Society and a regular contributor to its quarterly magazine, Udolpho, I have also created the series of The Vampyre’s Tale novels.
As contemporary Gothic author and artist Franklin Bishop observe, John Polidori ‘was responsible for introducing into English fiction the enduring image of the vampyre in the guise of a suave, cynical, and murderous English Lord. With the presentation of Lord Ruthven [Byron] as a vampyre, Polidori created a personification of evil that countless authors have since imitated in attempting to satisfy the enormous public interest in this genre of literature. The literary-metamorphosed vampire that emerged from the Villa Diadoti ‘ghost story’ contest quickly developed a life force of its own – which was not surprising since it was the collective brainchild of Byron and his physician John Polidori – and created a minor literary scandal when it was published in 1818. The Vampyre was based on Lord Byron’s unfinished story "Fragment of a Novel," but it is arguably the most influential vampire work of the early 19th century.
As a queer, nonbinary author and lover of historical fiction, I’ve spent countless hours thinking about how to tell stories I care about in a genre that has traditionally excluded people like me. We all know that life was hard for LGBTQ+ folks growing up in, well, basically any time in recent history. There’s a time and place for realistic depictions of those hardships, but we also need space to imagine ourselves in more joyful, fantastical depictions of the past. After all, if straight people can enjoy Jane Austen without thinking too hard about the legal rights of women during that era, why can’t queer people do the same?
Have you ever read Dracula and thought, “What if the vampire were a lady? An extremely gay lady?” That’s Carmilla in a nutshell!
The story actually predates Bram Stoker’s tale by several years, making it a neat little literary artifact on its own, but this isn’t some dry historical text. It is, in fact, super heckin’ horny, to the point that I would strongly advise against listening to the audiobook with, say, your parents or other unsuspecting cishets in the room. It’s gonna get awkward.
It’s also fairly short, making for an easy, steamy bedtime read for anyone who’d like to imagine themself as a waifish little lass ravaged nightly by your lesbian vampire BFF.
In an isolated castle deep in the Austrian forest, Laura leads a solitary life with only her ailing father for company. Until one moonlit night, a horse-drawn carriage crashes into view, carrying an unexpected guest - the beautiful Carmilla.
So begins a feverish friendship between Laura and her mysterious, entrancing companion. But as Carmilla becomes increasingly strange and volatile, prone to eerie nocturnal wanderings, Laura finds herself tormented by nightmares and growing weaker by the day...
Pre-dating Dracula by twenty-six years, Carmilla is the original vampire story, steeped in sexual tension and gothic romance.
I started my professional writing career in 1987 having founded the small press writers’ magazine, Quartos, which ran for nine years until its merger with Acclaim in 1996 to become The New Writer, as well as authoring several creative writing how-to books – including Horror Upon Horror. In addition to acting as judge for national writing competitions, I've also tutored at writers’ workshops including The Annual Writers’ Conference (Winchester College), The Summer School (University of Wales), Horncastle College (Lincolnshire), and the Cheltenham Literature Festival. Having been a staunch supporter of the Gothic Society and a regular contributor to its quarterly magazine, Udolpho, I have also created the series of The Vampyre’s Tale novels.
Another sultry beauty worthy of note is Barbara, Count Kotor’s vampire daughter in The Vampires of Alfama, and an even more alarming creature. A "magnificent gossamer blonde," she is highly intelligent, coldly calculating and we know that even when under attack by the Inquisition that she will survive. The most erotic scenes in the book belong to Barbara and we are left with no doubt that she uses her body and mind to ensnare her willing victims. Kast has created a vampire being with life in its veins, set against a backdrop of terror-inspired medievalism that would endure for centuries ."Her special gift, which she had received as her share, was the strength of magnetic and hypnotic suggestion, a subject of endless discussions with her father... On several occasions, Barbara used her power to suck the blood of boys and girls who were more victims than accomplices. When Kotor…
I started my professional writing career in 1987 having founded the small press writers’ magazine, Quartos, which ran for nine years until its merger with Acclaim in 1996 to become The New Writer, as well as authoring several creative writing how-to books – including Horror Upon Horror. In addition to acting as judge for national writing competitions, I've also tutored at writers’ workshops including The Annual Writers’ Conference (Winchester College), The Summer School (University of Wales), Horncastle College (Lincolnshire), and the Cheltenham Literature Festival. Having been a staunch supporter of the Gothic Society and a regular contributor to its quarterly magazine, Udolpho, I have also created the series of The Vampyre’s Tale novels.
Simon Raven had a marked fascination for the supernatural that first manifested in an early novel Doctors Wear Scarlet, which was cited by Karl Edward Wagner (himself an award-winning American writer, poet, editor and publisher of horror and writer of numerous dark fantasy and horror stories), as one of the thirteen best supernatural novels. The story is set against Raven’s customary background of academia and University life and has a distinctly macabre and spine-chilling theme. It starts harmlessly enough with a young man’s infatuation for a beautiful Greek girl, but Chriseis is no ordinary holiday love affair; three friends track down their missing companion across the Aegean, where it becomes increasingly obvious that their relationship is strange to say the least. Despite dispatching Chriseis in the remote mountains of Crete and not without cost to themselves, the missing scholar is returned to his University – but the curse of…
Richard Fountain, a promising young Cambridge scholar, went to the island of Crete to study ancient rites and pagan rituals before suddenly and inexplicably breaking off all contact with the outside world. Disturbing rumors have filtered their way back to England, whisperings of blasphemous rituals and obscene orgies, hints of terrible crimes and wanton murder . . .
Three of Richard’s friends travel to Greece to find him and bring him back. Following a grim progression of ominous clues, they will arrive at last at an abandoned fortress high in the wild and desolate White Mountains, where they will discover…
I am a comic book writer, novelist, and vampire aficionado. I always want to learn the truth of a matter. I’ve moved in and out of the gothic subculture for years and spent time with members of the vampire subculture. I’ve found that most people’s understanding of vampires (and really, everything) is influenced by fiction. Even if you point out that their beliefs are only as accurate as a movie, they will still argue for them. As much as I love a good vampire movie, I want to shatter illusions and explore the myths and folklore that reflect our human experience in all of its horror and glory.
Whereas Barber expounds upon the anthropological origins of the vampire myth, McClelland focuses on the practices, principles, and logistics of killing the dead. The most familiar form comes in the unearthing and mutilation of bodies. McClelland explains the whys and wherefores of that practice, but he also gives their killers more than their due, explaining the role of vampire slayers as shamans, village elders, and quasi-religious figures during Europe’s transition from its pagan roots to modern Christianity. He demonstrates that vampires fell into an uneasy space between a fading system of peasant folklore and the organized religious rituals and beliefs that ultimately took their place. There are no vampires in the Bible, so where was the church during the vampire hysteria of the 1800s and how did they regard these mythical creatures? McClelland answers that and more. He also includes an overview of our modern conception of vampire slayers from…
In contemporary Western popular culture, the vampire has evolved into one of the most recognizable symbols of evil. Yet, less has been said - and even less has been understood - about its nemesis, the vampire slayer. ""Slayers and Their Vampires"" is the first work to explore how the vampire slayer began, and it goes further to ask why the true history of the vampire slayer has been so long ignored. Author Bruce McClelland describes how the literary and screen dramas obscured the darker nature of the slayer, whose persecution of a corpse is accepted as heroic rather than corrupt.…
I’m a scientist, engineer, and writer who has written on a wide range of topics. I’ve been fascinated by mythology my entire life, and I spent over a decade gathering background material on the myth of Perseus and Medusa, and came away with a new angle on the origin and meaning of the myth and what inspired it. I was unable to present this in a brief letter or article, and so decided to turn my arguments into a book.
The book is still in print, and has been cited numerous times by scholarly journals and books. It formed the basis for the History Channel series Clash of the Gods (in which I appear).
The figure of the vampire has become very familiar through portrayals in literature, stage, and cinema, but where does the myth itself originate?
Many have speculated on the roots of the vampire legend, ascribing it to various diseases, like porphyriaor rabies. But Barber stripped away the cultural additions imposed on the legend by its fictional interpretation and looked for origins consistent with the bare, original legend.
A nice piece of folkloric detective work, and one that influenced my own book.
In this engrossing book, Paul Barber surveys centuries of folklore about vampires and offers the first scientific explanation for the origins of the vampire legends. From the tale of a sixteenth-century shoemaker from Breslau whose ghost terrorized everyone in the city, to the testimony of a doctor who presided over the exhumation and dissection of a graveyard full of Serbian vampires, his book is fascinating reading.
"This study's comprehensiveness and the author's bone-dry wit make this compelling reading, not just for folklorists, but for anyone interested in a time when the dead wouldn't stay dead."-Booklist
I am a comic book writer, novelist, and vampire aficionado. I always want to learn the truth of a matter. I’ve moved in and out of the gothic subculture for years and spent time with members of the vampire subculture. I’ve found that most people’s understanding of vampires (and really, everything) is influenced by fiction. Even if you point out that their beliefs are only as accurate as a movie, they will still argue for them. As much as I love a good vampire movie, I want to shatter illusions and explore the myths and folklore that reflect our human experience in all of its horror and glory.
There are people out there who think they are (or at least call themselves) vampires. At the extreme end, a handful of violent, deranged individuals believe they are the real article and are entitled to attack the living for sustenance. At the other end are role-players, cosplayers, and fans that are just in it for the fangs and the finery. In the middle, there are a wide range of types and personalities. Some believe they are physically addicted to drinking blood and seek out willing donors. Others find a morbid, sexual thrill in the practice. Still others believe they can, and need to, drain the energy of those around them (Colin Robinson, anyone?).
The subculture is vast, nuanced, and always growing. But what it is more often than not is misunderstood. While many are happy to talk about their practices, others shun attention for fear of being mocked, misunderstood, and…
I’ve always been attracted to the Gothic before I even knew the term. From watching The Munstersas a child to wanting to live in a haunted house and devouring classic Gothic novels like The Mysteries of Udolpho and Dracula, I’ve never been able to get enough of the Gothic. After fully exploring British Gothic in my book The Gothic Wanderer, I discovered the French Gothic tradition, which made me realize how universal the genre is. Everyone can relate to its themes of fear, death, loss, guilt, forgiveness, and redemption. On some level, we are all Gothic wanderers, trying to find meaning in what is too often a nightmarish world.
This novel, published in 1879, is set in Romania at the time of the 1877-8 Russo-Turkish War. It is significant for its setting because it predates Dracula(1897) in being set in Romania (home of Transylvania). Nizet was a twenty-year-old Belgian woman who encountered Romanians in Paris who told her about how Russians had treated them during the war. Nizet created the character of Captain Vampire to represent how Russia acted like a vampire toward the Romanians, even though they were Russia’s allies. Captain Vampire’s behavior is shocking yet fascinating. As a critique of war, the novel is extremely relevant today given Russia’s recent invasion of Ukraine. Personally, I am amazed by how a woman who never saw a battlefield could capture war’s essence so vividly.
Written in 1879 (18 years before Dracula) by 19-year-old Marie Nizet, Captain Vampire, in its method and tone alike, is way ahead of its time. Although its plot has supernatural elements, and its antagonist is manifestly demonic, the novel's true purpose is to bring out the horror of war. A significant work in the history of horror fiction, it is undoubtedly one of the finest literary works ever to have made use of the vampire motif.
I saw Francis Coppola’s movie Bram Stoker’s Dracula in 1992, but studied the novel only after I created a photo story,The Ultimate Dracula(Munich, 2012). Next to the images, my book presented the true location Stoker had in mind for his fictitious Castle Dracula (No, notBram Castle), and the historical person he referred to while speaking about Count Dracula (No, notVlad the Impaler). The next steps were discovering the true locations of Carfax and the Scholomance, unraveling the backgrounds of the Icelandic and Swedish versions of Dracula, and unearthing the first US serialization. I simply love to solve riddles. By now, I am organizing international Draculaconferences.
Leslie Klinger’s annotated version of Draculais one of the most recent editions, and it surely is the most entertaining one, suitable for readers who are no Draculaexperts (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.
In his first work since his best-selling The New Annotated Sherlock Holmes, Leslie S. Klinger returns with this spectacular, lavishly illustrated homage to Bram Stoker's Dracula. With a daring conceit, Klinger accepts Stoker's contention that the Dracula tale is based on historical fact. Traveling through two hundred years of popular culture and myth as well as graveyards and the wilds of Transylvania, Klinger's notes illuminate every aspect of this haunting narrative (including a detailed examination of the original typescript of Dracula, with its shockingly different ending, previously unavailable to scholars). Klinger investigates the many subtexts of the original narrative-from masochistic,…
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