Here are 100 books that The Living and the Undead fans have personally recommended if you like
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I have written more than 20 non-fiction books on a wide range of topics. I was trained as a chemist and physicist, and as both an author and a journalist I am mostly concerned with the sciences and how they interact with the broader culture – with the arts, politics, philosophy, and society. Sometimes that interest takes me further afield, and in my new book The Modern Myths, I present a detailed look at seven tales that have taken on the genuine stature of myth, being retold again and again as vehicles for the fears, dreams, and anxieties of the modern age. Ranging from Robinson Crusoe to Batman, this list also inevitably includes Bram Stoker’s classic Dracula – leading him to examine how we have used the legend of the vampire in the past and present.
Nick is a professor of English at the University of Exeter in the UK – but he is better known as the “Prof. of Goth”, being interested in all things Gothic. He is an example of the generation of humanities scholars who have broken down traditional boundaries between “high” and “low” culture, having written on topics ranging from Shakespeare to J. R. R. Tolkien and Nick Cave. Nick’s book on vampires is a comprehensive history that traces the evolution of these creatures from feral beasts of folklore to the aristocratic Dracula and his screen portrayals from Bela Lugosi to Christopher Lee. His book leaves no doubt that, whatever else vampires might be, they are an important cultural phenomenon.
An authoritative new history of the vampire, two hundred years after it first appeared on the literary scene
Published to mark the bicentenary of John Polidori's publication of The Vampyre, Nick Groom's detailed new account illuminates the complex history of the iconic creature. The vampire first came to public prominence in the early eighteenth century, when Enlightenment science collided with Eastern European folklore and apparently verified outbreaks of vampirism, capturing the attention of medical researchers, political commentators, social theorists, theologians, and philosophers. Groom accordingly traces the vampire from its role as a monster embodying humankind's fears, to that of an…
I’ve always loved horror stories. At the age of 7 or 8, I’d be reading The Pan Book Of Horror Stories or Aidan Chambers’ Haunted Houses by flashlight with the bed sheets pulled over my head (not because I should have been asleep, but to guard against vampires creeping up on me!) I always found these stories strangely comforting, a world of adventure into which a shy kid like me could retreat. Ghosts and monsters became part of my cultural DNA, constant companions through life. That’s why I write horror today, to make my own tiny contribution to the genre, which has given me so much.
If you’re interested in the literary roots of vampires, and Dracula in particular, I’d heartily recommend this nonfiction title. It delves into the origins of characters like the Count in earlier 19th-century texts and examines how and why Dracula became such a long-lasting cultural influence. It’s also very good on Bram Stoker’s life and less famous works.
Christopher Frayling has spent 45 years exploring the history of one of the most enduring figures in the history of mass culture - the vampire. Vampyres is a comprehensive and generously illustrated history and anthology of vampires in literature, from the folklore of Eastern Europe to the Romantics and beyond. Frayling recounts the most significant moments in gothic history, while extracts from a huge range of sources - including Bram Stoker's detailed research notes for Dracula, penny dreadfuls and Angela Carter's The Bloody Chamber , new to this edition - are contextualized and analysed. This revised and expanded edition brings…
I have written more than 20 non-fiction books on a wide range of topics. I was trained as a chemist and physicist, and as both an author and a journalist I am mostly concerned with the sciences and how they interact with the broader culture – with the arts, politics, philosophy, and society. Sometimes that interest takes me further afield, and in my new book The Modern Myths, I present a detailed look at seven tales that have taken on the genuine stature of myth, being retold again and again as vehicles for the fears, dreams, and anxieties of the modern age. Ranging from Robinson Crusoe to Batman, this list also inevitably includes Bram Stoker’s classic Dracula – leading him to examine how we have used the legend of the vampire in the past and present.
Auerbach’s book takes the vampire story into more contemporary territory and, some might say, into more treacherous waters. Although beginning again with Polidori, she follows the evolution of the vampire tale through to Stephen King’s Salem’s Lot, Anne Rice’s Vampire Chronicles, and Tony Scott’s 1983 film The Hunger (starring an elegantly wasted David Bowie). She shows how homoeroticism has been a part of the vampire narrative since its nineteenth-century inception, notably with Sheridan Le Fanu’s 1872 novella Carmilla, and how readily the narrative lent itself as an allegory of the 1980s AIDS epidemic. I don’t agree with all of Auerbach’s interpretations, but she has some zinging one-liners.
Nina Auerbach shows how every age embraces the vampire it needs, and gets the vampire it deserves. Working with a wide range of texts, as well as movies and television, Auerbach locates vampires at the heart of our national experience and uses them as a lens for viewing the last two hundred years of Anglo-American cultural history.
"[Auerbach] has seen more Hammer movies than I (or the monsters) have had steaming hot diners, encountered more bloodsuckers than you could shake a stick at, even a pair of crossed sticks, such as might deter a very sophisticated ogre, a hick from…
I have written more than 20 non-fiction books on a wide range of topics. I was trained as a chemist and physicist, and as both an author and a journalist I am mostly concerned with the sciences and how they interact with the broader culture – with the arts, politics, philosophy, and society. Sometimes that interest takes me further afield, and in my new book The Modern Myths, I present a detailed look at seven tales that have taken on the genuine stature of myth, being retold again and again as vehicles for the fears, dreams, and anxieties of the modern age. Ranging from Robinson Crusoe to Batman, this list also inevitably includes Bram Stoker’s classic Dracula – leading him to examine how we have used the legend of the vampire in the past and present.
Although this book focuses on just the most famous vampire narrative of all, you don’t need to look far into Dracula to find universal vampire themes: sexuality, paranoia, misogyny, xenophobia, psychoanalysis, and the sacred power of blood. This collection of essays also sets Stoker’s tale within the wider context of the Victorian vampire boom, and looks at what became of his tale on stage and screen. It shows how Stoker was tapping into richer, deeper seams than even he realised, making Dracula “one of the most obsessional texts of all time, a black hole of the imagination”, in horror expert David Skal’s words. “The most frightening thing about Dracula’, says Skal, “is the strong probability that it meant far less to Bram Stoker than it has come to mean for us.”
Bram Stoker's Dracula is the most famous vampire in literature and film. This new collection of sixteen essays brings together a range of internationally renowned scholars to provide a series of pathways through this celebrated Gothic novel and its innumerable adaptations and translations. The volume illuminates the novel's various pre-histories, critical contexts and subsequent cultural transformations. Chapters explore literary history, Gothic revival scholarship, folklore, anthropology, psychology, sexology, philosophy, occultism, cultural history, critical race theory, theatre and film history, and the place of the vampire in Europe and beyond. These studies provide an accessible guide of cutting-edge scholarship to one of…
I’m a historian, with a special interest in the 20th century. I’ve written about Freud’s Vienna, the aftermath of the First World War, strikes in the 1920s and 1930s in America’s cotton South, the plot to assassinate Hitler, and the notorious 1940s gangsters nicknamed “Murder, Inc.”. What intrigues me about the 20th century are the era’s underlying values and the shocking and violent collisions among them. In Casablanca’s Conscience, I use the great film as a lens with which to take another look at the tumultuous times just a generation ago.
Kracauer was a German film critic in the Weimar years. This classic text, first published in 1947, relates the crisis of German culture in the 1920s and 1930s–which climaxed in Hitler and Nazism–to famous Weimar films, like The Cabinet of Dr. Caligari, and M. Kracauer’s effort to track Germany’s cultural zeitgeist in the movies. This relation is not without controversy.
His book remains a fine example of the struggle to see mass psychology in the movies and the movies in the context of mass psychology.
An essential work of the cinematic history of the Weimar Republic by a leading figure of film criticism
First published in 1947, From Caligari to Hitler remains an undisputed landmark study of the rich cinematic history of the Weimar Republic. Prominent film critic Siegfried Kracauer examines German society from 1921 to 1933, in light of such movies as The Cabinet of Dr. Caligari, M, Metropolis, and The Blue Angel. He explores the connections among film aesthetics, the prevailing psychological state of Germans in the Weimar era, and the evolving social and political reality of the time. Kracauer makes a startling…
I am a historian of twentieth century Germany and the Holocaust, but I am also a voracious consumer of popular culture. How do I justify spending so much time watching and analyzing horror and science fiction film and television? Well, write a book about it, of course. The first thing I realized is that many other brilliant scholars have thought about why this imagery permeates contemporary culture, even if I asked different questions about why. I hope you are as inspired and enlightened by this book list as I was.
Eric Kurlander is a brilliant historian of modern Germany who finally treats this topic with the seriousness it deserves. Lots of charlatans and amateurs on the History Channel love to speculate about the Nazis and the occult, but Kurlander brings a historian’s rigor to the subject and reveals a complex relationship between the supernatural and the Nazi worldview. Among his findings is that key Nazi figures used the vast propaganda machinery, including film, to depict its “racial enemies” as monstrous. Kurlander also breaks down absurd beliefs like World Ice Theory and determines the truth behind Hitler’s fascination with the “Spear of Destiny.”
The definitive history of the supernatural in Nazi Germany-the occult ideas, esoteric sciences, and pagan religions touted by the Third Reich in the service of power
"[Kurlander] shows how swiftly irrational ideas can take hold, even in an age before social media."-Michael Dirda, The Washington Post
"A careful, clear-headed, and exhaustive examination of a subject so lurid that it has probably scared away some of the serious research it merits."-National Review
The Nazi fascination with the occult is legendary, yet today it is often dismissed as Himmler's personal obsession or wildly overstated for its novelty. Preposterous though it was, however,…
I am a historian of twentieth century Germany and the Holocaust, but I am also a voracious consumer of popular culture. How do I justify spending so much time watching and analyzing horror and science fiction film and television? Well, write a book about it, of course. The first thing I realized is that many other brilliant scholars have thought about why this imagery permeates contemporary culture, even if I asked different questions about why. I hope you are as inspired and enlightened by this book list as I was.
How do nations process a trauma like Auschwitz, the Vietnam War, 9/11, or Hiroshima and Nagasaki? Linnie Blake argues in The Wounds of Nationsthat the horror genre provides a medium through which nations can process recent historical traumas “from a distance.” Examining horror films produced in Germany, the US, Japan, and others countries with a vested interest in burying violent history can tell us a great deal about national identity formation in the wake of war, terrorism, and seismic political changes.
The wounds of nations: Horror cinema, historical trauma and national identity explores the ways in which the unashamedly disturbing conventions of international horror cinema allow audiences to engage with the traumatic legacy of the recent past in a manner that has serious implications for the ways in which we conceive of ourselves both as gendered individuals and as members of a particular nation-state.
Exploring a wide range of stylistically distinctive and generically diverse film texts, its analysis ranges from the body horror of the American 1970s to the avant-garde proclivities of German Reunification horror, from the vengeful supernaturalism of recent…
I am a historian of twentieth century Germany and the Holocaust, but I am also a voracious consumer of popular culture. How do I justify spending so much time watching and analyzing horror and science fiction film and television? Well, write a book about it, of course. The first thing I realized is that many other brilliant scholars have thought about why this imagery permeates contemporary culture, even if I asked different questions about why. I hope you are as inspired and enlightened by this book list as I was.
The great film scholar Stephen Prince brings together over a dozen experts on the horror genre, contributing chapters on everything from the silent film era to postmodernism, the military horror film, and the Holocaust. The book is a must for anyone who wants to look beyond the screams and gore and understand why the genre speaks to us on more than just a visceral level.
Here, Stephen Prince has collected essays reviewing the history of the horror film and the psychological reasons for its persistent appeal, as well as discussions of the developmental responses of children and young adult viewers to the genre. The book focuses on recent post-modern examples such as ""The Blair Witch Project"". Controversially, the book also includes a discussion of Holocaust films in relation to horror. Part One features essays on the silent and classical Hollywood eras. Part Two focuses on the post World War II era and examines the historical, aesthetic and psychological characteristics of contemporary horror films. In contrast…
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.
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, Draculais 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 Draculanovel—but failed in the end. Highly recommended reading for all who are interested in the question of how Draculabecame so popular all over the world.
The primal image of the black-caped vampire Dracula has become an indelible fixture of the modern imagination. It's recognition factor rivals, in its own perverse way, the familiarity of Santa Claus. Most of us can recite without prompting the salient characteristics of the vampire: sleeping by day in its coffin, rising at dusk to feed on the blood of the living; the ability to shapeshift into a bat, wolf, or mist; a mortal vulnerability to a wooden stake through the heart or a shaft of sunlight. In this critically acclaimed excursion through the life of a cultural icon, David Skal…
Growing up in Chicago, I’ve always had a fascination for history, (even if it was sometimes a bit gory!), from Capone and the St. Valentine’s Day Massacre to reading about monsters and the unique worlds created by favorite author Stephen King. So, it’s probably not too surprising that I combined both interests and offered a new solution to the infamous Lizzie Borden axe murders of 1892 in my own book series. I enjoy reading, and writing, the serious to the not-so-serious, often incorporating touches of humor, or at least the absurd, where and whenever I can.
While there are better-known vampire novels from the classic Dracula by Bram Stoker, to Anne Rice’s Vampire Chronicles, this was a story that mesmerized me with a perfect combination of history, music, and vampires. In this story of one vampire’s unquenchable desire to possess a particular violin, I found the supernatural elements and historic details as riveting as the haunting music this priceless violin is said to make.
After centuries of life, the Vampire has just two passions left: blood and music. The blood of innocents is plentiful and easily attained—it is his other passion that torments him. Many years ago he owned and lost a violin that sang with the voice of the angels. Now this unearthly monster will do anything to press the instrument once more against his neck.
As it summons a hellish creature of the night
Maggie O’Hara was a talented if unremarkable violinist—until the day her grandfather gives her a violin he had brought home from World…
