85 books like Vampyres

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.

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.

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.”

Before you can understand contemporary manifestations of zombies and vampires in shows like The Walking Dead or The Strain, it helps to know the long and varied cultural history of these monsters. Gregory Waller explores how each generation imagined and interpreted zombies and vampires, both in print and on-screen. How do they speak to our fears and prejudices, or even desires? I found it very helpful in writing Planet Auschwitz.

I must admit this book appealed to me first because it was co-written by the great-grand-nephew of Bram Stoker. I also loved that a young Bram Stoker was a main character. I won’t offer any spoilers but it’s a fascinating tale about how Stoker was inspired to write his book, Dracula. If you’re looking for a horror tale, this book supplies plenty of terror and like most books that feature Dracula as a character, you will find yourself in locations all over Europe. This book offers yet another fine example of the enduring spell Count Dracula casts on our imaginations.

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.

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.

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 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.

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.