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Description
Young lawyer Jonathan Harker journeys to Transylvania to meet with the mysterious Count Dracula only to discover that his nobleman client is a vampire who is thirsty for new blood. After imprisoning Harker in his castle, Dracula travels to England to seduce Jonathan’s fiancée, Mina, and the battle against an ineffable evil begins.Led by philosopher and metaphysician Professor Van Helsing—Dracula’s most indomitable adversary—Harker, Mina, and a band of allies unite, determined to confront and destroy the Count before he can escape.Bram Stoker ingeniously modernized gothic folklore by moving his vampire from traditional castle ruins to modern England. With Dracula, which has been interpreted and dissected by scholars for generations, Stoker changed the vampire novel forever.Revised edition: Previously published as Dracula, this edition of Dracula (AmazonClassics Edition) includes editorial revisions. Read more
Publication date : July 25, 2017
Language : English
File size : 993 KB
Text-to-Speech : Enabled
Screen Reader : Supported
Enhanced typesetting : Enabled
X-Ray : Enabled
Word Wise : Enabled
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Top Amazon Reviews
The Oxford World's Classics DRACULA edited by Roger Luckhurst has the best introduction and the best notes to DRACULA I've ever seen. It outclasses THE ESSENTIAL DRACULA, whose notes push the reader around one way or another. It explains more and it also, wisely, keeps quiet more, letting the book weave its own spell. The introduction shows how DRACULA is a wonderful mix of almost every kind of evil the Victorian English could think of. The vampire has evil features from anti-Catholic prejudice, from anti-Semitic prejudice, from prejudice against Islam, Middle Europe, the unscientific past -- about the only un-English thing that gets a good word is garlic. As the introducer points out, Dracula is in part based on the "real" Dracula, Vlad the Impaler, but is also based on so many other evil rulers and monsters, real and fictional, that no single source for our monster can be cited or believed in. In other words, Stoker got together a lot of reference works and then made Dracula up, and what a stunning, wonderful job he did. The Luckhurst Oxford World Classics edition is available on Kindle for a small price that's well worth its wonderful notes and analysis. Amazon, in its curiously mysterious way, will not show you the book if you just type in DRACULA. You have to type in something like DRACULA OXFORD instead, and I very much suggest you do that. Doing without notes of one kind or another seems out of the question to me. There are passages in a messed-up seaside-town dialect Stoker made up from a reference book, and I contend NO ONE can read these passages without notes. Luckhurst also fits all the superstitions together, to the degree that Stoker lets him, and I think you need that kind of help too. As for Stoker's DRACULA itself, it came across to me in this reading better than it ever had before. I'd read it two or three times in the past, but I'd been overexposed to NOSFERATU and the Lugosi movie, so I misremembered the book, made it cruder in my recollection than it actually was. Two main points I had forgotten (I'm afraid deep DRACULA readers won't think much of me after these admissions -- and watch out, because some of them are mild S-P-O-I-L-E-R-S): 1) Jonathan Harker, Dracula's helpless victim throughout the first fifth of the book, not only survives but gets a pat on the back for his manliness from the rest of the novel's many heroes. That was a relief, and unified the book for me. You can't keep a good man down. 2) Renfield, the crazy guy who eats flies and spiders, is a good reasoner from a high social class (Luckhurst's annotations make this quite clear, and the way Renfield talks tells the reader the same thing). In movie versions, he's creepy and that's about it. In the novel, he's a philosopher, and some of the most important points about vampire philosophy in general come to us from him. Put these two things together, and the book comes out more intelligent than I remembered, and less pure senseless horror. As pure senseless horror it's just a bit silly. The intelligence and strength of Harker and Renfield save it from that silliness. Lots of people who don't like the book point out that the opening section, where Harker and Dracula face off against one another, is as horrifying as anybody who likes nineteenth century thrillers could possibly want ... but then the book seems to go soft suddenly, focusing on a shallow woman and seeming, for quite a while, like a dull romance novel. Luckhurst's notes, again, helped me get over this impression of slowdown. The nature of manliness and womanliness is tremendously important to Stoker's world-view. As Luckhurst points out, all the novel's manly men break down at one point or another, and are braced up by their need to care for weak, helpless women. All the clichés about masculinity and femininity are dragged out -- and all of them are subverted in the most interesting, and horrifying, possible way. Mina, for example, is a strong, capable woman. Furthermore, she's practically indispensable to the vampire-hunt. The tough doctor, Seward, keeps a diary on phonograph cylinders. He's totally up-to-date, but he forgets even to write a summary of what the cylinders are about, so he can't find anything he told his recorded diary! All he can do is paw helplessly through a drawer full of phonograph cylinders. Mina types them up for him, so that at last the good guys can start tracking Dracula down. But the good guys' decision to keep her out of the rest of their activities, and inform her of nothing as they start sharpening their stakes, makes her immediately fall into Dracula's clutches. In other words, if only they trusted women more, their women wouldn't get hurt so much. Stranger than Dracula himself. But the book has lots of this kind of strangeness. We find out what vampires are bit by bit and bite by bite, but when we're all done, strangely enough, we still don't know what we've really been dealing with: a middle-European monster, or our own monstrous views of how life should go. I never had more fun than with this DRACULA.
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Reviewed in the United States on December 15, 2013 by James M. Rawley
I don't know why Amazon has taken this off the listing. This is a very good edition of Dracula. Gorgeous binding, with red gilded pages. It's a beautiful book of a wonderful classic and I hope they realize they made a mistake in removing the listing soon. I bought mine on a few weeks ago and there were NO flaws! After having read the horrible Dracula The Undead by Dacre Stoker and my own mind and soul rebelling against the sparkling angsty fad that is Twilight I have decided to reacquaint myself with a true king of the night. I was not disappointed. This novel is an Epistolary novel. Epistolary style is an artful attempt at realism by making a novel consist entirely of detailed journal entries, letters and fake newspaper clippings. This was a popular style in Victorian England with authors like Robert Louis Stevenson and Bram Stoker. In general if I am reading Victorian literature I usually prefer a straight forward narrative like Charles Dickens, Victor Hugo or Oscar Wilde. People take for granted just how scary Dracula can be simply because our culture is over saturated with almost cartoonish caricatures of him. The poor guy can't even introduce himself with a Romanian accent without us wanting to giggle because of what we associate with him but let's forget the cliches and modern over-saturation for a bit and think of Dracula for who and what he is. Dracula is a pretty scary guy. He does what he likes and to Hell with the consequences. When he talks to Jonathan Harker it's civil but there's the under-current of menace. It's almost like listening to the double talk of a crime boss from The God Father. His wording seems cordial when he tells Harker that he wants him to stay for at least a month to improve his English (even though he already speaks nearly perfect English) but what he's really saying (and what Jonathan is detecting) is 'I'm not letting you leave here. I am going to make you lie to your loved ones about why and there's a very high chance I'm going to kill you.' Dracula has incredible powers and yet, apparently for the fun of it, he climbs along the walls of his castle, up and down, like a spider. Why does he do this? He does not have to do it. Dracula can turn into mist or a bat or a wolf but apparently it amuses himself to scale a wall with the ominous quality of lizard-like motions as if on an unconscious levels he wants to prove how NOT human he is. On his way to England Dracula kills the entire crew of the Demetre. He slaughters them one by one. He can walk about in day (though it leaves him weakened and limited in his powers). He does NOT sparkle. He can turn into a bat, a wolf, or a foul vapor. He can also conjure winds and terrible torrential storms. He's strong as at least ten men and can defy gravity. He has the senses of a wolf and he can move like an animal and can be just as savage. He can enthrall minds and make you forget what he wills you to forget. The films always make it seem like Dracula has a LOT of limitations but if you don't have some garlic, wolfsbane, or sacred object in immediate reach you are utterly helpless! I think reacquainting myself with Dracula was my own mind's way of rebelling against the Twilight fad to remind myself of when vampires were both dangerous, terrifying and sensual at the same time. You can be charming and suave and still pretty damn scary. Stephenie Meyers and a lot of modern writers seem to forget this. I can recall once watching a documentary on the History channel some years ago about the real Dracula castle (I believe it was Bran Castle) and what happened was the villagers complained of strange noises up at the castle so they sent some priests to bless the place (much like in the Hammer horror film Dracula has Risen from the Grave) but as they neared the castle a terrible storm hit and they had to do the blessing from over a thousand feet away. At that moment the door to my apartment creaked open and, though I had not realized I before, I knew, at that very moment, that Dracula was probably the most terrifying fictional monster in existence. Dracula is the only classic monster that can give me nightmares. So if you're into vampires and miss the good old days when they were both seductive AND scary or just feel burnt out from Twilight I strongly, strongly recommend this classic.
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Reviewed in the United States on December 12, 2011 by Amanda Pike