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Dracula

The punctured throat, the coffin lid slowly opening, the unholy shriek as the stake pierces the heart—these are just a few of the chilling images Bram Stoker unleashed upon the world with his 1897 masterpiece, Dracula. Inspired by the folk legend of nosferatu, the undead, Stoker created a timeless tale of gothic horror and romance that has enthralled and terrified readers ever since.

A true masterwork of storytelling, Dracula has transcended generation, language, and culture to become one of the most popular novels ever written. It is a quintessential tale of suspense and horror, boasting one of the most terrifying characters ever born in literature: Count Dracula, a tragic, night-dwelling specter who feeds upon the blood of the living, and whose diabolical passions prey upon the innocent, the helpless, and the beautiful. But Dracula also stands as a bleak allegorical saga of an eternally cursed being whose nocturnal atrocities reflect the dark underside of the supremely moralistic age in which it was originally written — and the corrupt desires that continue to plague the modern human condition.

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Dracula

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Overview

Notes From Your Bookseller

The beginning of it all. The first vampire to take to the page and spawn a universal thirst for more bloodsuckers. It all starts with an ill-fated real estate transaction for poor Jonathan Harker, who unearths a danger that is more bite than bark. It’s immortally entertaining and worthy of your eyes.

Product Details

ISBN-13:	9781667209692
Publisher:	Canterbury Classics
Publication date:	02/04/2025
Series:	Word Cloud Classics
Edition description:	2nd Edition
Pages:	368
Product dimensions:	5.25(w) x 7.75(h) x 1.13(d)
Lexile:	1060L (what's this?)

About the Author

2022-05-10
In this gothic fantasy, a girl must negotiate her relationship with Death.

Signa Farrow has spent 19 years pursued by Death, starting with her first party at the age of 2 months, at which every other guest drank poisoned wine and died. Death attempted to take Signa that night as well, but while she cannot die, she can see him. Now 20 and only months away from receiving her inheritance and taking her longed-for place in society, Signa deliberately poisons herself with belladonna in hopes of confronting Death. After a slow and confusing start—that poisoned party is never addressed again—Signa finds herself living with previously unknown relatives at the beautiful but haunted Thorn Grove, where one person has recently died and another lies in bed, mysteriously wasting away. Gothic trappings and a vaguely 19th-century pastiche of England provide atmosphere; Signa’s decision to discover the poisoner propels the often languid plot. Most of the action is between Signa and the two men who help her, Sylas, a mysterious stableboy, and Death, who turns out to contain surprises. Signa’s character arc—she goes from wanting to be a proper young lady to an independent, freethinker—is propelled largely by her burgeoning sexual desire. Secondary characters are mostly White with a few expressly stated exceptions among the well-to-do.

Lots of mood, less substance. (Fantasy. 14-adult)

Read an Excerpt

08/01/2022

Gr 9 Up—Death has been following 19-year-old Signa for her entire life. After her parents died, Signa was forced to move from guardian to guardian hoping for somewhere to call home, until coming of age to receive her inheritance. She has come to realize that she has some immunity to dying and can even see and communicate with Death itself. When Signa finds herself at Thorn Grove she begins to settle in with her estranged family, but quickly realizes that her cousin is being poisoned. Uncovering this mystery alongside Death, Signa finds herself confronted with societal and moral quandaries. Grace provides an intriguing gothic-infused fantasy, focusing on the supernatural concept of Death personified. The novel is slow to start, but as Signa and Death develop a relationship, the story becomes more alluring. There are continuous difficulties that Signa must face, and her actions and decisions deliver a suspenseful narrative. Readers will be drawn into the mystery presented but may also find themselves uncovering secrets well before the characters do. A twist at the end provides an interesting opportunity for the sequel. VERDICT Put into the hands of readers looking for a dark fantasy with a hint of mysterious intrigue.—Aliza Mangefrida

I. Jonathan Harker’s Journal
II. Jonathan Harker’s Journal
III. Jonathan Harker’s Journal
IV. Jonathan Harker’s Journal
V. Letters—Lucy and Mina
VI. Mina Murray’s Journal
VII. Cutting from “The Dailygraph,” 8 August
VIII. Mina Murray’s Journal
IX. Letter, Mina Harker to Lucy Westenra
X. Letter, Dr. Seward to Hon. Arthur Holmwood
XI. Lucy Westenra’s Diary
XII. Dr. Seward’s Diary
XIII. Dr. Seward’s Diary
XIV. Mina Harker’s Journal
XV. Dr. Seward’s Diary
XVI. Dr. Seward’s Diary
XVII. Dr. Seward’s Diary
XVIII. Dr. Seward’s Diary
XIX. Jonathan Harker’s Journal
XX. Jonathan Harker’s Journal
XXI. Dr. Seward’s Diary
XXII. Jonathan Harker’s Journal
XXIII. Dr. Seward’s Diary
XXIV. Dr. Seward’s Phonograph Diary, spoken by Van Helsing
XXV. Dr. Seward’s Diary
XXVI. Dr. Seward’s Diary
XXVII. Mina Harker’s Journal

What People are Saying About This

Arthur Conan Doyle

I think it is the very best story of diablerie which I have read for many years. It is really wonderful how with so much exciting interest over so long a book there is never an anticlimax.

From the Publisher

Kristin Atherton narrates this gothic mystery with a distinct accent and tone for each character. When young Signa arrives at Thorn Grove to live with her wealthy relatives, she enters a world of privilege and mystery. Her ability to interact with ghosts compels her to solve her aunt’s murder, but can she do so in time to save her cousin who is dying of the same illness? Signa will employ the aid of Death himself, whom only she can hear and touch, but will she succumb to his attraction? Atherton seamlessly delivers each character’s dialogue— from the dulcet, seductive voice of Death to the common parlance of the household help, the high-pitched snobbery of Signa’s friends, and the bass voices of all the male characters. L.M.G. © AudioFile 2022, Portland, Maine

Reading Group Guide

1. Dracula relies on journal fragments, letters, and newspaper clippings to tell its story. Why might Stoker have chosen to narrate the story in this way? Do letters and journal entries make the story seem more authentic or believable to you? Likewise, discuss the significance that many of the male protagonists are doctors (Dr. Seward) or men of science (Dr. Van Helsing). Why is this important to the story?

2. How does the novel invert Christian mythology in its description of Count Dracula's reign of terror? For instance, what specific elements of Stoker's story parallel scenes or images from the New Testament? Why might this subversion of Christian myth be significant?

3. Discuss the roles of Lucy Westenra and Mina Harker in the novel. How are the two women similar? Different? What accounts for their differences? To what extent does the novel depend on both of these women to propel the narrative forward?

4. Discuss the role of sexuality in Dracula. Would you say that Dracula attempts to reproduce himself sexually or by some other means? In what ways does the figure of Dracula subvert conventional notions of heterosexuality? Consider, for instance, his predilection for drinking blood and his habit of making his victims feed from his chest.

5. What are the elements of vampire folklore? For example, what, according to the novel, attracts or repels a vampire? How do you kill a vampire for good? Although Stoker did not invent the mythology of the vampire, his novel firmly established the conventions of vampire fiction. Choose another novel that deals with vampires and compare it with Dracula. (Consider, for example, one of Anne Rice's vampirebooks.) In what ways are the novels similar? Different?

6. Consider Freud's essay "The Uncanny" in relation to Stoker's Dracula. How would Freud describe the world that Stoker evokes in the novel? Is this a world of common reality? Or is it a world governed by supernatural belief? Or both? Discuss Freud's claim that the writer of gothic fiction is "betraying to us the superstitiousness which we have ostensibly surmounted; he deceives us by promising to give us the sober truth, and then after all overstepping it." In what ways does Stoker's narrative strategy of employing newspaper clippings and journal entries promise the "sober truth"? To what extent do you think Dracula achieves a sense of the uncanny?

Foreword

5. What are the elements of vampire folklore? For example, what, according to the novel, attracts or repels a vampire? How do you kill a vampire for good? Although Stoker did not invent the mythology of the vampire, his novel firmly established the conventions of vampire fiction. Choose another novel that deals with vampires and compare it with Dracula. (Consider, for example, one of Anne Rice'svampire books.) In what ways are the novels similar? Different?

From the B&N Reads Blog

Page 1 of

Editorial Reviews

DRACULA cannot be described as a domestic novel, nor its annals as those of a quiet life. The circumstances described are from the first peculiar. A young solicitor sent for on business by a client in Transylvania goes through some unusual experiences. He finds himself shut up in a half ruined castle with a host who is only seen at night and three beautiful females who have the misfortune of being vampires. Their intentions, which can hardly be described as honourable, are to suck his blood, in order to sustain their own vitality. Count Dracula (the host) is also a vampire but has grown tired of his compatriots, however young and beautiful, and has a great desire for what may literally be called fresh blood. He has therefore sent for the solicitor that through his means he may be introduced to London society. Without understanding the Count's views, Mr. Harker has good reason for having suspicions of his client. Wolves come at his command, and also fogs; he is also too clever by half at climbing. There is a splendid prospect from the castle terrace, which Mr. Harker would have enjoyed but for his conviction that he would never leave the place alive-
. . .
These scenes and situations, striking as they are, become commonplace compared with Count Dracula's goings on in London. As Falstaff was not only witty himself but the cause of wit in other people, so a vampire, it seems, compels those it has bitten (two little marks on the throat are its token, usually taken by faculty for the scratches of a broach) to become after death vampires also. Nothing can keep them away but garlic, which is, perhaps, why that comestible is so popular in certain countries. One may imagine, therefore,how the thing spread in London after the Count's arrival. The only chance of stopping it was to kill the Count before any of his victims died, and this was a difficult job, for though several centuries old, he was very young and strong, and could become a dog or a bat at pleasure. However, it is undertaken by four resolute and high-principled persons, and how it is managed forms the subject of the story, of which nobody can complain that it is deficient in dramatic situations. We would not however, recommend it to nervous persons for evening reading.

1897 London Times reviewMonday August 23rd

Gr 5-9–For readers wanting a small shiver down their spines, these books will suffice. Stoker’s Dracula is succinct and well edited. The art is stale and tame and might titillate, but it won’t produce any nightmares. The adaptation in Dorian Gray can be clunky at times but it covers the main points of the story. The beautiful and youthful Dorian Gray is never very attractive in the illustrations, but the decaying painting will appropriately disgust young readers. The story in The Invisible Man is heavily edited, and the action is crammed into a few pages, but the scenes in which the Invisible Man is on the loose are intense. The illustrations are fairly detailed and include some graphic scenes of blood and a nearly naked Invisible Man. All three books include information about the authors and a glossary. There are better adaptations of these novels available, but these titles provide slim and chilling reads that give a taste of the actual stories for reluctant readers.–Carrie Rogers-Whitehead, Kearns Library, UT

School Library Journal

This illustrated adaptation of Bram Stoker's work trades the epistolary nature of the original for a condensed, third-person narration, supplemented by selections from Jonathan Harker's journal entries and from John Seward's memoirs. Hitting the major plot points, like Jonathan's arrival at Dracula's castle and Lucy's frightening transformation, Raven retains much of the subtle terror of Jonathan's imprisonment, while providing Mina with more volition (" ‘Tonight we end this,' added Mina firmly"). Readers will likely be chilled by Gilbert's evocative ink and colored pencil images and drawn to the enigmatic Count, with his long, blond hair and violet eyes. A lavish and accessible retelling. Ages 12-up. (July)

Publishers Weekly

"Those who cannot find their own reflection in Bram Stoker's still-living creation are surely the undead."

From the Publisher

"Glennis Byron’s succinct yet comprehensive introduction provides a useful overview of critical responses to Stoker’s text. Even more valuable is the inclusion of supplementary material (some of which has not, until now been readily available) that clearly places Dracula in its historical context."

Elizabeth Miller Memorial University

"Valuable for both research and classroom use. All Dracula scholars will want to own this useful, very reasonably-priced text."

Margaret L. Carter Bradley University

"Glennis Byron has done a superb job of collecting just the right supplementary materials to accompany the novel, including reviews by Stoker's contemporaries, biographical material, information on the social and cultural topics that concerned Stoker and his readers, even a tourist guide to London in the late nineteenth-century."

Carol A. Senf Georgia Institute of Technology

"No other edition so carefully assembles a wealth of contextual material, nor succeeds so admirably in drawing the reader into Stoker's cultural milieu."

David Glover University of Southampton

Narrators David Horovitch, Jamie Parker, Joseph Kloska, and Alison Pettitt and cast adopt the identities of the well-known characters of Bram Stoker’s classic: Jonathan Harker, Mina, Lucy, the Count, and others. As the story is told in a series of diary entries and letters, Dracula himself comes off as both charming and caring—until his true form is revealed. Highlights of this production include a childlike portrait of Mina and bone-chilling portrayals of Harker and Van Helsing as the tension of the twisted plot rises and Dracula's sinister powers and needs are revealed. Fans of the genre will be reminded just how psychically unsettling this horror story is. R.O. SYNC 2015, 2016 ALA Media Award © AudioFile 2015, Portland, Maine

APRIL 2015 - AudioFile

Dracula

Dracula

(2nd Edition)

(2nd Edition)

Related collections and offers

Overview

Product Details

About the Author

Read an Excerpt

Table of Contents

What People are Saying About This

Reading Group Guide

Foreword

Customer Reviews

Related collections and offers

Overview

Product Details

About the Author

Read an Excerpt

Table of Contents

What People are Saying About This

Reading Group Guide

Foreword

Related Subjects

Customer Reviews