Dracula (Deluxe Edition)
Introducing the ultimate collector's edition of Dracula by Bram Stoker, the best-known vampire novel of all time, now in an exquisite special edition featuring sprayed edges and an introduction and appendices by renowned fantasy editor Marvin Kaye. The luxurious design and attention to detail, including fore-edge painting of bats, Edward Gorey–designed endpapers, and a beautiful red velvet fabric cover, set it apart as a limited edition book that will be cherished for generations.

Unveil the gothic masterpiece and immerse yourself in the dark and captivating world of Dracula with this beautifully packaged edition that pays homage to Edward Gorey's iconic artwork. Gorey, renowned for his Tony Award-winning stage designs, lent his artistic genius to bring this classic to life on the Broadway stage. His illustrations, featured in this edition, were even animated for the opening sequence of PBS's "Mystery!" series. The epitome of classic literature, Bram Stoker's Dracula is more than just a novel; it's a literary legend and a must-have addition to any collection of classic books for adults.

Delve into the eerie depths of Bram Stoker's imagination as you follow Count Dracula and his insidious pursuit of his victims. Embrace the darkness, revel in the Gothic beauty, and experience the allure of vampires like never before. This is more than a book; it's a gateway to a world of timeless storytelling.

 

1116610564
Dracula (Deluxe Edition)
Introducing the ultimate collector's edition of Dracula by Bram Stoker, the best-known vampire novel of all time, now in an exquisite special edition featuring sprayed edges and an introduction and appendices by renowned fantasy editor Marvin Kaye. The luxurious design and attention to detail, including fore-edge painting of bats, Edward Gorey–designed endpapers, and a beautiful red velvet fabric cover, set it apart as a limited edition book that will be cherished for generations.

Unveil the gothic masterpiece and immerse yourself in the dark and captivating world of Dracula with this beautifully packaged edition that pays homage to Edward Gorey's iconic artwork. Gorey, renowned for his Tony Award-winning stage designs, lent his artistic genius to bring this classic to life on the Broadway stage. His illustrations, featured in this edition, were even animated for the opening sequence of PBS's "Mystery!" series. The epitome of classic literature, Bram Stoker's Dracula is more than just a novel; it's a literary legend and a must-have addition to any collection of classic books for adults.

Delve into the eerie depths of Bram Stoker's imagination as you follow Count Dracula and his insidious pursuit of his victims. Embrace the darkness, revel in the Gothic beauty, and experience the allure of vampires like never before. This is more than a book; it's a gateway to a world of timeless storytelling.

 

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Dracula (Deluxe Edition)

Dracula (Deluxe Edition)

Dracula (Deluxe Edition)

Dracula (Deluxe Edition)

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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. And now it comes in this deluxe edition that looks as beautiful on the outside as it is on the inside.

Introducing the ultimate collector's edition of Dracula by Bram Stoker, the best-known vampire novel of all time, now in an exquisite special edition featuring sprayed edges and an introduction and appendices by renowned fantasy editor Marvin Kaye. The luxurious design and attention to detail, including fore-edge painting of bats, Edward Gorey–designed endpapers, and a beautiful red velvet fabric cover, set it apart as a limited edition book that will be cherished for generations.

Unveil the gothic masterpiece and immerse yourself in the dark and captivating world of Dracula with this beautifully packaged edition that pays homage to Edward Gorey's iconic artwork. Gorey, renowned for his Tony Award-winning stage designs, lent his artistic genius to bring this classic to life on the Broadway stage. His illustrations, featured in this edition, were even animated for the opening sequence of PBS's "Mystery!" series. The epitome of classic literature, Bram Stoker's Dracula is more than just a novel; it's a literary legend and a must-have addition to any collection of classic books for adults.

Delve into the eerie depths of Bram Stoker's imagination as you follow Count Dracula and his insidious pursuit of his victims. Embrace the darkness, revel in the Gothic beauty, and experience the allure of vampires like never before. This is more than a book; it's a gateway to a world of timeless storytelling.

 


Product Details

ISBN-13: 9781454944218
Publisher: Union Square & Co.
Publication date: 11/23/2021
Series: Deluxe Illustrated Classics
Pages: 464
Sales rank: 30,081
Product dimensions: 9.30(w) x 7.10(h) x 1.20(d)

About the Author

About The Author
Bram Stoker (1847–1912) wrote tales of Gothic horror and is best known for his novel Dracula.

Edward Gorey (1925–2000) was a renowned illustrator. He won a Tony Award for Best Costume Design for the 1977 revival of Dracula on Broadway.

Read an Excerpt

Chapter One

Jonathan Harker's Journal
(Kept in shorthand)

3 May. Bistriz.—Left Munich at 8:35 p.m., on 1st May, arriving at Vienna early next morning; should have arrived at 6:46, but train was an hour late.

Buda-Pesth seems a wonderful place, from the glimpse which I got of it from the train and the little I could walk through the streets. I feared to go very far from the station, as we had arrived late and would start as near the correct time as possible. The impression I had was that we were leaving the West and entering the East; the most western of splendid bridges over the Danube, which is here of noble width and depth, took us among the traditions of Turkish rule.

We left in pretty good time, and came after nightfall to Klausenburgh. Here I stopped for the night at the Hotel Royale. I had for dinner, or rather supper, a chicken done up some way with red pepper, which was very good but thirsty. (Mem., get recipe for Mina.) I asked the waiter, and he said it was called “paprika hendl,” and that, as it was a national dish, I should be able to get it anywhere along the Carpathians. I found my smattering of German very useful here; indeed, I don't know how I should be able to get on without it.

Having had some time at my disposal when in London, I had visited the British Museum, and made search among the books and maps in the library regarding Transylvania; it had struck me that some foreknowledge of the country could hardly fail to have some importance in dealing with a nobleman of that country.

I Þnd that the district he named is in the extreme east of the country, just on the borders of three states,Transylvania, Moldavia and Bukovina, in the midst of the Carpathian mountains; one of the wildest and least known portions of Europe. I was not able to light on any map or work giving the exact locality of the Castle Dracula, as there are no maps of this country as yet to compare with our own Ordnance Survey maps; but I found that Bistritz, the post town named by Count Dracula, is a fairly well-known place. I shall enter here some of my notes, as they may refresh my memory when I talk over my travels with Mina.

In the population of Transylvania there are four distinct nationalities: Saxons in the South, and mixed with them the Wallachs, who are the descendants of the Dacians; Magyars in the West, and Szekelys in the East and North. I am going among the latter, who claim to be descended from Attila and the Huns. This may be so, for when the Magyars conquered the country in the eleventh century they found the Huns settled in it. I read that every known superstition in the world is gathered into the horseshoe of the Carpathians, as if it were the centre of some sort of imaginative whirlpool; if so my stay may be very interesting.

(Mem., I must ask the Count all about them.)

I did not sleep well, though my bed was comfortable enough, for I had all sorts of queer dreams. There was a dog howling all night under my window, which may have had something to do with it; or it may have been the paprika, for I had to drink up all the water in my carafe, and was still thirsty. Towards morning I slept and was wakened by the continuous knocking at my door, so I guess I must have been sleeping soundly then. I had for breakfast more paprika, and a sort of porridge of maize þour which they said was “mamaliga,” and egg-plant stuffed with forcemeat, a very excellent dish, which they call “impletata.” (Mem., get recipe for this also.) I had to hurry breakfast, for the train started a little before eight, or rather it ought to have done so, for after rushing to the station at 7:30 I had to sit in the carriage for more than an hour before we began to move. It seems to me that the further east you go the more unpunctual are the trains. What ought they to be in China?

All day long we seemed to dawdle through a country which was full of beauty of every kind. Sometimes we saw little towns or castles on the top of steep hills such as we see in old missals; sometimes we ran by rivers and streams which seemed from the wide stony margin on each side of them to be subject to great þoods. It takes a lot of water, and running strong, to sweep the outside edge of a river clear. At every station there were groups of people, sometimes crowds, and in all sorts of attire. Some of them were just like the peasants at home or those I saw coming through France and Germany, with short jackets and round hats and home-made trousers; but others were very picturesque. The women looked pretty, except when you got near them, but they were very clumsy about the waist. They had all full white sleeves of some kind or other, and most of them had big belts with a lot of strips of something þuttering from them like the dresses in a ballet, but of course there were petticoats under them. The strangest Þgures we saw were the Slovaks, who were more barbarian than the rest, with their big cow-boy hats, great baggy dirty-white trousers, white linen shirts, and enormous heavy leather belts, nearly a foot wide, all studded over with brass nails. They wore high boots, with their trousers tucked into them, and had long black hair and heavy black moustaches. They are very picturesque, but do not look prepossessing. On the stage they would be set down at once as some old Oriental band of brigands. They are, however, I am told, very harmless and rather wanting in natural self-assertion.

Table of Contents

CONTENTS

INTRODUCTION

I. Jonathan Harker's Journal

II. Jonathan Harker's Journal

III. Jonathan Harker's Journal

IV. Jonathan Harker's Journal

V. Letter from Miss Mina Murray to Miss Lucy Westenra

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

LITERARY ALLUSIONS AND NOTES

CRITICAL EXCERPTS

SUGGESTIONS FOR FURTHER READING

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.

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

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'svampire books.) 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?

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