Dracula by Bram Stoker Review

Let’s return and look at the novel where the legend began, Dracula by Bram Stoker.

Dracula isn’t just a book, not anymore anyway. Dracula is a brand, it is a sweeping, broad, stereotyping name that conjures up characters with countless components and interpretations. So after writing a rather in-depth essay on the changing sexualization of vampires I was compelled to return to the beginning of the vampires literary journey, I therefore dived right back into Bram Stoker’s masterpiece so I could once again see how this famous character began.

Going back to Dracula after the deluge of modern vampire iterations is quite fascinating. For instance Dracula does not suffer burning pain from the sunlight as most modern vampires do. This does make reading Dracula difficult though as we have to throw most of our modern beliefs about the mythical creature out of the window, if we do not do so it can be difficult to engage with the novel.

It is also sad that the books big events, which would have been dramatic plot twists to readers of Stoker’s era, are easily predictable in the modern age, which of course diminishes their impact.

Yet being a predictable and already well known story does give the novel a sense of dramatic irony and adds to the underlying themes of ignored prophesies and that of a predetermined fate.

If you’ve never read Dracula before the novel contains enough details and plot points you’ll be unaware of thanks to the modern day changes to his character and story, this allows a first time reader to predict but still enjoy the subtle differences of the novel. They may know what’s to come in Jonathan Harker’s dreary approach to the castle but there’s also enough new elements to keep some mystery alive.

But enough about why it’s still worth checking out the original novel even if you already know the story, let’s get on with discussing the book itself.

Dracula opens with Jonathan Harker making his journey through Transylvania to Count Dracula’s castle. He is warned by locals again and again to avoid the Count, to flee and return to his own life, but of course he pays them no heed.

The build up to the first meeting with Dracula is tense and harrowing, perhaps more so because the modern audience already knows that the seemingly amiable host is anything but pleasant.

The first part of the book is devoted to the exploration of dread, Jonathan slowly realises that his host is a creature of utter evil. This part of the book is brimming with paranoia and a feeling of the unknowable. It is told entirely through Harker’s journal entries, this adds a new level of dread as we get to witness first hand the cracking of Jonathan’s psyche as he connects more and more of the castles terrors with the Count. This method of storytelling makes the reader a more active participant in the fear and paranoia voiced by Harker.

While the first part of the novel is designated for this emotional torment this does mean it lacks the action heavy punch the modern reader may expect from the genre. Yet Dracula’s emotional and psychological hold over the reader ensures it rarely becomes as slow and tedious as other books of the time are prone to do.


There are times, particularly in the middle, where Dracula does flag a little however. Stoker spends a lot of time on correspondence between our two female heroes Lucy Westenra and Mina Murray. These correspondence talk a lot about everyday Victorian life, and while it is done in beautifully curated prose, it’s also tedious in comparison to the novel’s opening. While you’re thinking about Jonathan and his fate, you are left to read about the countryside and English weather. Thankfully though it isn’t long before the novel begins in earnest.

When reading Dracula again it was interesting to note the manner in which it is told, the use of journal entries and letters creates a ‘found-footage’ vibe akin to modern day horror films like the Blair Witch Project or Cloverfield. This manner of narrative creates a unique form of foreboding and dread which makes Dracula an emotional and fearful read even for those already aware of the overarching plot-line.

Dracula’s use of letters and the personal words contained therein allow the reader to understand and empathise with characters more than traditional narrative devices would, we get to see and feel their inner thoughts as they struggle against this monster.

Each character in Dracula is well crafted and believable, they all have separate personalities and quirks which play out across the story in numerous ways.

You may also enjoy…

An exploration of the Vampire and its Sexuality

Vampires have enjoyed something of a renaissance in modern literature and one of the main reasons for that is the sexual nature of what is otherwise a monster from the depths of mankind’s nightmares

As for the story itself, well its heartbreaking, it’s full of emotion as the characters deal with life, love, death, horror, all of which are beautifully realised with Stoker’s prose.

There are many themes explored within these pages, with love, religion, and death being just a few. This book opens your mind with new questions in every chapter, and it leaves you thinking about its numerous themes for days after it’s gone back on the shelf.

Dracula is one of the first books to explore and bring to life the vampire, and it has gone on to spawn many an imitation, but it is still the best novel in the genre and Dracula is still the King of the vampires.

This is a must read for anyone, if you’ve never read it before I’d recommend you change that immediately.


Rating: 9 out of 10.

You can grab a copy from Amazon, the kindle edition is just 49p.

An exploration of the Vampire and its Sexuality

Vampires have enjoyed something of a renaissance in modern literature and one of the main reasons for that is the sexual nature of what is otherwise a monster from the depths of mankind’s nightmares

Vampires have enjoyed something of a renaissance in modern literature and one of the main reasons for that is the sexual nature of what is otherwise a monster from the depths of mankind’s nightmares.

If we look backwards in time at the first proto-literary vampires they may not have been unable to engage in ‘normal’ sexual activity like their modern day counterparts, but they certainly were not asexual creatures as some people would believe.

To understand the sexual nature of vampirism we really need to look closely at arguably the greatest masterpiece within the entire genre. I am of course talking about Bram Stoker’s Dracula. The sexual nature of vampires is first seen within those pages when Jonathan Harker encounters the three vampire brides who reside within Dracula’s Castle. Harker openly describes the brides as sexually appealing, ” I felt in my heart a wicked, burning desire that they would kiss me with their red lips.” Stoker also described the three brides as sensual predators whose bites were more akin to a kiss. One of the women even anticipated the biting of Harker with her own desires, “He is young and strong; there are kisses for us all.”

Bram Stoker set his masterpiece in the heart of vampire folklores

An even more obvious allusion to the sexual nature of vampires is given when Lucy Westenra, one of the novels ‘good’ women, becomes distracted by the presence of Dracula. During a sleep walking incident Lucy is found by her friend Mina being fed upon by the Count. This begins Lucy’s transformation from a prim and proper lady of the day into what is described by some as a “sexual monster.” As the vampire took a hold of her Lucy took on a most unladylike voluptuousness that was unbecoming of the period.

Not only this but on her death bed Lucy requests that her lover, Arthur, give her a kiss, when he leans in however she attempts to bite him. Yet its within the blood transfusions meant to save her life that Stoker truly shows his understanding of the sexual nature of the vampire. While never able to consumate his love for Lucy Arthur muses that by sharing his blood with her they have at least, in the eyes of God, been married.

Yet it was not Lucy that was the true goal for Dracula, that dubious honour was held by Mina, an honour that led to the most sexually charged scene of the novel. When Van Helsing realises Dracula’s intentions he calls together the men of the novel and they quickly make for her bedroom. Bursting through the door they discover Dracula sitting on the bed and forcing the poor women to drink his blood from a ragged tear upon his chest.

Dracula does not respond well to the interruption. “His eyes flamed red with devilish passion….” Once he was driven away and Mina realised what had occurred she felt violated and vowed never to “kiss” her husband again.

Stoker will no doubt have taken inspiration, at least somewhat, from the Eastern European vampire lore, including their beliefs as to the vampire’s sexual nature. In southern slavic lore for instance it is believed that when suspected vampire corpses are dug up many will have an erection.

Vampires in Romanian folklore

In Gypsie folk lore they too thought of the vampire as a sexual entity. The male vampire for instance was believed to have a sexual appetite so strong that it alone would prove powerful enough to bring the creature back from the grave. His first act upon reawakening would be to return to his widow and engage in sexual intercourse, an activity that would continue nightly, leaving the poor widow exhausted and emaciated.

The more modern interpretation of vampires as young handsome men may take inspiration from the Russian folklore which described the vampire as a young handsome stranger who would lure unsuspecting women to his bedchamber. This tale was used to frighten and curtail the more adventurous of a towns youth.

The original vampire in literature can be found in “The Bride of Corinth” which drew heavily from an ancient Greek tale of a woman who died a virgin and returned from death to enjoy the sexual proclivities of her parents house guest.

Clearly vampires have been creatures of a sexual nature since the human mind invented them. Yet it is only in the modern stories that the sexuality has become so overt.

Carol Fry, author of the compelling article “Fictional Conventions and Sexuality in Dracula”, pointed out that Dracula was also being depicted as a staple of nineteenth-century books, the rake. The purpose of the rake within books was simply to torment and distress the good ladies of upright society. In many ways the stereotypical rake was very much like a vampire in their demenor and actions. In many tales falling for a rake would leave a female character as contaminated as “morally depraved”. Just like this sociatal label of depravitiy Dracula leaves behind his own contamination on the innocent women who fall beneath his charms.

When the creature was brought from the page to the stage Dracula took on a new life. No longer was he relegated to the background he inhabited in the novel, now he was front and centre, a place where it was much easier to understand the romantic appeal of the creature. However it was Christopher Lee and his set of fangs that truly brought the charming romance of Dracula to the mainstream when the count hit the big screen in 1958.

Christopher Lee personified the evil Count Dracula

While it was arguably Lee and his portrayal of Dracula that really showed us the sexuality of the vampire he wasn’t the first to do so. In Dracula’s Daughter (1936) a female vampire seduces a young model with a charged sexual appetitie hitherto unseen from the vampiric species.

As human society continued to evolve and sexual proclivites became more normalised it was soon the turn of the vampire to be turned into a semipornographic feature by the French director Jean Rollin. It wasn’t long before other directors released equally risque material around the vampire mythology.

While the vampire continued down this adult orientated genre for some years it was not until the likes of Buffy the Vampire Slayer was released that it really gained momentum.

But thankfully it was not the adult film industry that helped redefine and mold the evil monster of the gothic era into the often romantic lover that we see today though. It was books and mainstream films that created the idea of a vampire being not just sympathetic but often times even a hero.

We can give much of the credit for this new form of vampire to Chelsea Quinn Yarbro’s Saint-Germain, who emerged from the pages of the novel not as a blood sucking monster but as a man with convictions and morals, and of course the captivating sensuality that many of his forebears had shown, sometimes he even fell truly in love.

While Germain was unable to have sex traditionally his bite was able to convey an intense sexual pleasure to the recipient, a pleasure women found to be more than adequate.

While books containing the exploits of Germain were being released a new play called Dracula: The Vampire Play in Three Acts was proving a huge draw on Broadway. This would be the first such play to show the public the scene in which Mina is forced to drink Dracula’s blood.


In the novel the scene is akin to rape more than anything else, yet the play transformed it into one of seduction. A transformation that was kept when the play was adapted for the big screen. Gone was the monster, in his place was an attractive foreign nobleman who was able to lure his victims to their demise by the sheer power of his sexual presence.

When Mina now willing rushes to her lover to drink his blood Dracula completes his transformation from being a villain into a hero, and one who lived up to the film’s grand tagline, “Throughout history he has filled the hearts of men with terror, and the hearts of women with desire.” It was this portrayal of Dracula, played by Frank Langella, that then influenced the 1992 Dracula production from the mind of Francis Ford Coppola.

Coppola showed us a young and handsome man who becomes a monster due to the loss of his beloved wife. This Dracula depiction is able to seduce Mina from her weak fiance and a full love story subplot was crafted which ended in a sensual lovemaking climax alongside the iconic blood drinking scene.

Coppola Dracula is a twisted but sympathetic creature

Coppola gives us a villain but a sympathetic one who in the end begs for release from his curse so he can die in peace.

The evolution of the vampire into a hero lover was a primary element in the overall permeation of the vampire myth into the culture of late twentieth century society.

Mara McCuniff, the centuries-old vampire of Traci Briery’s The Vampire Memoirs, is overtaken by her sexual urges for three days each month at the time of the full moon,while Lori Herter’s romance novels made the vampire the pinnacle object of a woman’s fantasies.

Sexual tension was an ever present theme throughout the hugely successful Buffy the Vampire Slayer television series, which was one of the first vampire stories set in high school with a young adult cast exploring their newly developing sexuality and having numerous human vampire relationships.

Buffy took the vampire back to school

The heightened sexuality portrayed within Buffy inevitably spilled over into the literary world with the likes of Anne Rice (interview with a vampire) being criticised for upping the openly sexual content of her later novels in an attempt to broaden her appeal to the new young vampire fans.

Yet it was the inclusion of vampires within the traditional romance book sector that really pushed the vampire, especially male, into popular fiction. After all romance literature now claims half of the book market.

Many of these novels follow a copy and paste plot. They place a young desirable woman into a forbidden and dangerous relationship with the handsome vampire (either hero or villain). One of the first authors to see big success with this model was Charlaine Harris thanks to her series of books, The Southern Vampire Mysteries, which you may know as the television series True Blood.

This fascination with vampires trickled down from adult romance novels in the first decade of the new millennium and into the rapidly growing YA scene. An early example of this is the hugely successful vampire diaries series. While L. J. Smith published the first three books in the 1990’s it gained much of its popularity in the late 2000’s with its TV adaptation and she returned the finish the series.

Of course there’s one vampire iteration that has to be spoken about. The popularity of the blood sucking monster hit new heights with the release of Twilight in 2005. Stephanie Meyers heroine was a high school girl who finds her true love in a handsome vampire, and kind of also in a werewolf but this article isn’t about them.

Twilight was the most popular modern vampire tale

Bella Swan and her vampire lover Edward Cullen are faced with holding back their expressions of sexual attraction until marriage, which only occurs at the end of the book series.

This sexualizing and romanticizing of the vampire in fiction may depart from the common belief of a mere monster, but it is certainly not new for the creature of mythology.

As discussed earlier many a native folklore tell of, a vampire like creature with a seductive sexuality that mingles naturally with its innate monstrous nature.

Sadly modern vampire depictions seem intent on lessening the monstrous origins of the creature in favour of salacious sexuality. There is a natural balance in the myth that is being lost in its modern depictions.

What this evolution into the peak of sexuality has ensured though is that vampires will remain a focus of fictional works for many years to come.