Dracula: NEW RELEASE: unabridged with beautiful book cover

Product Information

Farson, Daniel (1975). The Man Who Wrote Dracula: A Biography of Bram Stoker. London: Michael Joseph. ISBN 0-7181-1098-6. OCLC 1989574. Bierman, Joseph S. (1 January 1977). "The Genesis and Dating of 'Dracula' from Bram Stoker's Working Notes". Notes and Queries. CCXXII (jan): 39–41. doi: 10.1093/notesj/CCXXII.jan.39. ISSN 0029-3970.

Miller, Elizabeth (2006). "Filing for Divorce: Count Dracula vs. Vlad Tepes". Dictionary of Literary Biography. 394: 212–217.Caine, Hall (24 April 1912). "Bram Stoker. The story of a great friendship". The Daily Telegraph. p.16.

Stoker's notes illuminate much about earlier iterations of the novel. For instance, they indicate that the novel's vampire was intended to be a count, even before he was given the name Dracula. [44] Stoker likely found the name Dracula in Whitby's public library while holidaying there with his wife and son in 1880. [41] On the name, Stoker wrote: "Dracula means devil. Wallachians were accustomed to give it as a surname to any person who rendered himself conspicuous by courage, cruel actions or cunning". [45] Stoker's initial plans for Dracula markedly differ from the final novel. Had Stoker completed his original plans, a German professor called Max Windshoeffel "would have confronted Count Wampyr from Styria", and one of the Crew of Light would have been slain by a werewolf. [46] [f] Stoker's earliest notes indicate that Dracula might have originally been intended to be a detective story, with a detective called Cotford and a psychical investigator called Singleton. [48] Publication 1899 first American edition, Doubleday & McClure, New York Ingelbien, Raphaël (2003). "Gothic Genealogies: Dracula, Bowen's Court, And Anglo-Irish Psychology". ELH. 70 (4): 1089–1105. doi: 10.1353/elh.2004.0005. ISSN 1080-6547. S2CID 162335122.But---oh, the writing style! Huge, long, gigantic paragraphs! Dracula reminded me of The Scarlett Letter because, although it did have some interesting elements, it was so long and drawn out. If the filler was cut out, it would have made a compelling short story. Mulvey-Roberts, Marie (1998). " Dracula and the Doctors: Bad Blood, Menstrual Taboo and the New Woman". In Hughes, William; Smith, Andrew (eds.). Bram Stoker: History, Psychoanalysis and the Gothic. Basingston: Macmillan Press. ISBN 978-1-349-26840-5. In 1878 Stoker married Florence Balcombe, a celebrated beauty whose former suitor was Oscar Wilde. The couple moved to London, where Stoker became business manager (at first as acting-manager) of Irving's Lyceum Theatre, a post he held for 27 years. The collaboration with Irving was very important for Stoker and through him he became involved in London's high society, where he met, among other notables, James McNeil Whistler, and Sir Arthur Conan Doyle. In the course of Irving's tours, Stoker got the chance to travel around the world. The girl with the man brain ( When most we want all her great brain which is trained like man’s brain, but is of sweet woman) is ignored and shut out after she helped them, and that the valiant men ignore all the signals, in an overly convenient fashion just to move the plot towards it's all too clearly set up climax.

Untitled review of Dracula". Of Literature, Science, and Art (Fiction Supplement). London. 12 June 1897. p.11. Los libros rara vez me provocan carcajadas y nunca miedo, algún desasosiego quizás, pero miedo nunca, por lo que no me ha extrañado que este tampoco me lo produjera. Por el contrario, sí me han sorprendido las pinceladas de humor que aparecen de vez en cuando (“las mujeres parecían guapas, si no te aproximabas a ellas”) o la descripción que hace del conde y que contrasta tanto con la iconografía cinematográfica. La verdad es que soy incapaz de imaginarme a Drácula con bigote y con manos anchas y dedos regordetes. También me ha llamado la atención, aunque no me ha sorprendido dado el sexo del autor y la época, la ilimitada admiración que las señoritas sienten por el género masculino y, en comparación, la poca estima que demuestran por el propio. Signorotti, Elizabeth (1996). "Repossessing the Body: Transgressive Desire in "Carmilla" and "Dracula" ". Criticism. 38 (4): 607–632. ISSN 0011-1589. JSTOR 23118160. BUT OKAY. It’s not just that there are a bajillion themes. Because that would be cool. No, it’s that you can make an argument for either side of every theme. Sexist or feminist; condemning religion or supporting it; racist or accepting; et cetera et cetera. The book is also straight up teeming with stuff like repetition that can either be thematically significant or just a bad job. (Can you imagine being the editor of this book? “Uh, Bram?…Hey buddy. So, you use essentially the same passage describing Dracula’s powers three times in one chapter, so – I was, you know, wondering – are you a genius or a total dumbass?” If I achieve my dream of being an editor/publisher I’m only editing YA. Too scary.)

NOTE

Craft, Christopher (1984). " "Kiss Me with those Red Lips": Gender and Inversion in Bram Stoker's Dracula". Representations (8): 107–133. doi: 10.2307/2928560. ISSN 0734-6018. JSTOR 2928560. Browning, John Edgar (2012). Bram Stoker's Dracula: The Critical Feast. Apocryphile Press. ISBN 978-1-937002-21-3.