Product Description

This is the classic, hypnotic story of the undead creatures of the night--and the human lives they touch--as they relentlessly seek to satiate an accursed craving for their only sustenance: human blood. A Gothic novel of immense proportions, Dracula has only strengthened its grip on the public over the course of the last century.

Product Details

• Amazon Sales Rank: #574284 in Books
• Published on: 1986-08-21
• Original language: English
• Number of items: 1
• Binding: Paperback
• 400 pages

From School Library Journal
Grade 7-10Students will delight in this melodramatic presentation which is accomplished with echoes, howling wolves, blood-curdling shrieks, and spooky music. The imaginative use of hundreds of sound effects grabs listeners attention as the St. Charles Players, ten actors and actresses, present this abridged version of the 1897 novel. Carefully chosen to represent appropriate ages, sexes, and accents (British, Transylvanian, and Texan), they read briskly and are usually clearly understood. The Count always rolls his rrrs and is enhanced with an echo. Some of the Victorian dialogue is retained, giving a period flavor to the radio-play. It is also accurate in that some of the presentation is made through journal entries and letters. Events happen quickly and dramatically. While certain details, especially motives and reasons behind events, are omitted from the plot, they are not significant since the overall storyline is retained. (However, there is an epilogue hint of future actions from a vampire that is not in the edition of the novel that I consulted.) The popularity of Dracula will ascertain that this will circulate with studentstoo bad the flimsy cardboard case will not survive for many circulations. Teachers could also use the tapes to motivate students to read the book.Claudia Moore, W.T. Woodson High School, Fairfax, VA
Copyright 1999 Reed Business Information, Inc.

From Library Journal
The Dover volume collects 14 of Stoker's lesser-known horror stories such as "The Crystal Cup," "The Burial of the Rats," and "A Gipsey Prophecy." Though most of his other fiction has been overshadowed by Dracula, these offer some real chills and warrant reading. While editions of Dracula, which celebrated its centennial in 1997, are legion, Broadview's offers several extras, including a chronology of Stoker's life and appendixes on Transylvania, London, Mental Physiology, Reviews and Interviews, and more. That along with the full text make this one of the best editions available, especially at this remarkable price.
Copyright 1998 Reed Business Information, Inc.

Review
"Dracula is highly sensational....An immense amount of energy, a certain degree of imaginative faculty, and many ingenious and gruesome details are there. At times Mr. Stoker almost succeeds in creating the sense of possibility in impossibility."--Atheneum (June 26th, 1897)

"The audacity and horror of Dracula are Mr. Stoker's own. A summary of the book would shock and disgust; but we must own that, though here and there in the course of the tale we hurried over things with repulsion, we read nearly the whole with rapt attention."--Bookman (August, 1897)

"Mr. Bram Stoker gives us the impression of having deliberately laid himself out in Dracula to eclipse all previous efforts on the domain of the horrible....For all these, and a great many more thrilling details, we must refer our readers to the pages of Mr. Stoker's clever but cadaverous romance."--London Spectator (July 31st, 1897)
-- Review

Customer Reviews

Easily the best horror novel ever written
Bram Stoker's Dracula is, hands down, the greatest horror novel ever written. In addition, it is also an enduring classic of literature. You may have seen every Dracula movie ever made, but you do not know the real Count Dracula until such time as you have read Stoker's book. Of course, unless you have been living under a rock, you will know the general plot line, but I assure you there is a wealth of rich material buried throughout the text that is sure to excite, intrigue, and surprise you. Perhaps the ending is a slight anticlimactic, yet I, having read this novel before and being quite familiar with the Count, read the final pages with bated breath, an anxious mind, and the sense of exhilaration that only the most talented of writers can induce.

The most striking characteristic of Stoker's masterpiece is its solid grounding in late 19th-century Victorianism. This may prove frustrating to some readers. It is far from uncommon for the men in the tale to weep and bemoan the dangers threatening the virtuous ladies Lucy and Mina; virtue and innocence of women are hailed rather religiously. Mina, for her part, assumes the role then deemed proper for women, accepting and praising the men for their protection of her, worrying constantly about her husband rather than herself, shedding tears she must not let her husband see, etc. Yet, it is most interesting to see Mina rise above the circle of a woman's proscribed duties; she in fact becomes a true partner in the effort against Dracula, expressing ideas and conclusions that the men, with all of their wisdom, could not come up with themselves.

Another thing I find interesting is the lack of a clear protagonist in Dracula. Technically, I suppose, Jonathon Harker is the protagonist, but Mina, Dr. Van Helsing, Dr. Seward, and the Count himself basically operate on an equal plane with him. It is Van Helsing who can be described as the anti-Dracula; he plans the moves by which he and his friends seek to thwart the Count's plans and destroy him; the second half of the novel can be compared to a chess match between two equally strong competitors. Minor characters such as the lunatic Renfield are also drawn clearly in our mind's eye by Stoker's incredible gift of characterization. While the format is unusual--the novel consisting fully of diary and journal entries by different characters--you cannot help but be drawn in closely to the group of heroic souls who pledge their very lives to one another as they take it upon themselves to combat a centuries-old evil.

One could expound upon a number of themes in this novel (and many literary critics have certainly done so), so I will just quickly mention a few. Is this an erotic story? Certainly, to some extent, but there is certainly nothing overtly sexual in these pages. Is it really horrible? One might wonder how much blood one would encounter in this product of the Victorian age, but there are indeed some rather shockingly gruesome descriptions of events--nothing to shock modern readers but probably quite surprising to Stoker's contemporaries. There are also subtle overtones of religion in these pages. Aside from the Christian objects that have the power to keep vampires at bay, the most striking scene in the novel is Dracula's perversion of the Lord's Supper in his own most nefarious deed.

I cannot recommend Stoker's masterpiece highly enough. The impatient reader may encounter sections that move too slowly than he/she would like, but such lulls are always wiped away by sudden spurts of activity and drama. Feminists will dislike the Victorian characterization of the women but can find unexpected pleasure in the strength and intellect of Mina. Literary critics will surely find in these pages a deep ocean of issues ripe for analysis. Of most importance, the common reader will find an absorbing storyline which may horrify him/her to some degree in places but which will certainly offer great rewards of enjoyment. I think most individuals would be won over completely by the great humanity of these characters and the unexpected richness and complexity to be found in this story of a fiend they thought they already knew.

Misunderstood Classic
One of the scariest books in history, DRACULA is nevertheless misunderstood. Our civilization is removed from the Victorian era. We think of it as somehow distant and quaint, and ourselves as modern. But when Bram Stoker published DRACULA in 1897, the Victorian era _was_ modern. Stoker meant to make the book more frightening than most books by bringing an ancient horror into a modern, anti-superstitious world. He uses typewriters and phonograph disks the way a modern writer would refer to the internet and e-mail. DRACULA's first readers might've looked out of their town or country houses and expected to see Dracula's gaunt figure emerging through the fog.

He tells the story through a series of diaries, letters, clippings. Normally this is an unweildy method of storytelling, but in this case it is most effective.

The novel is divided into three broad sections. In the first, young Jonathan Harker and Dracula have the stage almost alone. Though Harker's diary we learn details of his journey through eastern Europe to meet a Count who wants to travel to England, and Harker carries him certain important papers. Count Dracula's character comes across very strong and well-defined, and grows ever menacing as Harker slowly learns he is not going to be allowed back to England, but will become food for Dracula's vampiric harem.

The second part of the book, set in England, deals with Mina Murray, who is going to marry Jonathan; Mina's friend Lucy; three men who are in love with Lucy; and a good-hearted but mysterious Ductch doctor, Abraham van Helsing. The bulk of this part deals with Lucy's mysterious disease, her decline to death, and her transformation into a vampire that her suitors must destroy out of love. Dracula appears only fleetingly through the book, but the reader knows what happens, and suspects the cause of Lucy's decline.

In the last part, Jonathan, Mina, and Lucy's three lovers band with Dr. von Helsing in a pact to destroy Dracula before he can spread his contagion throughout England; and meanwhile, Dracula wreaks his vengeance on them for taking Lucy from him.

Stoker uses many ways of approaching his subject. Occasionally the horror is direct; but once it is established, he makes it subtle, working behind the scenes, in a way that may be even more frightening. Though he also uses different voices, his prose is invariably fine. And as each character has to overcome his aversion to ancient superstition and face Dracula with a mind open to the fact that there's more in the world than science and technology and late-Victorian materialism can contain, the book becomes eerily meaningful for the twenty-first century.

Modern purveyors of vampiric fiction dispense with the blatant Christian symbolism used to fight Dracula's ilk, such as a crucifix or sanctified host, or prayer. They also turn the evil of Dracula topsy-turvey and somehow invent sympathy for soulless monsters who view living humans as food. Stoker doesn't hesitate to show Dracula as an evil, totalitarian horror; as a contagion that must be eradicated; as an enslaver of women, like Lucy, and men, like poor Renfield. And Stoker has reason enough to realized that only Supernatural agencies could fight the supernatural. The saving Blood of Christ on the Cross, blood of which a soulless terror like Dracula cannot drink, is the most effective symbol for fighting and defeating this brand of evil. It was part of the novel's consistency that as the characters have to come to grips with the reality of ancient evil, they must also return to the symbols of good that they also have rejected in a narrow-minded embracing of the modern.

Dracula, the strongest character in Victorian fiction, does not weaken himself by the need to be "understood" or "pitied". He will destroy or be destroyed. And the worst destruction that could happen to him would be mitigation.

DRACULA may be the scariest book ever written; it's certainly the best of the classic horror stories. It's well-crafted and exquisitely constructed enough that it stands as a great novel even without genre pigeonholing.

Truly Immortal
Dracula is a book like no other. I first read it when I was just a little kid and thought that this is the kind of literature taht should be read through and through. The writing style is very different and at the same time very catching. Stoker works immaculately to bring in the first person narrative to life in this through a journals-like style of prose. This book has spawned the modern interest of people with vampires and inspired a horde of movies and other books as well. The modern dsay queen of vampires Anne Rice in whole her vampire chronicles fails to capture the magic of that creature created by a syphilitic irishman. Stoker truly created a legend. Many reports speculate that Stoker based his story on facts with regard to the existence of Dracula. Vlad Tepesh or Vlad the IMpaler was the ruler of Walachia in the middle ages and is still a legend in Romania till this day. His ruthlessness against the Turks brought much fear in the hearts of men. Vlad was the kind of guy who would feast in front of a thousand people being impaled in front of him. The other part was the fact that Stoker was said to have witnessed a psychiatric case in which a person was demented in that he had to drink blood to relinquish himself from pains he was feeling. A number of peoplehave pointed that vampirism is truly a disease, a form of a disorder called porphyria in which treatment includes the injection of fresh hemoglobin into the patient. Incidentally those patients are sensitive to light, which is true to Stoker's version of events. In any case, Dracula is among the best tightly packed book out there, with the best perspective and excellent prose. Stoker truly does succeed in taking the writer to the land of horror and simply created the most immortal legend of all. Bram Stoker's Dracula, the movie directed by Francis Ford Coppolla holds true to the book for those who haven't got the time to sink their teeth into an amazing book as this.