Introduction and Notes by Dr David Rogers, Kingston University.
"There he lay looking as if youth had been half-renewed, for the white hair and moustache were changed to dark iron-grey, the cheeks were fuller, and the white skin seemed ruby-red underneath; the mouth was redder than ever, for on the lips were gouts of fresh blood, which trickled from the corners of the mouth and ran over the chin and neck. Even the deep, burning eyes seemed set amongst the swollen flesh, for the lids and pouches underneath were bloated. It seemed as if the whole awful creature were simply gorged with blood; he lay like a filthy leech, exhausted with his repletion."
Thus Bram Stoker, one of the greatest exponents of the supernatural narrative, describes the demonic subject of his chilling masterpiece 'Dracula', a truly iconic and unsettling tale of vampirism.
About the Author
Abraham "Bram" Stoker (8 November 1847 – 20 April 1912) was an Irish writer of novels and short stories, who is best known today for his 1897 horror novel Dracula. During his lifetime, he was better known for being the personal assistant of the actor Henry Irving and the business manager of the Lyceum Theatre in London, which Irving owned.
Industry Reviews
"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
"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
"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