Few books have so seized the public imagination as Bram Stoker's Dracula, even more popular now than when it was first published in 1897. This critical work represents a rereading of the horror classic as a Christian text, one that alchemizes Platonism, Gnosticism, Mariology and Christian resurrection in a tale that explores the grotesque. Of particular interest is the way in which the Dracula narrative emerges from earlier vampire tales, which juxtapose Apollonian and Dionysian impulses. A strong addition to vampire and horror scholarship.

String garlic by the window and hang a cross around your neck! The most powerful vampire of all time returns in our Stepping Stone Classic adaption of the original tale by Bran Stoker. Follow Johnathan Harker, Mina Harker, and Dr. Abraham van Helsing as they discover the true nature of evil. Their battle to destroy Count Dracula takes them from the crags of his castle to the streets of London... and back again.

Alison Milbank provides a complete reimagining of the Gothic literary canon to examine its engagement with theological ideas, tracing its origins to the apocalyptic critique of the Reformation female martyrs, and to the Dissolution of the monasteries, now seen as usurping authorities.

Evil, death, demons, reanimation, and resurrection. While such topics are often reserved for the darker mindscapes of the vampire subgenre within popular culture, they are equally integral elements of religious history and belief. Despite the cultural shift of presenting vampires in a secular light, the traditional figure of the vampire within cinema and literature has a rich legacy of serving as a theological marker. Whether as a symbol of the allure of sin, as an apologetic for assorted religious icons, or as a gateway into a discussion of liberationist theology, the vampire has served as a spiritual touchstone from Bram Stoker's Dracula, to Stephen King's Salem's Lot, to the HBO television series True Blood. In Such a Dark Thing, Jess Peacock examines how the figure of the vampire is able to traverse and interconnect theology and academia within the larger popular culture in a compelling and engaging manner. The vampire straddles the ineffable chasm between life and death and speaks to the transcendent in all of us, tapping into our fundamental curiosity of what, if anything, exists beyond the mortal coil, giving us a glimpse into the interminable while maintaining a cultural currency that is never dead and buried.

Beyond Dracula represents an important critical departure from the customary psychoanalytical approach to the writings of Bram Stoker. Reading Stoker as a participant in Victorian and Edwardian cultural life, the volume examines the breadth of Stoker's novel-length fiction, as well as his journalism, biographical writings and short fiction. In its considerations of questions of religion, censorship, gender and medicine, the volume will interest not merely readers of the Gothic but those involved in the study of Victorian and Edwardian culture.

It is 1900, the dawn of a new century. Even as the old Queen's health fails, Victorian Britain stands monumental and strong upon a mountain of technological, scientific, and intellectual progress. For John Kemp, a straight-forward, unimaginative London lawyer, life seems reassuringly predictable yet forward-leaning, that is, until a foray into the recently published sensationalist novel Dracula, united with a chance meeting with an eccentric Dominican friar, catapults him into a bizarre, violent, and unsettling series of events. As London is transfixed with terror at a bloody trail of murder and destruction, Kemp finds himself in its midst, besieged on all sides—in his friendships, as those close to him fall prey to vicious assault by an unknown assassin; in his deep attraction to an unconventional American heiress; and in his own professional respectability, for who can trust a lawyer who sees things which, by all sane reason, cannot exist? Can his mundane, sensible life—and his skeptical mind—withstand vampires? Can this everyday Englishman survive his encounter with perhaps an even more sinister threat—the white-robed Papists who claim to be vampire slayers?

Catholics are not Christians. They worship Mary. They do whatever the pope says. They cannot divorce. They eat fish on Fridays. These flawed but common statements reflect a combined ignorance of and fascination with Catholicism and the Catholic Church. Catholicism Today: An Introduction to the Contemporary Catholic Church aims to familiarize its readers with contemporary Catholicism. The book is designed to address common misconceptions and frequently-asked questions regarding the Church, its teachings, and the lived experience of Catholics in modern societies worldwide. Opening with a concise historical overview of Christianity in general and Catholicism in particular, the text explores the core beliefs and rituals that define Catholicism in practice, the organization of the Church and the Catholic calendar, as well as the broad question of what it means to be Catholic in a variety of cultural contexts. The book ends with a discussion of the challenges facing the Church both now and in the coming decades. Also included are two short appendices on Eastern Catholicism and Catholicism in the United States.

Compiled in one book, the essential collection of classic vampire books:The Vampyre, a Tale, John PolidoriCarmilla, J. Sheridan LeFanuDracula, Bram StokerDracula's Guest, Bram StokerThe House of the Vampire, George Sylvester ViereckVarney the Vampire, Thomas Preskett Prest

Powers of Darkness is an incredible literary discovery: In 1900, Icelandic publisher and writer Valdimar à?smundsson set out to translate Bram Stoker’s world-famous 1897 novel Dracula. Called Makt Myrkranna (literally, “Powers of Darkness†?), this Icelandic edition included an original preface written by Stoker himself. Makt Myrkranna was published in Iceland in 1901 but remained undiscovered outside of the country until 1986, when Dracula scholarship was astonished by the discovery of Stoker’s preface to the book. However, no one looked beyond the preface and deeper into à?smundsson’s story.In 2014, literary researcher Hans de Roos dove into the full text of Makt Myrkranna, only to discover that à?smundsson hadn’t merely translated Dracula but had penned an entirely new version of the story, with all new characters and a totally re-worked plot. The resulting narrative is one that is shorter, punchier, more erotic, and perhaps even more suspenseful than Stoker’s Dracula. Incredibly, Makt Myrkranna has never been translated or even read outside of Iceland until now.Powers of Darkness presents the first ever translation into English of Stoker and à?smundsson’s Makt Myrkranna. With marginal annotations by de Roos providing readers with fascinating historical, cultural, and literary context; a foreword by Dacre Stoker, Bram Stoker’s great-grandnephew and bestselling author; and an afterword by Dracula scholar John Edgar Browning, Powers of Darkness will amaze and entertain legions of fans of Gothic literature, horror, and vampire fiction.

Glover's efforts reveal a writer who was more wide-ranging and politically engaged than his current reputation suggests. An Irish Protestant and nationalist, Stoker nonetheless drew his political inspiration from English liberalism at a time of impending crisis, and the tradition's contradictions and uncertainties haunt his work. At the heart of Stoker's writing Glover exposes a preoccupation with those sciences and pseudosciences - from physiognomy and phrenology to eugenics and sexology - that seemed to cast doubt on the liberal faith in progress. He argues that Dracula should be read as a text torn between the stances of the colonizer and colonized, unable to accept or reject the racialized images of backwardness that dogged debates about Irish nationhood.