Tag Archives: Dracula

Women in Horror Month: LindaAnn LoSchiavo

Today, from New York, I introduce LindaAnn LoSchiavo, writer and thinker. LindaAnn was nominated for the SFPA’s Elgin Award last year, for a collection of poetry. She has many works to her credit.

Handmaiden to the Dark Side

A bogeyman, like the one lying in wait under your bed, is likely to be unprepossessing. Beauty in folklore reflected inner worthiness, kindness, and morality. Conversely, fantasy’s evil-doers―goblins, trolls, demons, and miscreants―are born beastly: grotesque, misshapen, stunted, lacking sex appeal.

Tweaking that stereotype, Bram Stoker [1847-1912] decided to depict his iconic bad boy and animated corpse as a humanoid shapeshifter, erotically charged, his fangs coexisting with a sensual mouth. A charming cosmopolitan, Count Dracula is a tall, strong, mature aristocrat with the ability to regain youthfulness via blood-sucking. Stoker’s wealthy Transylvanian confirms his passion for real estate and ancient architecture, explaining, “A new home would kill me.” He’s courtly, too, holding the door open―for his guest’s untimely departure.

Our favorite creature of the night.

Dracula, the 1897 bestseller that’s been a model for supernatural horror writers, is one of the titles that thrilled me during my formative years. I read prodigiously as a child, one library book a day, memorizing poems and whatever caught my fancy.

Introduced to grand opera as a toddler, and taken to Broadway shows since I was four years old, I was not shielded from menacing adult themes onstage. For instance, since I had devoured Henry James’ gothic horror novella The Turn of the Screw as an elementary school pupil, I was taken to a performance of Benjamin Britten’s chamber opera adaptation. It featured two evil spirits who prey on the children; sexy, demonic Peter Quint and his cohort Miss Jessel, whose beautiful costumes and vocal chops dispelled some of their inherent Jamesian monstrosity.

Narrative and drama padded my girlish dreams. At nine, I had a poem accepted for publication and staged my first one-act drama in New York City (adapted from Alcott’s Little Women), my script typed six times for cast members. My nine-year-old self never heard of the sleight-of-hand trick of photocopying. 

Whether writing or reading, what captivated me were the transgressive characters, who dared to be different, whether it was Jo March, Queen of the Night, Peter Quint, or Count Dracula. But whenever I put pen to paper, unlike Bram Stoker, I gave villainy a long leash. No intrusive vampire hunters in my stanzas. 

My speculative poetry collection, Elgin Award nominee, A Route Obscure and Lonely [Wapshott Press, 2019, 62 pgs.] dances to dark music, featuring, for example, Black Sabbath rites, sinister deeds, and the Grim Reaper, who’s kept busy.

Two of my poems focus on vampires and what they vibe to: real estate and rejuvenation. “Unquiet House,” a dramatic monologue, is voiced by a vampire, posing as a house-hunter.

  Unquiet House         
 
 Dilapidated house. The broker’s keen
 To pitch the property to newlyweds
 From out-of-state, which we pretend to be.
  
 Maria’s chatter is distracting him,
 Eyes showing gleams of true engagement, winks.
  
 I slip out ― for a photo, I explain ―
 Meticulously cautious. Quiet shoes.
  
 How many bargain hunters have been here,
 Inspecting dirty cellar walls for clues
 Of water damage, not suspecting mold
 Is not the worst homeowner’s legacy?
  
 The deck is clouded. Spiders overhead,
 Suspended from dead vines, await a broom
 Knifing through filaments spun secretly.
  
 Unnatural deeds carry threads forward
 Like the black widow spider, breast-stroking
 Through gossamer voids under ragged moons.
  
 Sweet blood’s in undiscovered special rooms,
 Unconquerable sorrows tendon-taut.
  
 The “For Sale” sign nods back and forth as if
 It recognizes me through my disguise.
  
 No longer called a conjuror, my steps
 Still carry the pulsations of lost hearts.
   
 The agent doesn’t realize what’s right
 Behind him, why he must be sacrificed.
  
 Maria’s eyes meet mine, a message swept
 Across in spidery blinks of eyelash.
  
       The undead must have dreams for which to wait.

Published in Bewildering Stories, Issue # 827, October 7, 2019
You Tube Link: Unquiet House  ― as a video-poem   

Published by Wapshott Press

Of the thirty-three poems in A Route Obscure and Lonely, twenty-six were written in 2019 for this collection and composed with some symmetry. For instance, “The Mermaid’s Lament” was paired with “What Mother Failed to Mention about Dating a Mer-Man;” a chant royal “Persephone in January” was mated with a dramatic monologue on Persephone’s abduction “The Son-in-Law from Hell;” “Samhain” set on October 31 was offset by a spookier vision inspired by Mussorgy’s 1867 orchestral tone poem: “Night on Bald Mountain, St. John’s Eve, June 23.”

Then, ready for another round of vampire versifying, I retrofitted Dracula as a player in a Regency romance in the vein of Jane Austen. The first line of Pride and Prejudice―about “a truth universally acknowledged,” inspired the epigraph to “The Tale of the Vintner’s Daughter.” Her family’s vineyards depend on sun, whereas “he shuns daylight, potato-like.” Could Dracula’s real estate portfolio be date-bait?

           The Tale of the Vintner’s Daughter
  
                         “It is a truth universally acknowledged that a foreign bachelor,
                         in possession of a drafty castle, must be in want of a wife.”
  
 She overheard her parents mentioning
 A vast estate, long vacant, just changed hands.
 Inheritance. Fortunate foreigner,
 Related distantly. A gentleman ―
 Aristocrat ― whose bloodline staked his claim,
 Will take possession soon of Mount Ardeal.
  
 Townsfolk with daughters gave approval, sight
 Unseen. A bachelor! Well-circumstanced!
 Considering an heiress gets respect
 At any age, she was insulted when
 Her father dared to call her “an old maid.”
  
 Inspecting manicured and chaste white hands,
 Aware there’s merit in matched wedding bands,
 Realities of warring unmet needs
 Upbraid the tight lips of virginity.
  
 Receptions will be held, bite-size buffets.
 This heir, unknown, is suddenly “a catch.”
 The vintner’s daughter can sense life’s about
 To change once she’s in a relationship.
 Enchanting friendships could lead to courtship.
  
 Her early childhood memories were filled
 With bone-dry men admitting they had come
 To slake their thirst, which is unquenchable,
 She learned, while watching mother pour and pour.
  
 Vacationing at vineyards tutored her.
  
 She watched the women kneeling to tie off
 Vines ― how their expertise was in the knots
 Not grapes ― enduring, bending, bowing low,
 And salving calloused hands at quitting time.
  
 Admiring the fruitfulness of their
 Harvest on horseback, they see an ornate
 Black carriage pass, its curtains tightly drawn.
 It must be him, the heir they’ve heard about.
  
 Born in Romania, this bachelor
 Inherited five castles, acreage.
  
 Unlike the grapes, their ripening athirst
 For sun, he shuns daylight, potato-like,
 Basks in his soft cocoon of native soil.
  
 Their fete won’t start till red horizon’s drained
 And autumn air’s electric with decay.
  
 Assuming his disguise, Count Dracula
 Arrives, polite, attired properly,
 Seductive, well turned-out considering
 He can’t see his reflection. Mirrors won’t
 Hold him. Avoiding long engagements, he’ll
 Tell ladies he prefers to sleep alone.
  
 Echolocation guides his strong black wings
 To candle-lit bed chambers. Milky white
 Breasts, pleasure’s playthings, don’t stir his manhood.
 Sharp fangs seek virginal smooth necks. Always
 His type, blood’s sustenance is what he craves,
 Imagining the process from the grave.
  
 He’s parched when entering the ballroom.
 Delaying satisfaction sweetens it.
 Unmarried females study him, inspect
 His gold ancestral jewelry engraved
 Impiously. Flirtatious words affect
 The vintner’s daughter, nodding glassy-eyed,
 Intoxicated. His gaze penetrates
 Until she’s under his hypnotic sway.
  
 The heiress has arranged to meet the Count
 In private. At eleven they will mount
 Their horses, undetected, take a ride.
  
 Discreet, she’ll hide in the orangerie,
 Alerting him to the romantic grove
 By a rose-petalled trail, a daring ruse.
  
 Excited to imagine his caress,
 The dark dissolving inhibitions, she’s
 Startled by flapping wings overhead.
  
 Peculiarly, her petals were consumed.
  
 Spotting a white handkerchief on a chair,
 She rests her rosebuds there ― a silent prayer. 

Published in Bewildering Stories, Issue # 825,  Sep. 16, 2019 

Dark poetry is not a road to warm refuge. Death occurs often in these pages and never in service of a higher purpose. Yet contemplating the eternal quietus is bracing. For away from the abyss, all height’s revised.

N.B.: Some poems have a video version.

You Tube Link: The Son-in-law from Hell  ― as a video-poem   
You Tube Link: Poe and His Women  ― as a video-poem   


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Women in Horror: Nancy Kilpatrick

WiHMX-horizontal-WhiteIt’s bloody Valentine’s Day and who to know more about the horror of vampire’s than Canada’s own Nancy Kilpatrick. Nancy talks about collecting, vampires and all that crazy killer love of them.

Vampires. Now you see ‘em, now you don’t. They’ve been around at least since the first written records of humanity’s history, and likely since the first mortals ventured out of caves and decided they enjoyed being bipeds. As we’ve evolved, so have the Undead. After all, we imagined them, so we have creators’ rights to bring them up to our speed.

Being one of those insane types who becomes obsessed about certain things, I’ve ended up with a library of vampire novels totaling over 2,500 volumes, which will be hard to move if I ever need to. I also own a hundred or so movie posters, games, dolls, toys, pamphlets, PhD dissertations, small press non-fiction offerings, movies, vinyl and CD music, poetry, jewelry, clothing, toys and much other memorabilia related to Bloodsuckers (and their less physical cousins who don’t want to sip our blood but do want to imbibe our energy, our dreams, our souls, or whatever else they desire which we possess).

kilpatrickI’ve also written quite a bit on vampires. Currently, my 22nd novel has just been released in a vampire series for adults called “Thrones of Blood.” Vol 4: Savagery of the Rebel King follows the bite trail of Vol 1: Revenge of the Vampir King; Vol 2:  Sacrifice of the Hybrid Princess; Vol 3: Abduction of Two Rulers.

Being awash in this crimson milieu has resulted in a bit of knowledge about these supernatural creatures, especially in terms of what’s been written, and what hasn’t. Which is why the great hoopla about the Twilight books and movies and others of that ilk has astounded me. Both the pro and anti positions are strong still and within those are factions like: Camp Edward (vampire) or Camp Joseph (werewolf)—pick your own fantasy guy.

Twilight has been viewed as teen fodder, but it was not only young adults and not only females that adored the material. Rumor has it that moms also jumped on the coffin wagon. This sanitized vampire world spoke to budding hormones, since the human protagonist didn’t have sex until marriage, which came at the end of the series. Edward Cullen (approximate age 117 years), aka The Good Boyfriend, was always there for his still-in-high school human sweetheart Bella Swan. Attentive. Kind. Not pushy. Self-effacing to a fault; he would rather harm himself than harm her, abandon her instead of inflicting his questionable true self on his true love. Much tease, little payoff.

But vampires have always had problems being accepted. Derived from legends and mythology with a few “true” accounts, in the past this creature was portrayed as horrific, violent, a fearsome, murderous, blood-drinking resuscitated corpse.

dracula-jpg-20170208

Bela Lugosi as Dracula

The review in the Manchester Guardian on the 1897 release of Bram Stoker’s book is so scathing. Bela Lugosi played Dracula on stage and in 1931 on screen. While the movie was well received by the public, some of the female persuasion reputedly fainted en masse in the theater, The New Yorker’s negative review included, “there is no real illusion in the picture” and, “This whole vampire business falls pretty flat.” The Chicago Tribune did not think the film as scary as its stage version, calling it “too obvious” and “its attempts to frighten too evident.” Despite that, The Tribune deigned to conclude it was “quite a satisfactory thriller.”

All this to say that the vampire has floated side by side over millennia with us and that each incarnation has met with acceptance and rejection. Ultimately, the vampire, IMHO, is composed of many facets, which is why its popularity ebbs and then flows again at a re-envisioning, and why it likely will always remain the most popular supernatural. This monster is recognizable as us. Vampires were human and can still take human form.

We’ve cleaned up the vampire to meet our exacting germ-obsessed 21st century kilpatrick2standards. And that’s fine because it’s what the public demands. Each generation finds a new facet to engage with. Generation X had the most recent crack at redefining the vampire as a being that sparkles. A backlash resulted to return to the more terrifying Undead. We will have to wait to see what Gens Y or Z concoct. But if history means anything, it tells us that the vampire will not be staked into oblivion. If that was going to happen it would have already occurred. This dark archetype resonates in its myriad forms. Twilight is already part of the comprehensive history of the most intriguing of supernaturals.

Nancy Kilpatrick, who has been called Queen of the Undead, Canada’s Anne Rice, and That Hot Vampire Chic, says these monikers leave her delirious because “Somebody’s got to own it!”  Kilpatrick writes vampires, not only, but mostly. Her website lists her novels and collections. In addition, she has published over 220 short stories, 1 non-fiction book—The Goth Bible: A Compendium for the Darkly Inclined—as well as graphic novels and stories and lots of non-fiction articles. She whiles away her limited free kilpatrick3time visiting crypts, catacombs, cemeteries, mummies, jeweled skeletons and Danse Macabre artwork. Her latest creations are the sinister and seductive vampires in Thrones of Blood, with the first 4 books of this 6 book series out now. Check out the ebook of #4, Savagery of the Rebel King here  as well as at Amazon.ca and Amazon.co.uk.

Nancy Kilpatrick’s website is here and if there’s something not there that you want to know about her, ask at the bottom of the page. Nancy can also be found on Facebook,
Twitter, Instagram and on her Blog.

Links to the Thrones of Blood series:

 

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Women in Horror: Robyn Alezanders

WiHMX-horizontal-White

Today, Robyn Alezanders talks about acting, Dracula and the role of consent and sexuality with vampires.

Female Vampires in the Age of #MeToo

A couple of months ago I decided to challenge myself, try to check off a bucket list item, and hopefully get my creative mojo back by auditioning for a play. Not just any play either, but a community production of Dracula, and proud to say I landed it, portraying one of the vampire brides/Vixens. An absolute dream role, one I’ve coveted since I fell in love with vampires and the horror genre almost four decades ago.

Alezanders

Robyn Alezanders playing the bloodthirsty Vixen

The entire theater experience thus far has been amazing and inspiring, thanks to an amazing woman director and a cast and crew who have made me, the newbie, feel entirely at home. Everyone is very open, very candid about themselves and what they bring to their roles, and as to be hoped and expected for, consent is strongly instituted. In a production where the story dictates a lot of touching and physical interaction, we have all discussed comfort levels and boundaries.

Dracula involves multiple obsessions: sex, feasting (food), faith, love, life, and death, but it’s the sexual component that has me most intrigued. It’s easy to analyze the Transylvanian count and see the flaws in his seductive dance, especially when focusing on his behavior with Lucy and Mina. He pursues who he wants and takes what he wants, and yet it’s that kind of control that many men and women find incredibly appealing about vampires. I, like many of those admirers, have a vampire fetish, extremely turned on by the neck biting, the submission, the feeling of being carried away into the depths of erotic imagination.

During these rehearsals, I’ve thought back to my goth nightclub days, where I alternated between “baby vamp,” hair pulled up in Pebbles Flintstone style, baggy white nightgown, and large wooden upside down cross, and “sexy vamp,” black lace, velvet, and fishnet stockings. Under either persona, I attracted flirtatious responses, emulating that compelling creature that’s become no pun intended, a forever classic in literary, cinematic, pop culture, music, and role-playing ventures.

The Vixens are eye candy and then some in three momentous scenes of this production. Clad in vintage flowing wedding dresses, we slither and crawl, evoking that interesting line between lust and fear−sadistic, wild, feral women ready to pounce on what (and who) they desire. It’s many a heterosexual man’s fantasy, isn’t it, to have four bewitching women all over him, despite the ultimate reveal that they bear more than just a sexual appetite?

We fondle, grope, and hold Harker down, moaning, cooing, giggling, and sniffing, exhibiting an over-excitement at hopefully satiating our hungers. And this in particular has me thinking about the role reversal of the Vixens vs Dracula−the portrayal of aggressive, overpowering, coercive women. Are we simply owning our sexuality, that which we should, that which men often already do, or are we, in the same context of dissecting Dracula, something more suggestively sinister? Harker is a perfect match for the virginal Mina−he is conservative, cautious, a by-the-rules gentleman. It is that purity that adds to Dracula’s attraction to Mina, and the obvious contradiction between her and Lucy, who has presumably not behaved as virtuously with some suitors. If Lucy is still indeed a virgin, she is at least a lot more self-aware of her beguiling wiles than Mina.

Alezanders - Dracula Vixens and Harker (002)

Harker being seduced by the Vixens

In the seduction scene between Harker and the Vixens, he is asleep, and we guess that he is most likely dreaming of his beloved. He feels the Vixens licking, nibbling, and stroking him, but is in that blurry state of applying those actions to what he’s dreaming about. He may even naturally be getting turned on, softly mumbling his fiancée’s name, before suddenly snapping awake, and realizing who is atop him. We hold him down, force against his struggles, and still try to dominate him (three Vixens at his arms and chest, me at and then between his legs), only to be cast off by Dracula entering the room and commanding us to stop. In those fleeting moments we have with Harker awake, is he solely aghast at seeing our fangs for fear of being killed, or because it hints at dangerous, unwillful sex? Were our fangs not evident, were the threat not so obvious, how far would the sexual element go? Would he even dare to touch us back? What of the metaphors between the Vixens and sex?

Our movements are animalistic, that of jungle cats on the prowl. We are also each from different centuries, and in this production, reminiscent of or inspired by historical female killers. There are multiple layers to muse on – did their inherent viciousness draw them to Dracula, or something else? What are they now, as compared to their mortal lives as rulers, forces unto themselves, formidable women not to be messed with? They have an essence of Manson Girls about them, that semblance of subservience, and what does that say? They’re trying to satisfy their lusts in the only ways they know how, but that’s quelled by Dracula−we are ordered to obey, and pacified like children. Lucy Westenra roams freely after becoming a vampire−it is her conspicuous behavior as the “Bloofer Lady” that leads to her ultimate demise. Have the Vixens just been lucky in avoiding the attention of vampire hunters, or are they kept quarantined to the castle? And if held to their home, why them, and not Lucy? What is the full extent of Dracula’s dictation, and how does it affect the Vixens’ sexual drives?

Alezanders - Vamp Vixen (002)

Robyn as Vixen

As with any centuries-old story, it’s not unusual for adaptations and variations to echo societal issues or notable distinctions of the present time period. So what to do in this age, where we are redefining boundaries, encouraging and supporting more outspoken discussions, and pushing #MeToo to the forefront of conversations? What are the obligations, if any, from horror writers, women horror writers, women horror writers who can personally relate to #MeToo?

Putting aside Dracula’s sole behavior being called into question and castigated for ignoring consent, what if the Harker seduction involved more than one male vampire pinning down a woman? Unless explicitly designed, promoted, or described as something otherwise, how would it not then seem a bit uncomfortable to watch or unseemly? Contrary to the titillation of multiple women trying to have their way with a guy, against his true will, strutting with sensual purpose, and oozing with their sense of empowerment.

Bela Lugosi in 1931 film Dracula. Creative Commons

As I said, I am loving this role simply because it’s personally awesome to portray a vampire, and because it has re-ignited a long dormant creative rut. But I’m also seeing the story in another light, and despite the still erotic components, also seeing that Dracula is not the only one with debatable actions. As horror writers, we evoke and depict that which scares and unsettles us, weaving commentary into our spooky scenes and monsters’ motivations. We create atmospheres that often have much more layers for analysis than the surface impressions and words. As writers in general, we also tend to insert our own experiences into stories, either as catharsis or as in-your-face terror.

Do I now soften the vicious women I write about? Mirroring real life, there are indeed women who are just as awful and criminal as men, so whether I keep my characters as mortal or otherworldly, they shouldn’t all be victims or the nicest gals around. At some point though, I may incorporate my own #MeToo experience into some story, which hearkening back to reality, would be in the guise of a male character. It’s all an entirely new scope to explore, in step with this recent landscape we are carving….one which may take interesting turns when (re)interpreted in creative works.

Robyn Alezanders made her horror debut with the short story, “Soul Stains,” in Des Lewis’ Alezanders Bio Pic (002)critically acclaimed Nemonymous 5, and earned an Honorable Mention in the 19th Year’s Best Fantasy & Horror. Her work has also appeared in The Mammoth Book of the Kama Sutra, Eternal Haunted Summer, and New Spirit Journal. She hopes to pursue more theatrical roles after Dracula, and to further explore the intricacy of haunting women characters.

https://nemonymous123456.wordpress.com/2013/05/11/soul-stains-robyn-alezanders/

https://www.amazon.com/Mammoth-Book-Kama-Sutra/dp/0762433930

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Dracula’s Descendant Brings New Tales

stoker-2L-book-areaFinally after a hundred-plus years there is another Dracula book, a sequel; Dracula: The Un-Dead. (Dutton Books, $26.95 USD) You might be wondering how this is significant as there have been many Dracula books and even more vampire books, a subgenre all of its own. Well this one is different, written supposedly by Bram Stoker’s  great grandnephew, Dacre Stoker. In the family tree end of things this is Bram’s brother’s son’s son’s son.

Bram had a fair number of siblings (6) and it doesn’t seem that all of them wrote, nor any of them achieved his notoriety. But there is this penchant in fiction these days for the descendants of great writers to suddenly lift the pen and write a sequel to a story, as if the blood that ran in the veins of a great writer has been distilled down the decades to make more creative geniuses. If this were indeed the case, it would be a surprise that anyone took up any other profession but the successful careers of their parents: lawyers begetting lawyers, painters begetting painters, murderers begetting murderers.

But of course we have individualism and of course there is no guarantee that a relative will have the same talent as their ancestor. Yet we’ve seen sequels to Dune written by Brian Herbert, to Lord of the Rings by a Tolkien relative, to a few other great names with relatives getting involved. And sometimes there have been sequels but not by a writer’s descendants but someone else given free rein in the established territory (the sequel to Gone With the Wind for example).  Yet the publishing world loves its marketing gimmicks as much as any big business. And maybe it helps…for selling.

However, I’ve not read the book yet because it’s was launched Oct. 13, a nice spooky date, coinciding with the Hallowe’en month and the unlucky number of 13. When you look at the cover you see that it is written by Dacre Stoker (large letters) and Ian Holt (smaller font). Check out the bios for Stoker and Holt, you will see that Stoker is a past world class athlete and executive director of the Aiken Land Conservancy, a Canadian citizen living in the US. Holt, on the other hand is a writer, who (surprise surprise) has written previous Dracula based novels and screenplays. Just like the books that William Shatner has supposedly written it will be a case of maybe Stoker supplied a few ideas and Holt did the writing, knowing he’d have the Stoker name to pull in the sales. A sweet deal all in all.

From the website’s own pages http://www.draculatheundead.com/index.htm:

Dracula The Un-Dead is a bone-chilling sequel based on Bram Stoker’s own handwritten notes for characters and plot threads excised from the original edition. Written with the blessing and cooperation of Stoker family members, Dracula The Un-Deadbegins in 1912, twenty-five years after Dracula “crumbled into dust.” Van Helsing’s protégé, Dr. Jack Seward, is now a disgraced morphine addict obsessed with stamping out evil across Europe. Meanwhile, an unknowing Quincey Harker, the grown son of Jonathan and Mina, leaves law school for the London stage, only to stumble upon the troubled production of “Dracula,” directed and produced by Bram Stoker himself.

 The play plunges Quincey into the world of his parents’ terrible secrets, but before he can confront them he experiences evil in a way he had never imagined.  One by one, the band of heroes that defeated Dracula a quarter-century ago is being hunted down.  Could it be that Dracula somehow survived their attack and is seeking revenge? Or is their another force at work whose relentless purpose is to destroy anything and anyone associated with Dracula?

 Stoker’s characters had Victorian sensibilities and not so shadowy personalities as this sequel seems to indicate. But like all those comics with the dead superheroes that somehow get resurrected, perhaps Dracula is back. Or maybe not. I won’t be rushing out to read this and it will be up to each person to make their own decision as to how good a Dracula story it is. I just don’t place any faith in a descendant carrying the torch of former writing glory even if supposedly this is from some notes of Stoker’s. Of course, those notes could be as simple as: Dracula=evil, Harker=just and good, Mina=corrupted by evil. I’d love to see what these notes were and having those published in a book could be far more entertaining.

And of course, it’s no surprise this book is being looked at to make a movie. In fact, it started as a screenplay idea and then supposedly Dacre said it was best to start as a novel. More revenues no doubt. As to what Stoker thought of himself as a character in a Dracula sequel and whether or not he’ll be rolling in his grave? Well, we’ll just have to sit beside the mausoleum where his ashes are and keep the garlic away to find out.

http://io9.com/5361879/bram-stokers-descendant-pens-official-dracula-sequel

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