'Vampire fiction' covers the spectrum of literary work concerned principally with the subject of
vampires. The literary vampire first appeared in poetry, before becoming the stock figure of
gothic fiction with the publication of
Polidori's ''
The Vampyre'' (1819). The masterpiece of the genre is
Bram Stoker's ''
Dracula'' (1897).
History
Eighteenth century
Vampire fiction is rooted in the 'vampire craze' of the 1720s and 1730s, which culminated in the somewhat bizarre official exhumations of suspected vampires
Peter Plogojowitz and
Arnold Paole in
Serbia under the
Habsburg Monarchy. One of the first works of art to touch upon the subject is the short German poem ''The Vampire'' (1748) by
Heinrich August Ossenfelder, where the theme already has strong erotic overtones: a man whose love is rejected by a respectable and pious maiden threatens to pay her a nightly visit, drink her blood by giving her the seductive kiss of the vampire and thus prove her that his teaching is better than her mother's
Christianity. Furthermore, there have been a number of tales about a dead person returning from the grave to visit his/her beloved or spouse and bring them death in one day or another, the
narrative poem ''Lenore'' (1773) by
Gottfried August Bürger being a notable 18th century example. One of its lines ''Denn die Toten reiten schnell'' ("For the dead travel fast") was to be quoted in Bram Stoker's classic ''Dracula''. A later German poem exploring the same subject with a prominent vampiric element was ''
The Bride of Corinth'' (1797) by
Goethe, a story about a young woman who returns from the grave to seek her betrothed:
:From my grave to wander I am forced
:Still to seek the God's long server'd link,
:Still to love the bridegroom I have lost,
:And the lifeblood of his heart to drink.
The story is turned into an expression of the conflict between
Heathendom and Christianity: the family of the dead girl are Christians, while the young man and his relatives are still pagans. It turns out that it was the girl's Christian mother who broke off her engagement and forced her to become a nun, eventually driving her to death. The motive behind the girl's return as a "spectre" is that "e'en Earth can never cool down love". Goethe had been inspired by the story of ''
Philinnion'' by
Phlegon of Tralles, a tale from
classical Greece. However, in that tale, the youth is not the girl's betrothed, no religious conflict is present, no actual sucking of blood occurs, and the girl's return from the dead is said to be sanctioned by the gods of the
Underworld. She relapses into death upon being exposed, and the issue is settled by burning her body outside of the city walls and making an
apotropaic sacrifice to the deities involved.
The first mention of vampires in English literature appears in
Robert Southey's monumental oriental epic poem ''
Thalaba the Destroyer'' (1797), where the main character Thalaba's deceased beloved Oneiza turns into a vampire, although that occurrence is actually marginal to the story. It has been argued (Leatherdale 1993: 46-9) that
Samuel Taylor Coleridge's poem ''
Christabel'' (written between 1797 and 1801, but not published until 1816) has influenced the development of vampire fiction: the heroine Christabel is seduced by a female supernatural being called Geraldine who tricks her way into her residence and eventually tries to marry her after having assumed the appearance of an old beloved of hers. The story bears a remarkable resemblance to the overtly vampiric story of
Carmilla by
Joseph Sheridan Le Fanu (1872).
Nineteenth century
In a passage in his
epic poem ''
The Giaour'' (1813),
Lord Byron alludes to the traditional folkloric conception of the vampire as a being damned to suck the blood and destroy the life of its nearest relations:
:''
But first, on earth as vampire sent,
Thy corse shall from its tomb be rent:
Then ghastly haunt thy native place,
And suck the blood of all thy race;''
:''
There from thy daughter, sister, wife,
At midnight drain the stream of life;
Yet loathe the banquet which perforce
Must feed thy livid living corse:
Thy victims ere they yet expire
Shall know the demon for their sire,
As cursing thee, thou cursing them,
Thy flowers are withered on the stem.
Byron also composed an enigmatic fragmentary story concerning the mysterious fate of an aristocrat named Augustus Darvell whilst journeying in the Orient - as his contribution to the famous ghost story competition at the
Villa Diodati by
Lake Geneva in 1816, between him,
Percy Bysshe Shelley,
Mary Shelley and
John William Polidori (who was Byron's personal physician). This story provided the basis for "
The Vampyre" (
1819) by Polidori. Byron's own wild life became the model for Polidori's undead protagonist
Lord Ruthven. Polidori's Lord Ruthven seems to be the first appearance of the modern vampire: an undead, vampiric being possessing a developed intellect and
preternatural charm, as well as physical attraction. A. Asbjorn Jon has recognised that 'the choice of name [for Polidori's Lord Ruthven] is presumably linked to Lady Caroline Lamb's earlier novel Glenarvon, where it was used for a rather ill disguised Byronesque character.
[1]By contrast, the vampire of folklore was almost invariably thought of as a hideous, unappealing creature.
An unauthorized sequel to Polidori's tale by Cyprien Bérard called ''Lord Ruthwen ou les Vampires'' (1820) was adapted by
Charles Nodier into the first vampire stage melodrama, ''Le Vampire''. Unlike Polidori's original story Nodier's play was set in Scotland. This in turn was adapted by the English melodramatist
James Planché as ''The Vampire; or, the Bride of the Isles'' (1820) at the
Lyceum (then called the English Opera House), also set in Scotland. Planché introduced the "vampire trap" as a way for the title fiend to appear in a dream at the beginning and then to vanish into the earth at his destruction. Nodier's play was also the basis of an opera called ''
Der Vampyr'' by the German composer
Heinrich Marschner who set the story in a more plausible
Wallachia. Planché in turn translated the libretto of this opera into into English in 1827 where it was performed at the Lyceum also.
Alexandre Dumas, père later redramatized the story in a play also entitled ''Le Vampire'' (1851).
An important later example of 19th century Vampire fiction is the
penny dreadful epic
Varney the Vampire (1847) featuring
Sir Francis Varney as the Vampire. In this story we have the first example of the standard trope in which the vampire comes through the window at night and attacks a maiden as she lies sleeping.
Heathcliff in
Emily Bronte's ''
Wuthering Heights'' (1847), is suspected by his housekeeper of being a vampire, in the final chapter of that novel.
Another famous vampire of this period is Sir Alan Raby who is the lead character of ''The Vampire'' (1852), a play by
Dion Boucicault.
Fascinating erotic fixations are evident in
Sheridan le Fanu's classic novella ''
Carmilla'' (1872) which features a female vampire with lesbian inclinations who seduces the heroine Laura whilst draining her of her vital fluids. Le Fanu's story is set in the
Duchy of Styria. Such central European locations became a standard feature of vampire fiction.
Another important example of the development of vampire fiction can be found in three seminal novels by
Paul Féval: ''Le Chevalier Ténèbre'' (
1860), ''La Vampire'' (
1865) and ''La Ville Vampire'' (
1874).
Dracula
Bram Stoker's ''
Dracula'' (1897) has been the definitive description of the vampire in popular fiction for the last century. Its portrayal of vampirism as a disease (contagious demonic possession), with its undertones of sex, blood, and death, struck a chord in a Victorian Britain where
tuberculosis and
syphilis were common. A decade before in
1888, the press had sensationalized
Jack the Ripper's
sexualized murders of
prostitutes during his reign of terror in
East London.
The name ''
Count Dracula'' was inspired by a real person, ''Vlad Ţepeş'' (''
Vlad the Impaler''). Ţepeş was a notorious
Wallachian (
Romanian) prince of the 15th century, also known by as
Vlad III Dracula. Unlike the historical personage, however, Stoker located his Count Dracula in a castle near the
Borgo Pass in
Transylvania, and ascribed to that area the supernatural aura it retains to this day in the popular imagination.
Stoker likely drew inspiration from
Irish myths of blood-sucking creatures. He was also influenced by Le Fanu's ''Carmilla''. Le Fanu was Stoker's editor when Stoker was a theatre critic in
Dublin,
Ireland. Like Le Fanu, Stoker created compelling female vampire characters such as
Lucy Westenra and the
Brides of Dracula.
Twentieth century
Most 20th-century vampire fiction draws heavily on Stoker's work. Early films such as ''
Nosferatu'' and those featuring
Bela Lugosi and
Christopher Lee are examples of this. ''Nosferatu,'' in fact, was so clearly based on ''Dracula'' that Stoker's widow sued for copyright infringement and won. As a result of the suit, most prints of the film were destroyed. She later allowed the film to be shown in the U.K.
Though most later works of vampire fiction do not feature Dracula as a character, there are typically clear thematic ties. These include the association of the vampire with great wealth and erotic power, as well as frequent use of
Gothic settings and iconography.
Prior to the mid-1950s, vampires were usually presented as supernatural beings with mystical powers. Discussion of the transmission of vampirism was sketchy at best. This changed with the publication of ''
I Am Legend'' by author
Richard Matheson in (
1954). The story of a future Los Angeles, overrun with undead cannibalistic/bloodsucking beings changed the genre forever. One man is the sole survivor of a
pandemic of a
bacterium that causes
vampirism. He must fight to survive attacks from the hordes of nocturnal creatures, discover the secrets of their biology, and develop effective countermeasures. This was the first piece of fiction with an analytical slant towards vampires.
The 1981 novel and 1983 film ''
The Hunger'' examined the biology of vampires, suggesting that their special abilities were the result of physical properties of their blood. The novel suggested that all vampires were not undead humans, but some were a separate species that had evolved alongside humans. This interpretation of vampires has since then been used in several science-fiction stories dealing with vampires, most famously the
Blade movie series.
The latter part of the twentieth centry saw the rise of multi-volume vampire epics. The first of these was gothic romance writer
Marilyn Ross's
Barnabas Collins series (1966-71) loosely based on the contemporary American TV series ''
Dark Shadows''. It also set the trend for seeing vampires as poetic tragic heroes rather than as the traditional embodiment of evil. This formua was followed in the popular ''
Vampire Chronicles'' (1976-2003) series of novels by
Anne Rice and
Chelsea Quinn Yarbro's massive Saint-Germain series (1978-). Ross, Rice and Yarbo set the trend for multi-volume vampire sagas which are now a stock feature of mass-market fiction (see below for list). Rice's work also saw the beginning of the convergence of traditional gothic ideas with the modern
gothic subculture. Less formulaic is
Kim Newman's
Anno Dracula series (1992-) which returns to Stoker's Count Dracula and gives the genre a somewhat
post-modern spin.
Twenty-first century
Many books based on vampires are still published now, including several continuing series. Anne Rice's Vampire Chronicles ended after many years, and many others have started up in the meantime. There are many supernatural romances with handsome vampires as the male leads, and erotic novels as well.
Charlaine Harris began the "Southern Vampire Mysteries" in 2001.
Jim Butcher's
Harry Dresden fantasy series (2000-) features four different breeds of vampire.
Stephenie Meyer created an ongoing young adult fantasy series about a teenager named
Bella Swan and her vampire lover,
Edward Cullen, beginning with ''
Twilight'' (2005). Ellen Schreiber created a series about Raven Madison and her vampire boyfriend Alexander Sterling, in Vampire Kisses, Kissing Coffins, Vampireville, Dance with a Vampire, and the manga book Blood Relatives. Also Japanese novelist
Hideyuki Kikuchi's postapocalyptic vampire series (1983-),
Vampire Hunter D has begun to be translated into English (2005-). In
Scott Westerfeld's young-adult novel ''
Peeps'' (2005), the protagonist carries a contageous parasite that causes vampire-like behavior. There is a poem called
La Belle Dames Sans Merci: which is a vampire version of Keats famous poem
The king of vampires Count Dracula also continues to inspire novelists.
Elizabeth Kostova wrote a detailed historical horror book connecting Vlad the Impaler to Dracula called ''
The Historian'' (2005). The most recent incarnation of the Count features in
John Marks update of Bram Stoker's novel ''
Fangland'' (2007). According to a review by Sinclair McKay in the Telegraph (18th August 2007) this novel is 'truly unsettling' and contains moments of 'jump-up-and-down-on-the-sofa-scariness'.
Traits of vampires in fiction
The traits of the literary vampire have evolved from the often repulsive figures of folklore. Fictional vampires can be romantic figures, often described as elegant and sexy (compare demons such as
succubus and
incubus). This is in stark contrast to the vampire of Eastern European folklore, which was a horrifying animated corpse.
According to literary scholar
Nina Auerbach in ''Our Vampires Ourselves'', the influence of the moon was seen as dominant in the earliest examples of vampire literature:
:"For at least fifty years after Planche's Vampire, the moon was the central ingredient of vampire iconography; vampire's solitary and repetitive lives consisted of incessant deaths and - when the moon shone down on them - quivering rebirths. Ruthven, Varney and Raby need marriage and blood to replenish their vitality but they turn for renewed life to the moon...a corpse quivering to life under the moon's rays is the central image of midcentury vampire literature; fangs, penetration, sucking and staking are all peripheral to its lunar obsession."
Later, Bram Stoker's ''Dracula'' was hugely influential in its depiction of vampire traits. However despite the novel's important contributions to vampire fiction, several popular traits of fictional vampires are absent. Count Dracula is killed by a kukri knife, not a wooden stake. The destruction of the vampire Lucy is a three-part process (staking, decapitation, and garlic in the mouth), not the simple stake-only procedure often found in later vampire stories. Dracula has the ability to change his shape at will, his featured forms in the novel being that of a wolf, bat, dust and fog. He can also crawl up and down the vertical external walls of his castle, in the manner of a lizard. One very famous trait Stoker added is the inability to be seen in mirrors, which is not found in traditional Eastern European folklore.
It is also notable in the novel that Dracula can walk about in the daylight, in bright sunshine, though apparently in discomfort and without the ability to use most of his powers, like turning into mist or a bat. He is still strong and fast enough to struggle with and escape from most of his male pursuers, in a scene in the book. Traditional vampire folklore does not usually hold that sunlight is fatal to vampires, though they are nocturnal. It is only with the film Nosferatu that daylight is first depicted as deadly to vampires.
A well-known set of special "powers" and weaknesses is commonly associated with vampires in contemporary fiction. There is a tendency, however, for authors to pick and choose the ones they like, or find more realistic, and have their characters ridicule the rest as absurd.
★ Vampires are sustained by drinking blood. They do not need other food, water, or even oxygen. They are sometimes portrayed as being unable to eat human food at all, forcing them to either avoid public dining or mime chewing and eating to deceive their mortal victims. They often have a pale appearance (not the dark or ruddy skin of folkloric vampires), and their skin is cool to the touch.
★ Fictional vampires are sometimes considered to be
shape-shifters, with the ability to transform themselves into animals such as bats, rodents, and wolves. Some vampires are even described as being able to change into fog or mist. (this trait is becoming increasingly unpopular in vampire fiction)
★ Some vampires can fly. This power may be supernatural levitation, or it may be connected to the vampire's shape-shifting ability.
★ Vampires cast no shadow and have no reflection. In modern fiction, this may extend to the idea that vampires cannot be photographed. This concept originated with Stoker, who derived it from the idea that mirrors portray one's soul--something that most vampires lack.
★ Some traditions hold that a vampire cannot enter a house unless he or she is invited in. Generally, a vampire needs be invited in only once and can then come and go at will.
★ Some tales maintain that vampires must return to a coffin or to their "native soil" before sunrise to take their rest safely. Others place native soil in their coffins, especially if they have relocated. Still other vampire stories such as Le Fanu's ''
Carmilla'' maintain that vampires must return to their coffins, but sleep in several inches of blood as opposed to soil.
★
Werewolves are held to be Vampires most hated enemies. Many fans debate over which race is superior, and many video games and sources list a longstanding feud between the two races.
★ As in folklore, the vampire of fiction can usually be warded off with
garlic and symbols of Christian faith such as
holy water, the
crucifix, or a
rosary). Some stories have extended this power to all water, all religious icons, any object through which faith is channeled, or religious icons that are significant to the vampire itself. For instance, a formerly
Jewish vampire might recoil from the
Star of David.
★ A popular debate among fans is if it is possible for Vampires to bear children with human fathers, or for human females to become impregnated from Vampire males.
★ A vampire may be destroyed by a wooden
stake (preferrably made of
white oak) through the heart,
decapitation, drowning, or incineration. Older folklore states a vampire's head must be removed from its body, the mouth stuffed with garlic and holy water or relics, the body drawn and quartered, then burned and spread into the four winds, with the head buried on hallowed ground. Though only recently surfacing in modern day popular culture (i.e., the 1970 film
Count Dracula,
Blade,
Dracula 2000, etc.) vampires have no weaknesses to silver, iron or any unconsecrated metal. However, one of the most common means for killing the fictional vampire is exposure to daylight. This idea seems to have originated with the 1922 film ''
Nosferatu'', but vulnerability to sunlight has become popularly accepted as a standard vampire weakness. Still, the magnitude of vulnerability varies with the story. Modern folklore adds the notion that vampires can go out in daylight by covering up in black or heavy clothing. In Stoker, for example, Dracula is merely weakened, not destroyed, by sunlight.
★ Some fictional vampires are fascinated with counting, an idea derived from folk stories about vampires being compelled to stop and count any spilled grain they find in their path. The most famous fictional counting vampire is likely
Muppet character
Count von Count on television's ''
Sesame Street''. Other examples include a
fifth season episode of the
X-Files titled ''Bad Blood'', and the
Discworld novel, "
Carpe Jugulum" by
Terry Pratchett.
★ Since the 1958 film
Dracula, vampires are almost always depicted as having fangs. These fangs are sometimes retractable, only becoming visible when the vampire is about to feed. In some T.V. shows or books, vampires are able to hide their fangs and project them at will, thus being harder to recognize. ''
Carmilla'' has noticeably pointed fangs; an itinerant mountebank visiting the castle in Styria offers, in company, to file them down for her, and she grows angry with him. Though in a few books, Vampires do not have fangs. They use their super-tough fingernails to draw blood and then drink it.
★ In most T.V. shows and movies, a sign that someone is a vampire is by wearing a
Cape,
Cloak, or something else with a high collar to obscure the bite marks. Many modern vampires wear
trench coats to maintain their spooky image.
★ Some modern fiction vampires are portrayed as having magical powers beyond those originally assigned by myth, typically also possessing the powers of a witch or seer. Such examples include
Drusilla from
Buffy the Vampire Slayer and
Olivia Nightshade from The Nightshade Chronicles
[1].
Vampire hybrids
The
Dhamphir, the offspring of a vampire and a human, known from Serbian folklore (Trow 2003: 56-57), has been popularized in recent fiction. The following is a list of such vampire hybrids in written fiction, by order of appearance by year:
★
Blade originally published in comic books by
Marvel Comics (1973),
Blade was a dhampir, a half-vampire, half-human, with the strengths of the vampire, but none of their weaknesses. Contrary to the usual method of having a vampiric father and human mother, Blade's mother was bitten while she was in late pregnancy, changing Blade in the womb.
★ Angel, a vampire who was cursed with a soul as punishment for all his crimes. He begin a life of atonement in hope of forgiveness. Created by Joss Whedon and David Greenwalt from the series of Buffy the Vampire Slayer and Angel.
★ D, a half-vampire from the novel/movie series
Vampire Hunter D, is a round-personality protagonist that defies his "natural tendencies", instead hunting vampires in a post-apocalyptic world. (1980's onward)
★ The protagonist of Dhampire: Stillborn, a graphic novel scripted by
Nancy Collins (1997), is a dhampir.
★
Paifu, a character from the manga series ''
Cowa!'' (late 1997)
★ The character Saya, from the OVA movie (2000) and its spin-offs, is a dhampir born through scientific means.
★ Darren Shan of
Cirque Du Freak is a kind of unofficial half-vampire. The term dhampir is not used, however. (2000)
★
Alek Knight, the antihero of the ''Slayer'' series by Karen Koehler is born from an unknown human mother and a vampire father. He unwillingly hunts vampires for a secret sect of the Roman Catholic Church before going freelance. (2001)
★
Magiere, by Barbara Hendee, the Noble Dead Saga revolves around another dhampir, Magiere, daughter of a vampire father and unwilling human mother. (2001)
Literature
★ ''
The Giaour'' by
Lord Byron (
1813).
★ ''
Christabel'' by
Samuel Taylor Coleridge (
1816).
★ "
The Vampyre" by
John William Polidori (
1819).
★ ''
La Morte Amoreuse'' by
Theophile Gautier (
1836).
★ ''
Varney the Vampire or The Feast of Blood'' by
James Malcolm Rymer (or
Thomas Peckett Prest) (
1847).
★ "The Mysterious Stranger" by
Anonymous. Translated from the original German, this vampire tale appeared in the English magazine ''Odds and Ends'' in (
1860).
★ ''
Le Chevalier Ténèbre'' (''Knighshade'') by
Paul Féval (
1860).
★ ''
La Vampire'' (''The Vampire Countess'') by Paul Féval (
1865).
★ ''
Carmilla'' (
1872) by
Sheridan le Fanu.
★ ''
La Ville Vampire'' (''Vampire City'') by Paul Féval (
1874).
★ ''Manor'' by
Karl Heinrich Ulrichs (
1884).
★ ''
The True Story of the Vampire'' by
Count Stanislaus Eric Stenbock by (
1894).
★ ''
Dracula'' by
Bram Stoker (
1897).
★ ''
The House of the Vampire'' by
George Sylvester Viereck (
1907).
★ ''
I Am Legend'' by
Richard Matheson (
1954).
★ "Pages from a Young Girl's Diary" (1973) by
Robert Aickman.
★ ''
'Salem's Lot'' by
Stephen King (
1975).
★ "
The Night Flyer" by
Stephen King
★ ''
The Vampire Tapestry'' by
Suzy McKee Charnas (1980).
★ ''
The Keep'' by
F. Paul Wilson (1981).
★ ''
Castle Dubrava'' (1982) by
Yuri Kapralov
★ ''
The Curse of the Vampire'' (1982) by
Karl Alexander.
★ ''
Fevre Dream'' by
George R. R. Martin (
1982).
★ ''
The Dragon Waiting'' by
John M. Ford (
1983)
★ ''
The Stress of Her Regard'' by
Tim Powers (
1989).
★ ''
Vampire$'' by
John Steakley (1990).
★ ''
The Silver Kiss'' by
Annette Curtis Klause (
1991).
★ ''
Darkness on the Ice'' by
Lois Tilton (
1993).
★ Pam Keesey edited two anthologies of
lesbian vampire stories, ''Daughters of Darkness'' (1993) and ''Dark Angels'' (1995).
★ The books ''I, Strahd, Memories of the Vampire'' (1993) and ''I, Strahd, the War with Azalin'' by
P.N. Elrod tells the tale of the vampire lord
Strahd von Zarovich who occupies the castle
Ravenloft.
★ ''
The Hunger and Ecstasy of Vampires'' by
Brian Stableford (
1996).
★ ''
Dracula the Undead'' by
Freda Warrington (
1997). Commissioned by Penguin books as a sequel to Bram Stoker's ''Dracula'' for the centenary of the latter's first publication.
★ ''
Carpe Jugulum'' by
Terry Pratchett (
1998).
★ by Clark Hays(
1999)
★
Amelia Atwater-Rhodes novels ''
In the Forests of the Night'' (
2000), ''Demon in My View'' (
2001), ''Midnight Predator'' (
2002), and ''Shattered Mirror'' (
2003).
★ ''
Låt Den Rätte Komma In'' (Let the Right One Slip In) by
John Ajvide Lindqvist (
2002).
★
A Coldness in the Blood by Fred Saberhagen (
2002)
★ ''
Sunshine'' by
Robin McKinley (
2003).
★ '' by
Jimmy Autrey (
2004).
★ ''
The Historian'' by
Elizabeth Kostova (2005).
★ ''
Fledgling by
Octavia Butler (2005).
★ ''
Peeps'' by
Scott Westerfeld (2005)
★ ''
The Nymphos of Rocky Flats'' by
Mario Acevedo (2006).
★ ''Blue Bloods'' by
Melissa de la cruz (2006).
★ ''
The Last Days'' by
Scott Westerfeld (2006)
★ ''Tantalize'' by
Cynthia Leitich Smith (2007).
Vampire fiction series
There are several series in vampire fiction. They tend to either take the form of direct
sequels (or
prequels) to the first book published or detail the ongoing adventures of particular characters.
★
Jim Butcher's ''
The Dresden Files'' series (2000-). It should be noted that not all of these novels concern themselves largely with vampires.
★
Nancy A. Collins' ''
Sonja Blue'' series (1989-)
★
Christine Feehan's ''Dark'' series (1999-)
★
Christopher Golden's ''Saints and Shadows Saga'' (1994-2003)
★
Laurell K. Hamilton's '' series (1993-)
★
Charlaine Harris' ''Sookie Stackhouse (Southern Vampire)'' series (2001-)
★
E. E. Knight's ''
Vampire Earth'' series
★
P. N. Elrod's
Vampire Files
★
Karen Koehler's ''Slayer'' series (2002-4)
★
Brian Lumley's ''
Necroscope'' series (1986-)
★
Christopher Moore's ''A Love Story'' series (1995-2007)
★
Kim Newman's ''
Anno Dracula series (1992-)
★
Anne Rice's ''
Vampire Chronicles'' series (1976-2003)
★
Marilyn Ross's
Barnabas Collins series (1966-71)
★
Fred Saberhagen's ''Vlad Tepes'' series (1975-2002)
★
Maggie Shayne's ''Wings in the Night'' series
★
Whitley Strieber's ''Hunger'' series (1981-2002)
★
Gene Wolfe's ''
Urth: Book of the Short Sun''
trilogy
★
Chelsea Quinn Yarbro's ''Saint-Germain'' series (1978-)
★
Christopher Pike's ''The Last Vampire'' series
★
Charlie Huston's ''Joe Pitt casefiles'' series (2005-)
★
Raven Dane's ''Legacy of the Dark Kind'' series
★
Freda Warrington's ''Bloodwine'' series (1992-5)
White Wolf, a maker of
role playing games, releases novels set in the fantasy world of its ''' game. These series of novels were released in 13-book sets, each corresponding to one of the 13 clans of vampires in their game universe.
Juvenile and young adult fiction
★ "Little Vampire'' series, by
Angela Sommer-Bodenburg, began in 1979.
★ "
Bunnicula" by
Deborah Howe and
James Howe
★
Vampires Don't Wear Polka Dots by Debbie Dadey and Marcia T. Jones
★ ''
Saga of Darren Shan'' also known as the ''Cirque Du Freak'' series (2001-5) series by
Darren Shan.
★
The Book of Vampire by David A. Poulsen
★
The Vampire Cat by Louise Munro Foley
★
Ellen Schreiber's ''Vampire Kisses'' series
★
Stephenie Meyer's ''Twilight'' series (2005-)
Comic Books
Comic books and graphic novels which feature vampires include Vampirella (1969), Tomb of Dracula (1972),
I...Vampire (1981), Blade (1973), 30 Days of Night (2002), and
Buffy the Vampire Slayer Season Eight (2007). Proinsias Cassidy, the supporting lead male in
Garth Ennis' comic series
Preacher is a vampire of Irish origin (1995). In addition, many major superheroes have faced vampire supervillains at some point.
Notes and references
★
Christopher Frayling (1992) ''Vampyres: Lord Byron to Count Dracula'' (1992) ISBN 0-571-16792-6
★ Freeland, Cynthia A. (2000) ''The Naked and the Undead: Evil and the Appeal of Horror''. Westview Press.
★ Holte, James Craig. (1997) ''Dracula in the Dark: The Dracula Film Adaptations''. Greenwood Press.
★ A. Asbjorn Jon, 'Vampire Evolution', in Metaphor (3, 2003), pp.19-23.
★ Leatherdale, C. (1993) ''Dracula: The Novel and the Legend''. Desert Island Books.
★ Melton, J. Gordon. (1999) ''The Vampire Book: The Encyclopedia of the Undead''. Visible Ink Press.
★ M. J. Trow (2003) ''Vlad the Impaler''. Sutton: Stroud.
1. On the development of Polidori's "The Vampyre" and the connection to Byron see A. Asbjorn Jon, 'Vampire Evolution', in Metaphor (3, 2003), pp.19-23 (p.21). Metaphor is the journal of The English Teachers Association of New South Wales - Australia. http://www.englishteacher.com.au
External links
★
Vampire fiction bibliography
العربية
中国
Français
Deutsch
Ελληνική
हिन्दी
Italiano
日本語
Português
Русский
Español
