71 pages • 2 hours read
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Paul is disturbed by Rossi’s letter recounting Hedges’s death, and he wonders what to believe; his historical training tells him that the supernatural is not real. However, he worries that his mentor, Rossi, will be lost to him forever if he stops. He continues reading.
Rossi leaves for America after his friend’s death, though he resumes his research into Dracula despite the warning. He has the dragon book analyzed by an expert at the Smithsonian: The book is rare, printed in the early 16th century, perhaps in Wallachia. When Rossi gets this report from the expert, he notices that the man appears suddenly changed, with a colorless face and elongated canines. The expert mentions the quality of the map contained within the book. Rossi is surprised; he had not left a map with the book. Upon examining the map—a copy of the ancient map Rossi traced in Istanbul—he notices that, over what he believes is Dracula’s tomb, the words “BARTOLOMEO ROSSI” appear (101). Rossi immediately ceases his search. He pleads with his unknown reader to help him,: If they are reading these letters, it means that Rossi has fallen victim to this evil.
The narrator, trying to obey her father’s wishes to stay close to home, returns to the university library in Amsterdam after an extended break. Her curiosity compels her to return to her research. The librarian gives her a book on Byzantine history and the conflict between Dracula and Sultan Mehmed II. The narrator considers asking the librarian for more sources when she hears a loud noise: The librarian was attacked, his head smashed into the desk. A bloody handprint marks the wall behind him.
The police cannot get prints from the hand; the fingerprints are “unusually worn” (105). While the narrator is frightened, she is also curious. She took the book the librarian was holding when he was attacked; it contains a chapter on Lake Snagov. Her father takes her to the south of France. She is envious of the people there, who are ignorant of ancient dangers. She knows that she must listen to the next piece of her father’s story and put all the pieces together.
After Rossi’s plea, Paul has no choice but to track him down. He decides to study the materials Rossi left to him before making a final plan. He studies the copies of the maps, the third of which contains a marker in the shape of a crowned dragon, indicating that someone is buried there. The sealed envelope holds a copy of the third map with the name of his mentor inscribed over the tomb. It also contains Rossi’s notes and a list of materials within the sultan’s archives in Istanbul. There is a notation on a bibliography of the Order of the Dragon—with no further description.
He realizes that his cat has not come in to eat. When he looks outside for him, he finds the cat dead, its body still warm. He is afraid but enraged. He decides to arm himself with garlic, crucifixes, and stakes made of silver. He decides to hunt for the tomb.
Paul ends the story abruptly, nudging the narrator back to the hotel. Neither of them wants to be caught in the dark.
Paul returns to the library before embarking on his quest. In the card catalog, there are no entries for Dracula or Stoker, though he knows the woman he met was reading Stoker’s novel. The librarian looks up the information on who has the book checked out: The patron’s name is Helen Rossi.
Paul notices another librarian lurking about; the man has two scabbed wounds on his neck. He notices that anyone who studies Dracula too closely becomes a target. He decides to call the H. Rossi he finds in the university directory.
The narrator is captivated by this new character in her father’s story. Helen was her mother’s name, but her father never spoke of her.
The narrator and her father travel to Athens. It is 1974, and the military presence in Greece makes Paul nervous, though the narrator continues to explore. Paul resumes his tale.
Helen agrees to meet Paul at a local diner. She is suspicious and brisk; she dresses and speaks harshly. He tells her that someone does not want her, or anyone else, researching Dracula. She tells him that, as a Romanian anthropologist, she is interested in the region. She admits that Bartholomew Rossi is her father, though she has never met him. Rossi abandoned Helen’s mother. Helen was born in 1931, after the time of the letters, but Rossi has never spoken of Romania. Helen’s mother was a peasant who fled to Hungary when she realized she was pregnant; her sister lived there, and she could not risk bearing a child out of wedlock in her village. Helen’s aunt has prestige within the Hungarian government, so Helen received an excellent education.
Helen’s mother told her that she and Rossi met when Rossi was doing research on Dracula. Helen knows, however, that Rossi never published any work on this, so she wants to do her own research and publish first. She thinks it is all fiction, but this is her way to enact revenge on her absent father.
In Slovenia, the narrator is eager to explore the local castle. She and her father take tea on the terrace where her father will again resume his story. He asks her to record these fragments.
Paul decides to take a break from work, and they return to the Adriatic coastline. They cross to an island, and before they disembark, the boatman makes the sign of the cross over the narrator. In the present, she remembers how peaceful that time was; civil war was 20 years away.
Paul informs Helen that her father has been missing for several days. He shares that Rossi believes that Vlad Dracula is alive. Helen says that her mother believes the same. Paul suggests that Helen read Rossi’s letters and look through his materials. He asks her to meet him at St. Mary’s Church.
Paul hopes that Helen can walk into the church unscathed; he worries she is one of Dracula’s minions. When she crosses herself with holy water, he is reassured. She tells him that she believes his story and suspects she is being followed. He is relieved to have an ally.
Helen looks through Rossi’s materials. They wonder why Dracula is so interested in him. Paul considers further sources, and Helen suggests her mother. Their conversation is interrupted by the arrival of the disheveled librarian: He tells an altar lady that he is looking for a woman. Paul and Helen hide in a side chamber. He does not want her to go back to her room alone. Helen suggests they let the librarian follow them because he might have information about Rossi.
Helen says they should split up, luring the librarian to follow her into the library. Paul follows closely behind, listening to Helen’s conversation with the corrupted librarian. She tells him that she will show him a map if he tells her something about Rossi’s whereabouts. The librarian immediately grows agitated, screaming that he would kill her for that map. Paul sees that Helen is holding a crucifix toward the librarian, keeping him at bay. However, she was bitten.
The librarian shouts about his master, but before they can get any information, he wrenches free and runs into the street, where he is fatally struck by a car.
The narrator and her father travel to Oxford. She is introduced to Stephen Barley, who will be her guide to the university. Barley is an undergraduate whose mentor, Master James, is an acquaintance of Paul. The narrator admires a stained-glass scene in the dining hall, and Barley points out that it is of a man driving a stake into the heart of a vampire. He says that the books on the occult are at the Radcliffe Camera.
They first explore the main library. The narrator thinks of attending university at Oxford. They go on to the Radcliffe Camera: She thinks how strange it is that this building should house books on evil. Barley directs her to the room that contains the vampire collection. As they enter, her father is already there, studying an old book.
Helen confirms that she has been bitten, but she thinks that one minor bite is not enough to turn her into a vampire. Paul decides to go to Istanbul, hoping to follow Rossi. Helen will accompany him.
Though her father offers excuses, the narrator knows that he was looking for information on Dracula. The chapter in the book he was reading is entitled “Vampires de Provence et des Pyrénées” (174).
The narrator wakes that night and finds her father is gone. He left her a note telling her to return home and resume school; Barley will be her chaperone on the train journey back. He left her garlic and a crucifix.
The next day, she asks Barley to take her back to the reading room before their train leaves. She finds the book that her father was reading and asks Barley to help her translate the French: The passage suggests that Dracula returns to the monastery at Saint-Matthieu, near Les Bains, every 16 years to pay tribute to the site of his original transformation.
She and Barley arrive at her home. He will stay the night before taking the ferry back to Oxford. She plans to slip away to the train station the next morning. Meanwhile, the narrator searches for clues to his current location. She finds a hidden packet filled with letters addressed to her. She is only to read them if he has disappeared. The first letter begins, “If you are reading this, forgive me. I have gone to look for your mother” (182).
In this section, the search for Dracula—and, concomitantly, for Dr. Rossi and the narrator’s father—grows more urgent, presenting conflicting impulses between history and legend among historians. When Paul begins to accept that his mentor’s research into Dracula reveals the actual existence of vampires, he recognizes that it goes against everything he has ever been trained to think: “In my historian’s experience, the dead stayed respectably dead, the Middle Ages held real horrors, not supernatural ones, Dracula was a colorful East European legend” (94). He must decide to reject his historian’s instinct in favor of the legendary, or the fictional, to find and save Rossi. The novel investigates the intersection between legend and fiction through the lens of Cultural Tension Between the East and the West: Vlad Ţepeş is an actual historical figure, while Dracula represents popular fiction; the places to which the father and daughter travel are real locations, while the legends they learn in these places are invented folklore; and the novel itself is a fictional work that purports to follow the footsteps of the literal, undead Prince of Wallachia. The method is both subtly meta-fictional—the novel calls attention to its fictionality by invoking the conventions of the vampire myth, as delineated by Stoker, in particular—and genuinely authentic through its historical research. These merged genres create the suspense of a mystery, and the text largely flows as a search, with clues emerging as people either alter, with fang marks appearing on their necks, or die. The rare book expert who examines the book appears drained and frenzied, and two librarians—one from Paul’s past and another from the narrator’s present story—are attacked. The former even bites Helen, suggesting that the narrative of the past is moving in parallel to the present, foreshadowing the danger for anyone involved in the search for Dracula or those lost while searching for him. The passing down of the search speaks to the Perils of Inheritance, particularly regarding knowledge: A book appears the safest of objects, but the historians find the past is also the present, and vice versa, when it comes to an immortal being like Dracula. This bending of time is both mirrored and enhanced by the multiple perspectives that shape the narrative: Rossi’s letters, Paul’s story (and now, after his disappearance, his letters), and the narrator’s past and present perspectives. Because the narrator exists both in memories with Paul and as the presenter of this narrative, directly warning her reader that danger awaits in reading this book, she moves across time like Dracula.
Further, the antiquated book that Rossi has inherited is bestowed with the full significance of historical influence. The expert who examines the book suggests that the woodcut of the dragon sprawled across its center might have influenced later printings of the bible, including “the New Testament of 1520, which has a similar illustration, a winged Satan” (98). This revelation has the effect not only of conflating the fictional book with historical reality but also of emphasizing Dracula’s resemblance—both physically and morally—to Satan. Later, when Paul and Helen meet in the Catholic church, Paul will notice a painting of Lazarus, the man who allegedly rose from the dead in the Bible: “[His] face, faded after a century of smoke and incense, looked bitter and weary, as if gratitude were the last thing he felt on being called back from his rest” (150). In this context, the Dracula myth appears to be, ironically, biblically inspired. Christ, Paul thinks, bears “a countenance of pure evil” in contrast (151). Just as history and legend become slippery and interchangeable, so too do good and evil.
Despite the dangers, Dracula exerts an inexorable pull over the various historians and scholars in the book. Rossi continues his research in the US after the death of his friend; Paul presses on even after his cat is killed, Helen is bitten, and, later, after his daughter’s librarian is attacked. The disheveled librarian who chases after Paul and Helen is devoted to his “master,” evoking R. M. Renfield in Stoker’s Dracula (160). Presumably, this “master” is Dracula, and the librarian is one of his disciples, eager to serve him “[w]here I should have been allowed to go! To the tomb!” (160). This interconnectedness, when combined with rich historical detail, continues blending fact and fiction, making them indistinguishable. The atmosphere grows more tense as the layered narrative moves toward the eventual locating of Dracula’s tomb.
The unnamed narrator emerges as more than just a storyteller: She is a tenacious, intelligent, loyal person who is willing to undertake the same task as her father if it means his safe return. However, she is also fascinated by the case and the concept of good versus evil, and her time in the Radcliffe Camera—contemplating how such a building can host ancient books on evil—speaks to the theme of Cultural Tension Between the East and the West. The polished exterior of Oxford holds within it the secrets of Dracula’s tomb, just as the mysterious empty book holds unknown dangers and finds its owners seemingly of its own volition. This challenge the idea the ideas held by the Western world are correct and makes a case for legends and folklore.
Additionally, this section reveals that the woman Paul meets is both the daughter of Dr. Rossi and the narrator’s mother. Helen Rossi believes in Dracula and agrees to join Paul in his search despite not knowing her father: She is pulled by The Perils of Inheritance. And while the inheritance of Dracula’s story is not always biological, as the narrator directly passes it on to the reader, the family line of Rossis searching for Dracula is significant, evoking an almost ancestral curse or desire to seek vengeance against Dracula, foreshadowing the fact that the Rossis are related to the vampire.
Challenging Authority
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Coming-of-Age Journeys
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Family
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Fear
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Forgiveness
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Good & Evil
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Grief
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Hate & Anger
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Mortality & Death
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Power
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Religion & Spirituality
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Revenge
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The Past
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War
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