Restless Classics presents Bram Stoker’s gothic masterpiece of horror, gorgeously illustrated by Kaitlin Chan and with a new introduction and foreword by award-winning authors Silvia Moreno-Garcia and Alexander Chee.
Since its original publication in 1897, Dracula has spoken aloud some of our deepest cultural anxieties: fear of sexuality, xenophobia, homophobia, and distrust of The Other. One of the most recognizable and pervasive characters ever written, Stoker’s Count Dracula is much more terrifying than the caped and fanged representation that has grown so familiar. The Count’s menace lies not solely in his deadly bloodlust, but also in his harrowing ability to hide his malfeasance behind power and privilege.
When Jonathan Harker unearths Count Dracula’s (un)deadly secret, he unwittingly starts a war between good and evil with disastrous repercussions. The innocent Lucy Westenra falls prey to the vampire’s curse, Mina Harker narrowly escapes a vicious transformation, and the indefatigable Abraham Van Helsing risks life and afterlife to defeat his archnemesis. As Silvia Moreno-Garcia explores in her new introduction, this outbreak of an ancient threat in a modern world introduced a radical new element to vampire folklore, one which has only gained significance in the twenty-first century: vampires as disease-bearing victims of the same chaos that they spread.
In his new foreword, Alexander Chee grounds the novel in the potential queerness of Stoker’s literary circle, and delves into our growing fascination with, and affection for, both the horror genre and its monsters. Dracula is both a resonant contemplation of the unknown and a cautionary reminder that evil doesn’t always announce itself with bats and coffins; it lurks within the normal and the mundane, just waiting to be invited in.
Bram Stoker was an Irish author of nearly twenty novels, best known for his gothic horror novel Dracula. Educated at Trinity College in Dublin, he joined the Civil Service before becoming the personal assistant of Henry Irving and manager of the Lyceum Theatre in London.
Alexander Chee is the bestselling author of the novels Edinburgh and The Queen of the Night, and the essay collection How To Write An Autobiographical Novel, all from Houghton Mifflin Harcourt. A contributing editor at The New Republic, and an editor at large at VQR, his essays and stories have appeared in The New York Times Magazine, T Magazine, The Sewaneee Review, and the 2016 and 2019 Best American Essays.
He is a 2021 United States Artists Fellow, a 2021 Guggenheim Fellow in Nonfiction, and the recipient of a Whiting Award, a NEA Fellowship, an MCCA Fellowship, the Randy Shilts Prize in gay nonfiction, the Paul Engle Prize, the Lambda Editor’s Choice Prize, and residency fellowships from the MacDowell Colony, the VCCA, Leidig House, Civitella Ranieri and Amtrak.
He teaches as an associate professor of English and Creative Writing at Dartmouth College.
Silvia Moreno-Garcia is Mexican by birth, Canadian by inclination. Silvia Moreno-Garcia is the author of a number of critically acclaimed novels, including Gods of Jade and Shadow (Sunburst Award for Excellence in Canadian Literature of the Fantastic, Ignyte Award), Mexican Gothic (Locus Award, British Fantasy Award, Pacific Northwest Book Award, Aurora Award, Goodreads Award), and Velvet Was the Night (finalist for the Los Angeles Times Book Prize and the Macavity Award). She writes in a variety of genres including fantasy, horror, noir and historical. She has edited several anthologies, including She Walks in Shadows (World Fantasy Award winner, published in the USA as Cthulhu’s Daughters). Silvia is the publisher of Innsmouth Free Press. Her fiction has appeared in numerous magazines and anthologies. She has an MA in Science and Technology Studies from the University of British Columbia. She lives in Vancouver, British Columbia.
Kaitlin Chan is a cartoonist and cultural worker based in Hong Kong. She is the co-founder of Queer Reads Library, a mobile library centering queer perspectives in diasporic communities. Her work has appeared in The New Yorker online, The Margins, Popula, ArtAsiaPacific and the Hong Kong Visual Arts Yearbook, amongst others.
