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The Dracula Papers, Book I: The Scholar's Tale Paperback – 19 Jan 2011
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Oliver's ability to create a sense of time and place in every one of these stories is exemplary - As a work of spiritual terror it has few peers - The Dreams of Cardinal Vittorini is unquestionably brilliant.A" - Jim Rockhill, All Hallows.>>>> Reggie Oliver rediscovers many if not all the qualities which make the English Ghost Story classic.A" - Ramsey Campbell, Dark Horizons.>>>> Reggie Oliver has a controlled and vivid wit, a precise eye and ear for style, and a powerful sense of the strange - an infernally talented writer - A" - Roger Johnson, All Hallows.
About the Author
Reggie Oliver is a stage actor and playwright. He is the author of four highly-praised volumes of short fiction: The Dreams of Cardinal Vittorini (Haunted River 2003), The Complete Symphonies of Adolf Hitler (Haunted River 2005), Masques of Satan (Ash Tree 2007), and Madder Mysteries (Ex Occidente 2009). His stories have appeared in over 25 anthologies and, for the third year running, one of his stories appears in The Mammoth Book of Best New Horror, the most widely read and popular of contemporary horror anthologies.
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In the mid-16th century, Prince Vladimir Dracul of Transylvania, son of the vain and greedy king, Xantho, commences his rise to prominence as ‘the Impaler’ and in due course as ‘Dracula the Vampire’, through a series of violent, hair-raising adventures, an intense love affair and a succession of bizarre supernatural events.
All of this is observed and related to us in diary form by the German scholar, Doctor Martin Bellorious, who at the start of this book, along with his companions, sly alchemist-in-training Matthew Verney and good-natured dwarf, Razendoringer, flees the University of Wittenberg before a heresy charge can be levelled, and heads east through ever more dangerous territories.
It is already difficult to say much more about this astonishing narrative, because almost from the word-go, amazing, delightful and crucially important plot-developments occur – and continue to occur at a rate of at least one a chapter. Suffice to say that this is Europe of the 1570s, a vast, desolate, largely lawless land, where bandits haunt the highways, wolves fill the forests, armies wage endless internecine warfare, noblemen rule as crazy despots, black magic is very real and, when night falls, all kinds of evil supernatural beings walk abroad.
Even before Bellorious and his friends reach the ‘safety’ of Castle Dracula, they have several hair-raising escapades in this torturous land of far beyond, narrowly avoiding nasty fates at the hands of various antagonists, including, among several others, two ogre-like cannibals and Rudolph, the unhinged ruler of Bohemia. And when the dauntless band makes it to Transylvania and then into Castle Dracula, they find themselves immersed in the cutthroat politics of Xantho’s Machiavellian court.
For example, despite a straightforward appointment to school rival princes Vlad and Mircea, Bellorious soon earns the enmity of the ambitious chamberlain, Alexander of Glem, who constantly puts dangers and difficulties in his path, he learns unsavoury things about Queen Eupraxia – things which could easily get him killed, he discovers that Xantho is more interested in acquiring wealth and in mocking his gibbering courtiers than he is in organising matters of state, and he struggles to educate Prince Mircea, whose main interests are guzzling wine and ravishing servant girls.
At the same time, there are countless weird and wonderful things in Castle Dracula. From complete absurdities – like a mechanical eating machine which Xantho forces upon one of his boyar flatterers; to the highly distasteful – like the deranged courtier who lives on a diet of spiders, cockroaches and other vermin; to the truly terrifying – like the vampiristic ghost said to roam the Old Queen’s apartments and the tribe of madmen living in the deepest parts of castle.
Unfortunately for Bellorious, he doesn’t have much time to explore properly in order to assess these curiosities. Because all the time this is happening, the legions of Murad III, Sultan of the immense Ottoman Empire, are massing on the border under the super-efficient leadership of the ferocious Turkish warrior, Grand Vizier Sokolly. Despite the warnings of Ragul, Xantho’s illegitimate son and commander-in-chief of his armed forces, Xantho is strangely unconcerned about any this, so when the attack finally arrives it does so with overwhelming force. By this time, Bellorious has enlightened Prince Vlad sufficiently for him to realise that his homeland is in very serious trouble, and the noble youth participates in the following campaign with reckless courage. But both he and his teacher are aware from an early stage that victory, ultimately, is going to elude them, even if it is wrested away from them by skillful negotiation rather than bloody conflict.
Only God knows – or maybe the Devil – what will happen to them after that …
It’s often said of Reggie Oliver that he is genre fiction’s best-kept secret. I have two immediate thoughts on that. First of all, it’s probably true. Secondly, if it is true it’s an absolute crime.
Oliver, who already had a successful career as an actor, theatre director, playwright and biographer before his writing took a distinctly darker turn in the early 2000s, is by far one of the most talented practitioners of spookiness currently working in the English language. It’s probably true to say that he first came to the literary horror world’s attention with a series of searingly frightening and at the same time very eloquent short stories – ghost stories on the surface, though often much deeper and more complex than that, strongly reminiscent of both M.R. James and Robert Aickman (if you can imagine such a thing!), and embracing every kind of nightmare in the weird fiction spectrum: from the restless dead to the demonic, from the spirits of myth to the often even worse aberrations of the human psyche, and invariably wrapping it all up in succinct, readable, and poetic prose.
Of course, not every expert in the short form is able to expand his skill into the much broader realm of the novel; the two disciplines don’t necessarily overlap. However, it was a joy (and somehow no surprise at all) to discover that this does not apply to Reggie Oliver, whose first novel, The Dracula Papers, is just as elegantly written, just as thought-provoking, just as shudder-inducing and just as much a pleasure and an entertainment as any of his short stories.
The first volume in a proposed trilogy studying the origins of Count Dracula the vampire, this is already a phenomenal feat of strange literature and though only one of three, a completely satisfying novel in its own right.
To begin with, The Dracula Papers isn’t specifically a horror novel, though there is much horror on show here: spine-chilling horror of the traditional ghost story variety on one hand, and sensual, shocking horror on the other – nothing explicit, though of such a lurid and Gothic tone that some of it wouldn’t be out of place in the old Dracula movies of the Hammer era. But in addition to all that, the book is written with such an air of authority, delving so deeply and fascinatingly into the culture of the time and place, touching on the many beliefs and philosophies prevalent in that age – everything from long-held superstitions, to late-medieval romances, to the intellectual chaos wrought by changing religion and advancing science – that it reeks of scholarship in its own right.
On top of that, it’s an historical saga on a grand but brutal scale. We see brandings, beheadings and impalements galore, a truly memorable scene wherein an avalanche of severed heads is launched over the walls of Castle Dracula by the besieging Turkish army, and one enormous battle which becomes a literal slaughterhouse.
Again, none of this is graphic or titillating, but it’s all there on the page – which only adds to the vivid portrayal of a terrible world now thankfully lost in time. And yet this itself is a kind of irony, because Oliver, rather bravely, makes no real effort to depict true historical events.
The Dracula Papers owes as much to folklore as it does to genuine history, and not a little amount to fiction. For example, the real Vlad Tepes and his brother, Mircea, lived in the 15th century not the 16th, there was no actual kingdom of Transylvania in this era, rather it was a principality of the kingdom of Hungary, while the lofty position the real Vlad aspired to was not as a king but as Prince of Wallachia, and Elizabeth Bathory (later known as ‘Countess Dracula’) who appears here renamed Nyela and as a deceased but murderess noblewoman of earlier decades, was not even born in 1477, when the real Vlad the Impaler died.
But none of this matters. In fact, it adds to the joy. Because what we’ve got here, rather than a textbook, is a richly-woven fabric of adult-themed fairy tales. For example, not even the well-educated and clear-minded Martin Bellorious thinks it odd that a local village is terrorised by a ‘murony’; in fact it is he who takes it on himself to dispose of the evil sprite. Rumours of the terrifying Black Cathedral – a secret university dedicated to the dark arts – are believed with absolute certainty. When Bellorious encounters Issachar, a vagrant claiming to be the Wandering Jew of apocryphal legend, he is honoured rather than doubtful. Likewise, when the Turkish sorcerer, Zushad, displays necromantic powers, Bellorious is only one of many fascinated witnesses to the dramatic and nightmarish outcome.
But this is not just a story about myths coming true. Oliver also presents us with the real, functioning and yet terribly unjust world of the Reformation, where the peasantry struggles annually for survival, monarchs seek only to enrich themselves, and seats of intellectualism like colleges and guilds are too busy arguing about heresy to care about everyday affairs. He also concerns himself with military matters. Eastern Europe is now under threat from the Ottomans, the gunpowder-capable armies of the Early Modern Age constantly redrawing the map as they manoeuvre around each other, feinting and sallying, and occasionally clashing full-on to spectacularly bloody effect. At the same time, courtly intrigue is everywhere, both in the magnificent Ottoman capital of Istanbul – ‘Stamboul’, as it is referred to here – but also in the Spartan confines of Castle Dracula.
This brings me onto the characters, which – even those who only make a fleeting appearance – are constructed by Oliver swiftly and yet in full, complex fashion.
Even though we’re immersed in the world of angels and demons, there are few individuals here who are all good and all bad. Bellorious himself makes a fine lead, though he’s very human. Despite his status, he is only in his late 20s, and yet throughout the narrative displays wisdom, probity and empathy – he only takes lives when he has to, and though he’s a scholar and in many ways an ascetic, his lustful yearning for the beautiful slave-girl, Inanna, is almost painful.
Dracula himself – Vlad in this preliminary volume – though he starts off a wide-eyed youth and an eager student, soon gives hints that he has a darker side: he is petty, he sulks and he will kill in battle with what can only be described as gusto. In addition, he is instantly recognisable as the scion of a noble house, for though he is brave, handsome and dashing, he is also self-centred to an alarming degree.
Other characters are equally colourful, if more briefly handled. Matthew Verney is untrustworthy from the outset, but Oliver paints him slowly and with immense skill, transforming him from ambiguity to villainy with a pace so subtle that it consciously takes up the length of the novel. Others meanwhile are more bound by their stations in life: rival sovereigns, Murad and Xantho, and the latter’s son and heir, Mircea, are unimpressive men, undeserving of the life-and-death control they exert, and yet so bored by it all that they often neglect their responsibilities, allowing ambitious underlings like Sokolly and Alexander of Glem to grow in power. Meanwhile, below them, better people are eternally doomed by their subservient status: Commander Ragul takes his job seriously, but knows that ultimately he will fail because he lacks the support of his king, a failure that he himself will pay for; star-crossed lovers Razendoringer and dwarf lady-in-waiting Dolabella, though spirited individuals of many talents, will always be servants and/or buffoons because they are dwarfs; while Inanna, the saddest character of all, has accepted her life as a sex-slave to the point where she will trade the abuse of her body to get better deals for her friends.
Despite these melancholic moments, The Dracula Papers, what we have so far seen of it, is a richly textured, meticulously-researched piece of fiction, but also a rolling, comedic, action-packed yarn, filled with magic, mystery and mayhem, romantic and sexual love, wild violence and chilling horror, and dosed throughout with the author’s trademark scholarly asides and scathing humour.
A bona fide treat of a novel that will leave no-one disappointed.
Once again, the only comment that leaps to the mind while describing this book is "extraordinary". It is a product of meticulous research (into history & folklore of the people of the Eastern Europe and the Middle East), near perfect art of story-telling that has made Reggie Oliver a modern master, a sense of compassion for all the characters involved, liberal dosages of ribald descriptions often accompanied by humour (subtle as well as coarse, as per the demand of the situation), and a sense of epic proportion, as if the author is trying to hint at the significance of all these events & persona, while trying to draw our attention away from the future (which we know, thanks to either Bram Stoker, or Kim Newman) towards the grim-yet-vivid past being realised as present. I will be waiting for the other 3 volumes with suspended breath, to see how this saga unfolds.