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If Bram Stoker’s great-nephew and biographer Daniel Farson is to be believed (which is by no means always the case), the author “was unaware of the sexuality inherent in Dracula”. What makes Dracula so compelling and potent is that its sexual work is done largely unconsciously. Let’s throw in masturbation and incest too: cultural critic Christopher Frayling sees in the voluptuous nightly visitation of a being who leaves the victim in a swoon and depleted of vital fluids the imprint of erotic dreams and nocturnal emissions while for Freudian psychoanalyst Ernest Jones, writing in 1910, the vampire expressed “infantile incestuous wishes that have been only imperfectly overcome.” Coetzee, and the end of the world, was not deemed terribly interesting (or sciencey enough) by most UK publishers, so forgive me for having to promote it shamelessly from now until publication.įirst and foremost, “the vampire is an erotic creation”, according to the Italian writer Ornella Volta: “The vampire can violate all taboos and achieve what is most forbidden.” Those taboos surely include, inter alia, dominance and submission, rape, sadomasochism, bestiality and homoeroticism. My book, which ranges from Robinson Crusoe to Batman, and which touches on (among other things) zombies, werewolves, superheroes, aliens and UFOs, psychoanalysis, incest and perversion, Judge Dredd, Jane Austen, J.
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I thought it might be useful to explain, then, how and why gay sexuality is a central theme in Dracula. The BBC Dracula excited much comment, some of it affronted and outraged, in its portrayal of the Count as bisexual. The mostly rather splendid adaptation of Bram Stoker’s Dracula just screened by the BBC prompts me to post here this short edited extract from my forthcoming book The Modern Myths: Adventures in the Machinery of the Popular Imagination.