Dracula’s Brethren. Richard Dalby

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СКАЧАТЬ vampire daughter; and in ‘The Old Portrait’ a woman depicted in a painting comes to life and tries to suck out the vitality of the picture’s owner with a long, lingering kiss. Offering more substantial fare, Phil Robinson’s ‘Medusa,’ a well-crafted story from Tales by Three Brothers (1902), is about a seductive femme fatale who feeds on the life force of her male admirers. A more subtle threat is posed in Mary E. Wilkins Freeman’s ‘Luella Miller’ (1902), the title character of which unconsciously absorbs the vitality of her nearest and dearest, causing them to languish while she blooms. On more traditional lines is F. Marion Crawford’s vampire classic ‘For the Blood is the Life’ (1905), in which a gypsy girl returns from the dead to vampirize the man who had spurned her love. In another first-rate story, R. Murray Gilchrist’s ‘The Lover’s Ordeal’ (1905), a young woman challenges her fiancé to pass through an ordeal before she will consent to marry him. This involves spending the night at a haunted house; but, unbeknown to the couple, a beautiful vampiress is lurking in one of the rooms, waiting patiently for her next victim to come along. An inconsequential piece, by comparison, is ‘The Vampire,’ by Hugh McCrae, which was originally published under the pseudonym ‘W. W. Lamble’ when it appeared in the November 1901 edition of The Bulletin.

      One of the Edwardian era’s finest vampire stories is ‘Count Magnus,’ by M. R. James, which has been anthologised many times since its debut in Ghost Stories of an Antiquary (1904). Among this author’s spookiest tales, it chronicles the events leading up to the gruesome death of an English scholar, who becomes a doomed man after delving too deeply into suppressed legends about a notorious seventeenth-century Swedish nobleman. A minor story, ‘The Vampire’ (1902), by Basil Tozer, has seemingly sunk into oblivion, a fate that may well have befallen Frank Norris’s ‘Grettir at Thorhall-stead’ (1903) had it not been rescued from obscurity by fantasy historian Sam Moskowitz, who reprinted it in his 1971 anthology Horrors Unknown. Not entirely original, Norris’s story is a retelling of an episode in Grettir’s Saga, in which the legendary Icelandic hero has a fateful encounter with a vampire. Coincidentally, the same episode also provided the inspiration for Sabine Baring-Gould’s ‘Glámr,’ which was included in his A Book of Ghosts (1904). Another vampire story from this collection is ‘A Dead Finger,’ in which the hapless protagonist is preyed on by the disembodied spirit of a dead man, which is gradually stealing his vitality in an attempt to create a new body for itself. On similar lines to this story are Luigi Capuana’s ‘A Vampire’ (1907), which describes how the disembodied spirit of a woman’s deceased husband attempts to suck the blood of her infant child; and Lionel Sparrow’s ‘The Vengeance of the Dead’ (1910), in which a thoroughly evil man has, since his demise, existed in a state of life-in-death by stealing vitality from the living and transferring it to his corpse. More ambitiously, the unscrupulous scientist in C. Langton Clarke’s ‘The Elixir of Life’ (1903) has isolated the vitic force and found a way to transfer it from others to himself, thereby attaining a kind of immortality. More conventional in their treatment of the vampire theme are ‘The Vampire Nemesis’ (1905), by ‘Dolly,’ and ‘The Singular Death of Morton’ (1910), by Algernon Blackwood. In the former story a suicide is reincarnated as a giant vampire bat; and, in the latter, two men holidaying in France encounter a sinister woman, who lures one of them to a cemetery and sucks all the blood from his body.

      Some of the best stories from the Edwardian era feature vampires in unusual guises. In Morley Roberts’ ‘The Blood Fetish’ (1909), for example, a severed hand lives on as an independent entity by absorbing the blood of both animal and human victims. In another morbid tale, Horacio Quiroga’s ‘The Feather Pillow’ (1907), a young woman has all the blood gradually sucked out of her by a monstrous insect secreted inside the pillow on her bed; and in F. H. Power’s ‘The Electric Vampire’ (1910) a mad scientist creates a giant, electrically-charged insect which feeds on blood. Even more bizarre is Louise J. Strong’s ‘An Unscientific Story’ (1903), in which a professor who has succeeded in breeding the ‘life-germ’ in his laboratory soon realises the folly of his experiments when his creation grows at a fantastic rate and within a short time forms itself into a humanoid creature which exhibits a craving for blood.

      The first anthology to gather together a sizeable number of stories from this golden age of vampire fiction was Richard Dalby’s Dracula’s Brood (1987), which contained twenty-three rare stories written by friends and contemporaries of Bram Stoker. Then, after years of searching through dusty old books and defunct magazines, Richard and fellow vampire enthusiast Robert Eighteen-Bisang compiled an even rarer collection of stories for their 2011 anthology Vintage Vampire Stories. Now, after more diligent searching, Richard and I have put together this stunning new collection of stories, nearly all of which have been unavailable for many years, and include several forgotten gems whose resurrection from an undeserved obscurity should finally bring them the recognition they deserve.

      BRIAN J. FROST

       THE BRIDE OF THE ISLES

      A Tale Founded on the Popular Legend of the Vampire

       Anonymous

      When this story, which is based on James Robinson Planché’s play The Vampire; or, The Bride of the Isles, received its first publication in 1820, the publisher, J. Charles of Dublin, took the liberty of falsely attributing it to Lord Byron, and the real author is unknown. Nevertheless, it is an excellent example of the bluebook or ‘Shilling Shocker,’ which were the terms usually used to describe short Gothic tales published in booklet form during the early 19th century. Retailing between sixpence and a shilling, they were about four by seven inches in size, and their closely printed pages were stitched into a cover made of flimsy blue paper. These luridly illustrated publications were especially popular with members of the lower classes, many of whom craved the thrill of reading stories revolving around shocking, mysterious and horrid incidents, but couldn’t afford to buy expensive Gothic novels, which were often published in three volumes. A copy of the rare 1820 first edition, complete with its coloured frontispiece, fetched £2000 at auction three years ago.

      ‘THOUGH the cheek be pale, and glared the eye, such is the wondrous art the hapless victim blind adores, and drops into their grasp like birds when gazed on by a basilisk.’

      THERE IS A popular superstition still extant in the southern isles of Scotland, but not with the force as it was a century since, that the souls of persons, whose actions in the mortal state were so wickedly atrocious as to deny all possibility of happiness in that of the next; were doomed to everlasting perdition, but had the power given them by infernal spirits to be for a while the scourge of the living.

      This was done by allowing the wicked spirit to enter the body of another person at the moment their own soul had winged its flight from earth; the corpse was thus reanimated – the same look, the same voice, the same expression of countenance, with physical powers to eat and drink, and partake of human enjoyments, but with the most wicked propensities, and in this state they were called vampires. This second existence as it may not improperly be termed, is held on a tenure of the most horrid and diabolical nature. Every All-Hallow E’en, he must wed a lovely virgin, and slay her, which done, he is to catch her warm blood and drink it, and from this draught he is renovated for another year, and free to take another shape, and pursue his Satanic course; but if he failed in procuring a wife at the appointed time, or had not opportunity to make the sacrifice before the moon set, the vampire was no more – he did not turn into a skeleton, but literally vanished into air and nothingness.

      One of these demoniac sprites, Oscar Montcalm, of infamous notoriety in the Scotch annals of crime and murder (who was decapitated by the hands of the common executioner), was a most successful vampire, and many were the poor unfortunate СКАЧАТЬ