Read by Greg Wise and Saskia Reeves
Publisher: BBC Audio
Time: 18 hours, 24 minutes (unabridged)
Format: Audible Download
‘Alone with the dead! I dare not go out, for I can hear the low howl of the wolf through the broken window’
A chilling masterpiece of the horror genre, Dracula also illuminated dark corners of Victorian sexuality. When Jonathan Harker visits Transylvania to advise Count Dracula on a London home, he makes a horrifying discovery. Soon afterwards, a number of disturbing incidents unfold in England: an unmanned ship is wrecked at Whitby; strange puncture marks appear on a young woman’s neck; and the inmate of a lunatic asylum raves about the arrival of his ‘Master’, while a determined group of adversaries prepares to face the terrifying Count.
From the Penguin English Library Edition
If I was reviewing objectively there is no way Dracula would get 5 stars. Love it as I do, it’s got some glaring flaws. The reason Dracula is regarded as a ‘classic’ isn’t because it’s a literary masterpiece on par with the greats – it’s really not – but because it’s really good at what it is, a crowd-pleasing horror, and because it helped create the popularity and features of the ‘modern vampire’. Thankfully however book reviewing is all about opinions and I can be as unobjective as I want.
I first read Dracula when I was about 12 and this was my first time going back to it. I have to admit, it wasn’t as good as I remembered it. If I read it today it would probably only get 4 stars, but nostalgia and the love of gothic novels it inspired mean I just don’t have the heart to take that star away from it. Flawed as it is, I still love it.
And there are bits that are truly deserving of 5 stars. The whole first section where Jonathan Harker is in Transylvania visiting the Count’s castle is just wonderful. Told through Jonathan’s diary, the slow realisation of what his host is and the danger he is in makes for intense reading (or listening). However it’s easy to get a spooky atmosphere going when your setting is a deserted, ancient, castle sitting atop a cliff in a foreign and superstitious land, once the action moves to England the atmosphere suffers. Whitby is windswept and beautifully grim enough that the build up to, and events following, the count’s arrival there still feel tense and scary, and for a while John Seward’s madhouse and his dealings with Renfield – a patient who believes that by eating spiders and flies he absorbs their lifeforce – is creepily compelling. But…well after the first vampire staking the book loses steam.
A lot of the tension in these first parts is tied over from the cliffhanger of Jonathan’s diary and not knowing whether he survived or not. The characters in England are not too compelling all by themselves. Harker’s fiancé Mina is alright, she’s a strong independent woman in a way that’s acceptable to the Victorians – which means she can write shorthand and use a typewriter. But then there’s her friend Lucy who is your stereotypical damsel in distress, going sleepwalking round graveyards in her nightgown, and the three almost interchangeable men who fancy her. Dr. John Seward, already mentioned, owns a madhouse and is one of the main narrators – the story being epistolary, told through letters and diary entries – Quincey Morris is a Texan who knows a lot about guns and uses amusing ‘slang’ but is actually quite fun, but Arthur Holmwood, the rich son of a British Lord, is a total snorefest. Guess which one Lucy goes for…
It’s all a bit too coincidental and neatly connected to take entirely seriously – Jonathan Harker is engaged to Mina – who is best friends with Dracula’s first victim – who turned down a proposal from John Seward who lives next door to Dracula’s new house – and was taught by Van Helsing, who is the only person in the Victorian world to recognise and know how to kill a vampire. But well, I don’t think it’s a book you’re meant to take entirely seriously. One thing I did like about the characters though; these blokes manage to stay friends and not get pissy at each other after Lucy makes her choice – they respect her decision, stop pursuing her romantically, and stay friends with both each other and her without being all grumpy about it. Can you imagine that happening in a modern vampire novel?
Up until the first staking though the gothic atmosphere of the first section remains, if in slightly lesser form, as John and Van Helsing struggle to save Lucy’s life from her ‘mysterious wasting disease’ and near constant blood loss every night. After it’s been established what’s causing it however the book slows down to a bit of a crawl. There are lots of conversations where the characters inform each other of facts the reader already knows and seemingly have endless discussions about what to do without actually doing very much. Instead of trying to hunt Dracula down it becomes a ‘destroy them all’ quest surrounding some of the objects he brought with him from Transylvania. Also while John Seward, Quincey, and Arthur all love to gush about Lucy, Van Helsing seems to have a raging hard-on for Mina (and I am so sorry to have given you that mental image). After he meets her he barely seems to go two sentences without praising her in some way and instead of being ‘Mina’ she’s always some variation of ‘that wonderful woman’. It gets a bit old after a while and I kinda wished the characters would stop praising each other by the time I reached the half way point.
Eventually though, the stakes get raised again with a threat to ‘wonderful wonderful Miss Mina’ and we get the gang finally heading out to take on Dracula himself. They’re no Buffy though so don’t expect too much in the way of action and the hunt, like the middle section, tends to drag on a bit before the rather sudden conclusion.
I’ve made it sound really bad now I’m afraid…it’s not. It’s a good fun book and I have a lot of affection for it – I wouldn’t give it 5 stars if I didn’t – but I’m not blind to its flaws and don’t think they should be glossed over when writing a review. The story starts off very strong and gets increasingly weak, but there’s still enough to sustain it, and no one can doubt how influential a book it is. I’d take a Dracula over a certain other vampire who isn’t killed by sunlight any day.
At first I was a bit upset that after I purchased this audiobook a brand new version came out featuring some really famous voices but, after listening to both the samples of that and my own version, I’m actually very glad I got this instead. The epistolary nature of the book means that both voice actors, although Greg Wise narrates the letters and entries written by men and Saskia Reeves those written by women, have to be able to do every voice. If Mina’s diary entry includes a lot of dialogue from Van Helsing, Reeves has to put on a Van Helsing voice that is recognisably the same character as Wise’s Van Helsing. She manages admirably but I can’t imagine how hard and confusing that would be with a larger cast – two narrators is probably about as far as you can probably go whilst maintaining that sort of accuracy. Both narrators have a great range and it was fairly easy to tell all the different characters apart. Not being either Dutch or Texan I can’t speak for how accurate Van Helsing and Quincey Morris’s accents are but they didn’t grate on my nerves. There were a few characters, normally minor, where I thought the acting was a little off; the. lawyer. who. paused. a. lot. was one. And I didn’t think Renfield was quite as charismatic and smooth talking as he portrayed in the book, whilst the characters acknowledge that ‘he sounds perfectly sane’, he didn’t actually sound particularly sane at that moment in this audiobook. Though I am now reminded of something I didn’t mention in my review: John Seward runs one hell of a lax and unprofessional madhouse, even for the Victorian era.
So yeah, overall I was very impressed with both narrators for this one and would definitely recommend it if someone wanted a good audiobook version of Dracula. Half a star knocked off however for a few pretty minor quibbles.