The art-horror; horror writing Horror stories The nature of Horror, by Noel Carroll

Abraham "Bram" Stoker (November 8, 1847 – April 20, 1912) was an Irish novelist and short story writer, best known today for his 1897 Gothic novel Dracula. During his lifetime, he was better known as personal assistant of actor Henry Irving and business manager of the Lyceum Theatre in London, which Irving owned.

Michael Vorsino: The Dragon, the Raven and the Ring

Journal of Dracula Studies 5 (2003)





[A TSD member, Michael Vorsino is completing his Masters degree in History (with thesis on Vlad Dracula) at the University of Texas at Arlington. A single father, he has two daughters – Samantha and Priscilla.]



Southeastern Europe has long been one of the world’s hotbeds of instability and strife. Owing in part to the rise of the Ottoman Empire in the fourteenth and fifteenth centuries with the simultaneous decline of the Byzantine Empire, this region was used as a marching ground for numerous armies. In Bram Stoker’s novel Dracula (1897), the Count refers to this instability when he tells Jonathan Harker: “In the region through which you came last night, there can be but little doubt; for it was the ground fought over for centuries by the Wallachian, the Saxon, and the Turk. Why, there is hardly a foot of soil in all this region that has not been enriched by the blood of men, patriots, or invaders” (27).
In the early to mid-fifteenth century, as the Ottoman tide reached its apex, freedom from the suzerainty of Ottoman dominion was a dream shared by many regional leaders. Relationships and partnerships were forged between these leaders, most of which were not entirely successful, but few are more dynamic than the triangle that was formed between Vlad Dracul, his son Vlad Dracula (better known by Romanian historians as Vlad Ţepeş) and John Hunyadi.
Since the fall of the Byzantine Empire in 1453, the countries in this part of Europe have been sandwiched between the dichotomous forces of the Christian west and the Muslim east. The fifteenth and sixteenth centuries were particularly difficult, as the expansion of the Ottoman tide swept across the continent. Striving to preserve the independence of their states, this region has not surprisingly produced some of the most incredible men of the time.  
John Hunyadi was a celebrated war hero, made legendary by his confrontations with the Ottoman Turks.  He was a man of immense power and wealth, often financing campaigns largely out of his personal funds. His ultimate desire was to see the Ottomans expelled from Europe forever. His political and military machinations reached into surrounding countries, including Wallachia, where he set up and deposed some of its leaders (based on their perceived loyalty to the Christian cause), including Vlad Dracul, and his son Vlad Ţepeş (henceforth in this essay referred to as Dracula). Dracula was driven by a passionate hatred of all that would disrupt Wallachian independence, especially the Turks. This enmity was fueled in part by a period of Turkish captivity during which he had endured tortures of several kinds, including frequent use of the lash by his Turkish tutors. When Vlad Dracula became voivode of Wallachia, he became widely known for his liberal use of impalement as a form of punishment, hence his nickname “the Impaler.” This torturous method of execution was used with great effectiveness as a means of psychological warfare in his brutal battles with the forces of Mehmed  “the Conqueror,” who was one of the most powerful sultans of the Ottoman Empire. Because of his opposition to the Ottomans, Vlad Dracula is seen by many as the father of Romanian sovereignty.   

Dead West (AKA Cowboys and Vampires) (director: Douglas Myers)

Dead West, Douglas Myers, Vampire films, Horror films, Vampire movies, Horror movies, blood movies, Dark movies, Scary movies, Ghost movies


Starring:
Jasen Wade
Angélica Celaya
Shannon Whirry



A western movie actor is trying to make it big in a western film studio and theme park, when a 'new management team' takes over the park and turns the film studio into a fright-fest for the month of Halloween.

Jeremy Stewart: Hidden city

Jeremy Stewart, Halloween poem, Vampire poetry, Vampire poems, Dark Poems, Dark Poetry, Gothic poetry, Goth poetry, Horror poetry, Horror poems


Neighbours had under their house an ossuary
blamed it for evil emanating for a block
inverted saints manifested
supernatural reek
they told me it was there when they moved in
right
I planned to buy the bones     to remove them
but when I went inside they got         to me
now barking dogs are invited to my party
they’re the only ones
neighbours took their loud bass
& fell into a ravine
let them be added
to the number of the numberless
remains to be seen
what will be left when they’re gone
large enclosures armed with woofers speak
to me, it’s a numbers racket
I can’t read you anymore because
there isn’t any more now go to sleep
dust & sand in my mouth & muffled
sounds above, so be low

the disaster already
happened, & it made
a lousy movie. A pack of wolves against the orange horizon
watch the lousy movie. Daylight’s yolk
about to crack. Smoking
year-end best-of lists
of lists of lists burn in muted
television light             watching
the fireplace show, the log, every
so often a hand
or day of infinite justice          the chamber
of commerce should welcome erasure

searching out blind spots
          I created Nosferatu’s mirror

saw a tangle of black dogs & hair run after
unspooling tape

 & I felt like nothing so much
as

wounded absence of a line
while the house falls in
violet repeat offender
song of the violent repeat offender

can’t get nothing right
don’t you motherfuckers ever fuck with me
don’t fuck with my family
can’t get nothing right

watching TV puppet shows as a kid
gravel parking lot skid
I was a poet with no M.O.
never seen a poem before

bang this empty skull
about to fly away on the shop wing
no one’s gonna try to reach out to me
bang this empty skull

 honest work for honest pay
oh, you say you already heard that one?
I was a victim until I rewrote the scene
now it’s cops try to victimize me

I will buy one smoke off you for fifty cents
six weeks of compulsory anger management counselling
all the places I won’t get to go
with my hand smashed in the car door

yeah, you think you can fuck with me?
steal my bike & step on my hand?
suffocating in the space between
two burning buildings
mirror the hip sounds
of Bloody Holly


I quit the band, too
but somehow survived
traded interior deserts
for coastal deserts before falling
asleep at the bottom of a lake
where I could hardly hear the phone.

You asked for a complete account
of myself & that’s it
anything further will be in my RCMP file
along with urine, hair, teeth

Lewis Call: "Sounds Like Kinky Business to Me": Subtextual and Textual Representations of Erotic Power in the Buffyverse

Slayage: The Online International Journal of Buffy Studies, 6(4)



 
[1] Buffy the Vampire Slayer and Angel have done a great deal to promote tolerance of alternative sexualities. The two programs are especially well known for their positive depictions of gay and lesbian sexuality. However, Buffy and Angel have also brought about another intriguing revolution in the representation of unorthodox sexual practices. Throughout the twelve seasons which comprise the Buffyverse narrative, Buffy and Angel have consistently provided positive portrayals of sadomasochism (S/M) and erotic power exchange. In the early seasons these representations were, of necessity, largely subtextual. As the two shows progressed, however, they began to provide bolder, more explicit depictions of S/M. Thus the Buffyverse's discourse of erotic power gradually moved out of the subtextual and into the realm of the textual. As representations of erotic power exchange became more open and explicit at the textual level, these representations became increasingly available to the Buffyverse's audience. In the later seasons of Buffy and Angel, the two programs did not merely depict S/M, but actually presented it as an ethical, egalitarian way in which participants might negotiate the power relations which are an inevitable part of their lives. Buffy and Angel brought S/M out of the closet and normalized it. The two programs thus offered their audiences a positive and practical model of erotic power exchange. The Buffyverse has already secured for itself a prominent place in the history of narrative television. By endorsing the ethical exchange of erotic power, Buffy and Angel may earn an important place in the history of sexuality as well.
[2] Few television shows are as fascinated with their own subtexts as Buffy and Angel. Both shows feature a frequently flagrant disregard for their own master narratives. "Storyteller" (B7016), for example, emphasizes the perspective of a character who would be considered minor on most programs, geeky reformed "super villain" Andrew. "The Girl in Question" (A5020) sends Angel and Spike to Italy, ostensibly on a quest for Buffy, but quite obviously for the real purpose of permitting the homoerotic relationship between the two male vampires to eclipse their mutual obsession with Buffy (who, like a proper fetish object, is much discussed but does not appear in the episode). Both shows also have a deep and abiding interest in saying those things which cannot be said with words. Thus in "Hush" (B4010), the characters must find ways to express themselves in the absence of spoken language, while in "Once More, with Feeling" (B6007), they can express their deepest feelings—but only in song. Series creator Joss Whedon seems determined to make use of every possible form of non-linguistic communication including, remarkably, ballet (see "Waiting in the Wings," A3013). Since spoken dialogue is the main form of textuality in narrative television, the effect of these experiments is to foreground such normally subtextual elements as gesture, facial expression, color, editing cuts and (of course!) music and choreography. (But then, Giles warned us way back in Season Two that the subtext is rapidly becoming the text, “Ted,” B2011.)