Being turned into a vampire is the easy part. Actually becoming a vampire is far more difficult. In today’s world of vampire-obsessed pop culture, misinformation abounds. A newly turned vampire who looks to movies and novels for answers to everlasting life’s questions will inevitably be reduced to a smoldering pile of dust. So whom can you, a neophyte immortal, trust to provide reliable information and proven strategies for leading your best and bloodiest existence? The Vampire Miles Proctor, editor of The New Vampire’s Handbook. In this definitive guide, the newly turned will find • a head-to-toe look at your vampiric body: how to harness your new powers to dispatch mortal enemies, maintain your fangs, and embrace your vampirosexuality • methods for luring prey, faking your way through meals, approaching other vampires, and creating a four-hundred-year financial plan • tips on acting your “age,” behaving appropriately if you see a human you knew decades ago, and dealing with epic vampire feuds • essential advice for blending in with the masses, from finding a coven to avoiding the media (and mirrors) to staying on top of the latest fashion trends • the joy of scrapbooking Plus helpful online resources, a glyph guide, renovation instructions for emergency lairs, a Ruling Families directory, nightly mantras, and personal anecdotes from The Vampire Miles Proctor’s nearly five hundred years of experience. Welcome to the night.

Since the publication of John Polidori's The Vampyre (1819), the vampire has been a mainstay of Western culture, appearing consistently in literature, art, music (notably opera), film, television, graphic novels and popular culture in general. Even before its entrance into the realm of arts and letters in the early nineteenth century, the vampire was a feared creature of Eastern European folklore and legend, rising from the grave at night to consume its living loved ones and neighbors, often converting them at the same time into fellow vampires. A major question exists within vampire scholarship: to what extent is this creature a product of European cultural forms, or is the vampire indeed a universal, perhaps even archetypal figure? In this collection of sixteen original essays, the contributors shed light on this question. One essay traces the origins of the legend to the early medieval Norse draugr, an "undead" creature who reflects the underpinnings of Dracula, the latter first appearing as a vampire in Anglo-Irish Bram Stoker's 1897 novel, Dracula. In addition to these investigations of the Western mythic, literary and historic traditions, other essays in this volume move outside Europe to explore vampire figures in Native American and Mesoamerican myth and ritual, as well as the existence of similar vampiric traditions in Japanese, Russian and Latin American art, theatre, literature, film, and other cultural productions. The female vampire looms large, beginning with the Sumerian goddess Lilith, including the nineteenth-century Carmilla, and moving to vampiresses in twentieth-century film, literature, and television series. Scientific explanations for vampires and werewolves constitute another section of the book, including eighteenth-century accounts of unearthing, decapitation and cremation of suspected vampires in Eastern Europe. The vampire's beauty, attainment of immortality and eternal youth are all suggested as reasons for its continued success in contemporary popular culture.

Oliver’s life is no different from those of most middle school kids—except he sleeps in a coffin and drinks blood for breakfast Oliver Nocturne lives a pretty normal life—he deals with bullies, has an obnoxious older brother, and generally feels misunderstood. But being a vampire presents another host of problems, especially when he feels—he knows—he’s not quite like everyone else. When Emalie, a human girl with a troubled past, takes a picture of him, Oliver ignores the rules that forbid him from interacting with humans and agrees to show her the darkest secrets of the Seattle underworld. But their quest will uncover more than vampire mythology—they will learn the terrible truth about Oliver’s past and his purpose. And for Emalie, this knowledge could come at a fatal price.

This comprehensive bibliography covers writings about vampires and related creatures from the 19th century to the present. More than 6,000 entries document the vampire's penetration of Western culture, from scholarly discourse, to popular culture, politics and cook books. Sections by topic list works covering various aspects, including general sources, folklore and history, vampires in literature, music and art, metaphorical vampires and the contemporary vampire community. Vampires from film and television--from Bela Lugosi's Dracula to Buffy the Vampire Slayer, True Blood and the Twilight Saga--are well represented.

An exhaustive work covering the full range of topics relating to vampires, including literature, film and television, and folklore. Encyclopedia of the Vampire: The Living Dead in Myth, Legend, and Popular Culture is a comprehensive encyclopedia relating to all phases of vampirism—in literature, film, and television; in folklore; and in world culture. Although previous encyclopedias have attempted to chart this terrain, no prior work contains the depth of information, the breadth of scope, and the up-to-date coverage of this volume. With contributions from many leading critics of horror and supernatural literature and media, the encyclopedia offers entries on leading authors of vampire literature (Bram Stoker, Anne Rice, Stephenie Meyer), on important individual literary works (Dracula and Interview with the Vampire), on celebrated vampire films (the many different adaptations of Dracula, the Twilight series, Love at First Bite), and on television shows (Buffy the Vampire Slayer and Angel). It also covers other significant topics pertaining to vampires, such as vampires in world folklore, humorous vampire films, and vampire lifestyle.

Against the social and economic upheavals that characterized the nineteenth century, the border-bending nosferatu embodied the period’s fears as well as its forbidden desires. This volume looks at both the range among and legacy of vampires in the nineteenth century, including race, culture, social upheaval, gender and sexuality, new knowledge and technology. The figure increased in popularity throughout the century and reached its climax in Dracula (1897), the most famous story of bloodsuckers. This book includes chapters on Bram Stoker’s iconic novel, as well as touchstone texts like John William Polidori’s The Vampyre (1819) and Sheridan Le Fanu’s Carmilla (1872), but it also focuses on the many “Other” vampire stories of the period. Topics discussed include: the long-war veteran and aristocratic vampire in Varney; the vampire as addict in fiction by George MacDonald; time discipline in Eric Stenbock’s Studies of Death; fragile female vampires in works by Eliza Lynn Linton; the gender and sexual contract in Mary Elizabeth Braddon’s “Good Lady Ducayne;” cultural appropriation in Richard Burton’s Vikram and the Vampire; as well as Caribbean vampires and the racialized Other in Florence Marryat’s The Blood of the Vampire. While drawing attention to oft-overlooked stories, this study ultimately highlights the vampire as a cultural shape-shifter whose role as “Other” tells us much about Victorian culture and readers’ fears or desires.