By Chuck Wendig
Coburn’s been useless now for on the subject of a century, yet seeing as how he’s a vampire and all, it doesn’t a lot hassle him. Or a minimum of it didn’t, now not until eventually he woke up from a compelled five-year shut eye to find that almost all of human civilization used to be now dead—but now not lifeless like him, oh no.
See, Coburn likes blood. the remainder of the walking dead, they prefer brains. He’s clever. Them, now not loads. yet they outnumber him through a couple of million to 1. And the clotted blood of the strolling lifeless can't maintain him. Now he’s ravenous. And nocturnal. And extra pissed-off than a bee-stung rattlesnake. The vampire not just has to discover human survivors (with their candy, candy blood), yet now he has to transition from predator to protector—after all, a guy has to seem after his foodstuff offer.
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Extra info for Double Dead (Tomes of the Dead)
Sample text
14 In other words, like Dracula’s dream of life in London, the flâneur must circulate unnoticed within the crowds of the city and feed off the life around him. Stoker’s decision to set his story in modern London was, however, not unique in late nineteenth-century Gothic fiction. The narratives, characters, and settings of Gothic fiction were transforming. While eighteenthcentury Gothic focused upon the past’s intrusion on the present in the form of an external threat or monster, nineteenth-century Gothic was increasingly defined by internal threats and anxieties.
I read in the typescript that in my trance I heard cows low and water swirling level with my ears and the creaking of wood. The Count in his box, then, was on a river in an open boat—propelled probably either by oars or poles, for the banks are near and it is working against stream” (353). The result of her analysis renews the vampire hunters’ pursuit of Dracula. While the methods of the vampire hunters may seem to ground the characters within the modern, they also serve to overturn their own definition of modern in favor of a new form of modernity.
Later in the novel, when Mina describes her encounter with Dracula, she states that it was “as if he had stepped out of the mist—or rather as if the mist had turned into his figure” (287). In his reconception of the modern vampire, Stoker draws upon contemporary developments in electrical sciences that had played a significant role in the changing perception of the natural world in the nineteenth century. He reinvents the vampire through the language and imagery of modern technology and electrical sciences.