Dracula: A Deluxe Hardcover Collector's Edition of the Bestselling Vampire Classic
One of the most famous pieces of English literature, and a classic for a reason, Dracula is the epitome of vampire fiction and a must-read for any horror fan. This new hardcover edition includes unique sprayed edges, foiled embellishments, and beautiful illustrations.

In this beautiful new edition of a gothic classic, Jonathan Harker—a newly qualified English solicitor—visits Count Dracula at his castle in the Carpathian Mountains. But all is not as it seems, and as Harker’s visit takes a dark turn, the Count escapes the castle and heads to England …

Told through letters, diary entries, and newspaper articles, Dracula is one of the best examples of an epistolary novel, using the “found” nature of its entries to immerse the reader in a dark and thrilling tale. Whether you are returning to an old standard or picking up this brilliant novel for the first time, Dracula is a spectacular and riveting reading experience.

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Dracula: A Deluxe Hardcover Collector's Edition of the Bestselling Vampire Classic
One of the most famous pieces of English literature, and a classic for a reason, Dracula is the epitome of vampire fiction and a must-read for any horror fan. This new hardcover edition includes unique sprayed edges, foiled embellishments, and beautiful illustrations.

In this beautiful new edition of a gothic classic, Jonathan Harker—a newly qualified English solicitor—visits Count Dracula at his castle in the Carpathian Mountains. But all is not as it seems, and as Harker’s visit takes a dark turn, the Count escapes the castle and heads to England …

Told through letters, diary entries, and newspaper articles, Dracula is one of the best examples of an epistolary novel, using the “found” nature of its entries to immerse the reader in a dark and thrilling tale. Whether you are returning to an old standard or picking up this brilliant novel for the first time, Dracula is a spectacular and riveting reading experience.

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Dracula: A Deluxe Hardcover Collector's Edition of the Bestselling Vampire Classic

Dracula: A Deluxe Hardcover Collector's Edition of the Bestselling Vampire Classic

Dracula: A Deluxe Hardcover Collector's Edition of the Bestselling Vampire Classic

Dracula: A Deluxe Hardcover Collector's Edition of the Bestselling Vampire Classic

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Overview

Notes From Your Bookseller

The beginning of it all. The first vampire to take to the page and spawn a universal thirst for more bloodsuckers. It all starts with an ill-fated real estate transaction for poor Jonathan Harker, who unearths a danger that is more bite than bark. It’s immortally entertaining and worthy of your eyes.

One of the most famous pieces of English literature, and a classic for a reason, Dracula is the epitome of vampire fiction and a must-read for any horror fan. This new hardcover edition includes unique sprayed edges, foiled embellishments, and beautiful illustrations.

In this beautiful new edition of a gothic classic, Jonathan Harker—a newly qualified English solicitor—visits Count Dracula at his castle in the Carpathian Mountains. But all is not as it seems, and as Harker’s visit takes a dark turn, the Count escapes the castle and heads to England …

Told through letters, diary entries, and newspaper articles, Dracula is one of the best examples of an epistolary novel, using the “found” nature of its entries to immerse the reader in a dark and thrilling tale. Whether you are returning to an old standard or picking up this brilliant novel for the first time, Dracula is a spectacular and riveting reading experience.


Product Details

ISBN-13: 9798200927722
Publisher: Blackstone Publishing
Publication date: 12/06/2025
Edition description: Unabridged
Product dimensions: 5.30(w) x 7.50(h) x (d)
Age Range: 18 Years

About the Author

About The Author
Abraham 'Bram' Stoker (1847 - 1912) was educated at Trinity College, Dublin and joined the Irish Civil Service before his love of theatre led him to become the unpaid drama critic for the Dublin Mail. He went on to act as as manager and secretary for the actor Sir Henry Irving, while writing his novels, the most famous of which is Dracula.

Theo Solomon is an Earphones Award–winning narrator who has worked extensively on stage, on screen, and behind the mic. He has performed across London and Nottingham, and his television work includes roles on Temple and Enterprice.



Shiromi Arserio is a stage actor, voice talent, and audiobook narrator. She holds a BA in theater from Rose Bruford College of Theatre and Performance. In addition to narrating dozens of audiobooks, her voice can be heard in documentaries, e-learning projects, and video games such as Nancy Drew: The Shattered Medallion. A native of London, England, she currently resides in the Seattle area with her husband and her two fur babies.

Simon Vance, a former BBC Radio presenter and newsreader, is a full-time actor who has appeared on both stage and television. He has recorded over eight hundred audiobooks and has earned fifty-seven Earphones Awards from AudioFile magazine, including one for his narration of Scaramouche by Rafael Sabatini. A multiple Audie finalist, Simon has won Audie Awards for The King's Speech by Mark Logue and Peter Conradi, The Life and Adventures of Nicholas Nickleby by Charles Dickens, Great Expectations by Charles Dickens, Market Forces by Richard K. Morgan, and The Tao of Pooh by Benjamin Hoff. Winner of the 2008 Booklist Voice of Choice Award, Simon has also been named an AudioFile Golden Voice as well as an AudioFile Best Voice of 2009.

Edoardo Ballerini is an American writer, director, film producer and actor.  He has won many awards for his audiobook narration; within only a few years after beginning his narrating career, he won several AudioFile Earphones Awards for his work, including Stephen Greenblatt’s The Swerve: How The World Became Modern, Jodi Picoult’s The Storyteller and Jess Walter’s Beautiful Ruins.   He narrated Kenzaburo Oe’s Nobel Prize Winning Nip the Buds, Shoot the Kids, Joseph Finder’s The Moscow Club as well as works by John Edward and Daniel Stashower.   In television and film, he is best known for his role in The Sopranos, 24, I Shot Andy Warhol, Dinner Rush and Romeo Must Die. The silky-voiced Ballerini is trained in theater and continues to do much work on stage.

Saskia Maarleveld is an experienced audiobook narrator and voice-over actress based in New York City. Raised in New Zealand and France, she is highly skilled with accents and dialects, and many of her books have been narrated entirely in accents other than her own. In addition to audiobooks, Saskia’s voice can be heard in animation, video games, and commercials. She attributes her love and understanding of reading books aloud to coming from a large family where audiobooks were the only way to get though car rides without fighting! Visit saskiamaarleveld.com to learn more.



Timothy Campbell is the Audie and AudioFile Earphones Award-winning voice of hundreds of audiobook titles in almost every literary genre.

Bradford Hastings is a voice talent and audiobook narrator.


Elisabeth Rodgers is an actress and AudioFile Earphones Award–winning narrator. After graduating from Princeton University, she completed a two-year program at William Esper Studio. She has recorded dozens of books for a multitude of publishers.



Liam Gerrard is an award-winning voiceover artist who has spent over ten years working in the industry. A highly acclaimed stage and screen actor, he has narrated over thirty audiobooks and was nominated for an Audie Award.

John Lee has performed at the Mark Taper Forum in Los Angeles and the Globe Theatre in San Diego. He is the author of the plays Blood and Milk, Hitler’s Head, Passchendaele, Clean Souls, and Frankincense.

Bronson Pinchot began talking at 9 months of age. Today, half a century later, he talks into a microphone in a soundproof booth for a living. In between, he attended Yale University as well as the acting programs at Shakespeare & Co. and Circle-in-the-Square, logged in well over 200 episodes of television, starred or costarred in a bouquet of films, plays, musicals, and Shakespeare on Broadway and in London, and developed a passion for Greek revival architecture.

Dylan Thomas was born in Swansea, Wales on 27 October 1914. In 1934 his first book of poetry, Eighteen Poems appeared, followed by Twenty-five Poems in 1936, Deaths and Entrances in 1946 and in 1952 his final volume, Collected Poems. He also published many short stories, wrote filmscripts, broadcast stories and talks, did a series of lecture tours in the United States and wrote Under Milkwood, the radio play.

During his fourth lecture tour of the United States in 1953, a few days after his 39th birthday, he collapsed in his New York hotel and died on November 9th at St. Vincent's Hospital. His body was sent back to Laugharne, Wales, where his grave is marked by a simple wooden cross.

In June 1994, his wife, Caitlin Thomas, died in Italy, where she had spent most of the years of her life after the death of Dylan Thomas. Her body is buried next to his.

Read an Excerpt

Chapter One

Jonathan Harker's Journal
(Kept in shorthand)

3 May. Bistriz.—Left Munich at 8:35 p.m., on 1st May, arriving at Vienna early next morning; should have arrived at 6:46, but train was an hour late.

Buda-Pesth seems a wonderful place, from the glimpse which I got of it from the train and the little I could walk through the streets. I feared to go very far from the station, as we had arrived late and would start as near the correct time as possible. The impression I had was that we were leaving the West and entering the East; the most western of splendid bridges over the Danube, which is here of noble width and depth, took us among the traditions of Turkish rule.

We left in pretty good time, and came after nightfall to Klausenburgh. Here I stopped for the night at the Hotel Royale. I had for dinner, or rather supper, a chicken done up some way with red pepper, which was very good but thirsty. (Mem., get recipe for Mina.) I asked the waiter, and he said it was called “paprika hendl,” and that, as it was a national dish, I should be able to get it anywhere along the Carpathians. I found my smattering of German very useful here; indeed, I don't know how I should be able to get on without it.

Having had some time at my disposal when in London, I had visited the British Museum, and made search among the books and maps in the library regarding Transylvania; it had struck me that some foreknowledge of the country could hardly fail to have some importance in dealing with a nobleman of that country.

I Þnd that the district he named is in the extreme east of the country, just on the borders of three states,Transylvania, Moldavia and Bukovina, in the midst of the Carpathian mountains; one of the wildest and least known portions of Europe. I was not able to light on any map or work giving the exact locality of the Castle Dracula, as there are no maps of this country as yet to compare with our own Ordnance Survey maps; but I found that Bistritz, the post town named by Count Dracula, is a fairly well-known place. I shall enter here some of my notes, as they may refresh my memory when I talk over my travels with Mina.

In the population of Transylvania there are four distinct nationalities: Saxons in the South, and mixed with them the Wallachs, who are the descendants of the Dacians; Magyars in the West, and Szekelys in the East and North. I am going among the latter, who claim to be descended from Attila and the Huns. This may be so, for when the Magyars conquered the country in the eleventh century they found the Huns settled in it. I read that every known superstition in the world is gathered into the horseshoe of the Carpathians, as if it were the centre of some sort of imaginative whirlpool; if so my stay may be very interesting.

(Mem., I must ask the Count all about them.)

I did not sleep well, though my bed was comfortable enough, for I had all sorts of queer dreams. There was a dog howling all night under my window, which may have had something to do with it; or it may have been the paprika, for I had to drink up all the water in my carafe, and was still thirsty. Towards morning I slept and was wakened by the continuous knocking at my door, so I guess I must have been sleeping soundly then. I had for breakfast more paprika, and a sort of porridge of maize þour which they said was “mamaliga,” and egg-plant stuffed with forcemeat, a very excellent dish, which they call “impletata.” (Mem., get recipe for this also.) I had to hurry breakfast, for the train started a little before eight, or rather it ought to have done so, for after rushing to the station at 7:30 I had to sit in the carriage for more than an hour before we began to move. It seems to me that the further east you go the more unpunctual are the trains. What ought they to be in China?

All day long we seemed to dawdle through a country which was full of beauty of every kind. Sometimes we saw little towns or castles on the top of steep hills such as we see in old missals; sometimes we ran by rivers and streams which seemed from the wide stony margin on each side of them to be subject to great þoods. It takes a lot of water, and running strong, to sweep the outside edge of a river clear. At every station there were groups of people, sometimes crowds, and in all sorts of attire. Some of them were just like the peasants at home or those I saw coming through France and Germany, with short jackets and round hats and home-made trousers; but others were very picturesque. The women looked pretty, except when you got near them, but they were very clumsy about the waist. They had all full white sleeves of some kind or other, and most of them had big belts with a lot of strips of something þuttering from them like the dresses in a ballet, but of course there were petticoats under them. The strangest Þgures we saw were the Slovaks, who were more barbarian than the rest, with their big cow-boy hats, great baggy dirty-white trousers, white linen shirts, and enormous heavy leather belts, nearly a foot wide, all studded over with brass nails. They wore high boots, with their trousers tucked into them, and had long black hair and heavy black moustaches. They are very picturesque, but do not look prepossessing. On the stage they would be set down at once as some old Oriental band of brigands. They are, however, I am told, very harmless and rather wanting in natural self-assertion.

Table of Contents

Chapter 01 Chapter 02 Chapter 03 Chapter 04 Chapter 05 Chapter 06 Chapter 07 Chapter 08 Chapter 09 Chapter 10 Chapter 11 Chapter 12 Chapter 13 Chapter 14 Chapter 15 Chapter 16 Chapter 17 Chapter 18 Chapter 19 Chapter 20 Chapter 21 Chapter 22 Chapter 23 Chapter 24 Chapter 25 Chapter 26 Chapter 27

What People are Saying About This

Arthur Conan Doyle

I think it is the very best story of diablerie which I have read for many years. It is really wonderful how with so much exciting interest over so long a book there is never an anticlimax.

From the Publisher

"John Lee gives a superb performance of the malevolent Count Dracula, the original vampire. His relaxed low tone, while unexpected for a horror reading, works perfectly. Precise timing and eerie vocal inflections ratchet up the fear factor in each scene." —-AudioFile

Reading Group Guide

1. Dracula relies on journal fragments, letters, and newspaper clippings to tell its story. Why might Stoker have chosen to narrate the story in this way? Do letters and journal entries make the story seem more authentic or believable to you? Likewise, discuss the significance that many of the male protagonists are doctors (Dr. Seward) or men of science (Dr. Van Helsing). Why is this important to the story?

2. How does the novel invert Christian mythology in its description of Count Dracula's reign of terror? For instance, what specific elements of Stoker's story parallel scenes or images from the New Testament? Why might this subversion of Christian myth be significant?

3. Discuss the roles of Lucy Westenra and Mina Harker in the novel. How are the two women similar? Different? What accounts for their differences? To what extent does the novel depend on both of these women to propel the narrative forward?

4. Discuss the role of sexuality in Dracula. Would you say that Dracula attempts to reproduce himself sexually or by some other means? In what ways does the figure of Dracula subvert conventional notions of heterosexuality? Consider, for instance, his predilection for drinking blood and his habit of making his victims feed from his chest.

5. What are the elements of vampire folklore? For example, what, according to the novel, attracts or repels a vampire? How do you kill a vampire for good? Although Stoker did not invent the mythology of the vampire, his novel firmly established the conventions of vampire fiction. Choose another novel that deals with vampires and compare it with Dracula. (Consider, for example, one of Anne Rice's vampirebooks.) In what ways are the novels similar? Different?

6. Consider Freud's essay "The Uncanny" in relation to Stoker's Dracula. How would Freud describe the world that Stoker evokes in the novel? Is this a world of common reality? Or is it a world governed by supernatural belief? Or both? Discuss Freud's claim that the writer of gothic fiction is "betraying to us the superstitiousness which we have ostensibly surmounted; he deceives us by promising to give us the sober truth, and then after all overstepping it." In what ways does Stoker's narrative strategy of employing newspaper clippings and journal entries promise the "sober truth"? To what extent do you think Dracula achieves a sense of the uncanny?

Foreword

1. Dracula relies on journal fragments, letters, and newspaper clippings to tell its story. Why might Stoker have chosen to narrate the story in this way? Do letters and journal entries make the story seem more authentic or believable to you? Likewise, discuss the significance that many of the male protagonists are doctors (Dr. Seward) or men of science (Dr. Van Helsing). Why is this important to the story?

2. How does the novel invert Christian mythology in its description of Count Dracula's reign of terror? For instance, what specific elements of Stoker's story parallel scenes or images from the New Testament? Why might this subversion of Christian myth be significant?

3. Discuss the roles of Lucy Westenra and Mina Harker in the novel. How are the two women similar? Different? What accounts for their differences? To what extent does the novel depend on both of these women to propel the narrative forward?

4. Discuss the role of sexuality in Dracula. Would you say that Dracula attempts to reproduce himself sexually or by some other means? In what ways does the figure of Dracula subvert conventional notions of heterosexuality? Consider, for instance, his predilection for drinking blood and his habit of making his victims feed from his chest.

5. What are the elements of vampire folklore? For example, what, according to the novel, attracts or repels a vampire? How do you kill a vampire for good? Although Stoker did not invent the mythology of the vampire, his novel firmly established the conventions of vampire fiction. Choose another novel that deals with vampires and compare it with Dracula. (Consider, for example, one of Anne Rice'svampire books.) In what ways are the novels similar? Different?

6. Consider Freud's essay "The Uncanny" in relation to Stoker's Dracula. How would Freud describe the world that Stoker evokes in the novel? Is this a world of common reality? Or is it a world governed by supernatural belief? Or both? Discuss Freud's claim that the writer of gothic fiction is "betraying to us the superstitiousness which we have ostensibly surmounted; he deceives us by promising to give us the sober truth, and then after all overstepping it." In what ways does Stoker's narrative strategy of employing newspaper clippings and journal entries promise the "sober truth"? To what extent do you think Dracula achieves a sense of the uncanny?

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