Hot on the heels of Berman’s Where Thy Dark Eye Glances, a queering of Edgar Allan Poe, and Joseph DeMarco’s A Study in Lavender, which gave the same treatment to Sherlock Holmes, comes Suffered from the Night, which takes on the Dracula mythos. With these three volumes, Lethe Press is quickly becoming the go-to publisher for the re-imagining of icons. And that’s a mighty sweet place to be. Even sweeter is the fact that the stories get better and better.
As with the other two books, the authors represented in Suffered from the Night draw their inspirations from major and minor characters in the text–some even unnamed–as well as those who present us their takes on the vampire myth in general. The kickoff story, Lee Thomas’s chilling “The Tattered Boy” is among those. This tale of a vampire boy and the college professor he terrorizes puts the reader in the appropriate time frame and mood. When beginning a vampire book, you can hardly go wrong with a Lee Thomas story. Just as literary, but more Stoker-based is Livia Llewellyn’s “Yours is the Right to Begin,” which plumbs the origins and attitudes of Dracula’s three “weird sisters,” as Jonathan Harker calls them, and does so with such sumptuous language as to take your breath away. Ed Madden‘s poem, “Self Portrait as Jonathan Harker,” continues the text-based entries.
Damon Shaw’s magnificently engaging “Seven Lovers and the Sea” explores from the sailor’s point of view what happened aboard the Demeter on that fateful voyage departing from Varna Quay, and Jason Andrew’s stately, moody “The Calm of Despair” tells the immediate aftermath of the Demeter’s landing through the eyes of one of Count Dracula’s solicitors. Elka Cloke’s epistolary and wholly successful “Bloofer Ladies” explores the relationship (which always had a lesbian subtext to me) between Mina Harker and Lucy Westerna complete with a darkly disturbing ending that sees Harker and Westerna reuniting in a ruined abbey several years hence.
Back to the epistolary form (an unsurprising choice, considering the source material) for William P. Coleman’s “The Powers of Evil,” which retells the last chapter of the story and includes Arthur Holmwood’s unrequited love for not only Jonathan Harker but an old lust for Jack Seward as well. Holmwood and Westerna also play key roles in Traci Castleberry’s “My Arms Are Hungry,” told from the point of view of one of the “bloofer lady” children. One of the most creative entries, Jeff Mann’s “Protect the King,” takes the unnamed gypsy driving the cart containing Dracula’s body, and invents a wonderful servant named Boldo for the vampire lord. As usual, Mann’s research into the Romany culture is thorough and totally entwined in the story.
Rajan Khanna’s “Hungers” is a nicely paced, action-packed romp with a nice twist or two that sees the offspring of the major human characters in the original text carrying on their forefathers’ (and foremothers’) work in doing battle with the undead race, this time with the evil Baron Winters. Steve Berman‘s own “The Letter that Doomed Nosferatu” strikes an uneasy balance between comedy and foreboding as it looks at the cinematic premiere of F.W. Murnau‘s Nosferatu as attended by a man and his companion, who might just be the film’s subject. This, however, is a perfect set-up for perhaps the oddest, yet most compelling story here–Laird Barron’s “Ardor,” which combines vampires, snuff films, and an Alaskan aircrash in a totally engaging and perverse read. Sven Davisson updates the undead for the texting Twitter generation in his New Orleans-set “A Closer Walk With Thee,” and Seth Cadin ends the collection with an oddly wistful “Unhallowed Ground.”
Nothing in this collection seems out of place or lacking in any respect. It’s of a piece with the other two anthologies referencing Holmes and Poe, which makes this the last entry in an anthologic trilogy. One can only hope Berman’s visionary stance never shifts and we get something equally as wonderful. Soon.
© 2013 Jerry L. Wheeler