she applies to her bare skull a living head of hair torn from one of her beautiful young female victims. Féval added to his tally of vampire novels in the following decade, penning La Ville Vampire in 1874. A parody of early nineteenth century Gothic novels, its unlikely heroine is the real-life author Ann Radcliffe, who mounts an expedition to find the legendary vampire-infested city of Selene, hoping to rescue a friend who has been taken there following her abduction by the evil vampire lord Otto Goetzi.
The first story to feature a lesbian vampire was Joseph Sheridan Le Fanu’s ‘Carmilla’ (1871). In this frequently anthologised classic a young woman named Laura is visited nightly in her bedchamber by the new house guest, the alluring Carmilla, and is drawn into an increasingly intimate relationship with her. Thereafter, Laura’s health declines, raising fears that she is the victim of a vampire. It eventually transpires that Carmilla is the revenant of Countess Mircalla Karnstein, who has been dead for more than one hundred and fifty years.
In the 1880s – looked on today as the beginning of supernatural fiction’s golden era – there was a noticeable broadening of the vampire story’s scope. For example, bigotry, and the tragic circumstances that may arise from it, provides the basis for Eliza Lynn Linton’s ‘The Fate of Madame Cabanel’ (1880), in which a young Englishwoman living among superstitious French peasants is brutally murdered after being mistaken for a vampire. In contrast, Phil Robinson’s ‘The Man-Eating Tree’ (1881) is about an arboreal vampire poetically described as ‘a great limb with a thousand clammy hands.’ In another offbeat story, Karl Heinrich Ulrichs’ ‘Manor’ (1884), a drowned sailor’s corpse becomes reanimated and issues from its grave at night to suck the blood of a youth who had been in a homosexual relationship with the dead man. A unique story from 1886 which is still capable of sending shivers up and down readers’ spines is Guy de Maupassant’s ‘The Horla,’ the narrator of which fears he has become the plaything of an invisible vampire. Psychic vampirism is the theme of Frank R. Stockton’s ‘A Borrowed Month’ (1886), in which a young man suffering from a debilitating illness discovers that, by the force of his will, he can draw energy and vitality from his friends. Psychic vampirism of a more sinister kind is practised in Conan Doyle’s ‘John Barrington Cowles’ (1884); this time the perpetrator is a beautiful, sadistic woman who luxuriates in her ability to destroy her lovers.
Sabine Baring-Gould’s ‘Margery of Quether’ (1884) is, without doubt, one of the oddest vampire stories in English literature. Satirising the politics of its day – with many references to the controversial reforms to the land laws – it was popular for a while, but soon sank into a lengthy period of obscurity. However, since its inclusion in Vintage Vampire Stories (2011) this story’s cynical humour can now be savoured once again. A more conventional story, Aleksey K. Tolstoy’s ‘The Family of the Vourdalak,’ draws its inspiration from Serbian folklore. Originally written in 1839, but not published until 1884, it tells of a French diplomat’s frightening encounter with vampires, which happens when he stops for the night at a village, and discovers it is deserted apart from a single family, all of whom have been transformed into vampires after the head of the household was bitten by one.
Two other significant stories from the 1880s are ‘Ken’s Mystery’ (1883), by Julian Hawthorne, and ‘A Mystery of the Campagna’ (1887), by ‘Von Degen’ (pseudonym of Anne Crawford). In the former, the hero becomes romantically entangled with a legendary vampiress after travelling with her into the past through the agency of a magic ring; and, in the latter, a composer holidaying in Italy becomes the victim of a centuries-old vampiress whose sarcophagus is concealed in an underground burial chamber.
As might be expected from one of the most fertile periods in the history of supernatural fiction, the final decade of the nineteenth century yielded a rich harvest of vampire stories, several of which are among the finest ever written. Particularly outstanding is Arthur Conan Doyle’s ‘The Parasite,’ which is a compelling tale about a psychic vampire. Originally published in Harper’s Weekly, 10 November–1 December 1894, it revolves around the machinations of a frail, middle-aged spinster who is able to control the thoughts and actions of other people by her amazing mental powers. In particular, she conceives a passion for a university professor, whom she hypnotises in an attempt to make him reciprocate her love, eventually resorting to vampiric possession when this ploy fails.
One of the few stories from the 1890s to feature a psychic vampire of the male gender is ‘Old Aeson’ (1890), by Arthur Quiller-Couch, which tells how a man who gives shelter in his home to a decrepit stranger soon lives to regret his charity when his guest usurps his position in the household by stealing his youth and most of his substance. Two other stories from the 1890s with psychic vampirism as their main motif are ‘A Modern Vampire’ (1894), by W. L. Alden, in which an author has his energy drained by a pretty young woman he has befriended; and ‘A Beautiful Vampire’ (1896), by Arabella Kenealy, whose central character, a menopausal woman, steals beauty and sexual energy from those around her in order to remain attractive to members of the opposite sex.
New medical procedures being introduced around this time may have inspired ‘Good Lady Ducayne’ (1896), by Mary E. Braddon. In this lacklustre yarn a latter-day Elizabeth Bathory has survived well beyond the normal lifespan by getting her private physician to inject her with blood he has drained from his employer’s young female companions, all of whom fade away and die. A far superior story by this author is ‘Herself’ (1894), which was included in Vintage Vampire Stories after years of undeserved neglect. Set in Italy, it chronicles the gradual decline in health of a bubbly young woman after she becomes morbidly enraptured by an antique mirror, which steals some of her vitality every time she gazes into its depths.
A female vampire of royal blood, who comes to life and sucks the blood of an Englishman after her ancient resting-place is disturbed, is featured in ‘The Tomb Among the Pines’ (1894), an uncredited story which was initially published in the British periodical Household Words. One of the most exotic vampiresses from the 1890s is the evil enchantress in ‘The Crimson Weaver’ (1895), by R. Murray Gilchrist. Incredibly old yet stunningly beautiful, she lures a knight into her magical domain and kills him horribly after enslaving him with a kiss. Similarly, in Arthur Quiller-Couch’s ‘The Legend of Sir Dinar’ (1891) an Arthurian knight seeking the Holy Grail is held in thrall by a beautiful vampiress who steals his youth. There can be no doubt, however, that the deadliest female vampire from this period is Annette, the central character in Dick Donovan’s 1899 story ‘The Woman with the “Oily Eyes”.’ An irredeemably evil monster in womanly form, she attracts upright men against their will and brings about their destruction, using her mesmeric eyes to subjugate them. Another story from 1899, Vincent O’Sullivan’s ‘Will,’ is notable for its effective use of the ‘biter bit’ scenario. Similar in style to Poe’s macabre tales, it tells how a man with an irrational hatred for his wife relentlessly draws out and absorbs her life force by gazing at her intently for hours on end, until eventually she dies. The tables are turned, however, when the dead woman constantly haunts her husband, sapping his will to live.
One of the most unconventional vampire stories from the late Victorian era is ‘A Kiss of Judas’ by ‘X. L.’ (pseudonym of Julian Osgood Field). First published in 1893, it is based on the curious legend of the Children of Judas, the substance of which is that the lineal descendants of the arch-traitor are prowling about the world intent on doing harm to anyone who offends them. Luring their victims into their clutches by any means necessary, they kill them with one bite or kiss, which is so deadly it drains the blood from their bodies, leaving a wound on the flesh like three X’s, signifying the thirty pieces of silver paid to Christ’s betrayer. Another offbeat story is Count Eric Stenbock’s ‘The True Story of a Vampire,’ which comes from his 1894 collection Studies of Death. Count Vardalek, whose activities this story chronicles, is a male version of Le Fanu’s Carmilla, but whereas she was homoerotically attracted to another woman, Vardalek has similar feelings about a young boy.
‘The Priest and His Cook’ and ‘The Story of Jella and the Macic’ are two folkloric tales that have recently been extracted from The Pobratim, an 1895 novel by Professor P. Jones. The former appeared for the first time in Vintage Vampire Stories, and the latter makes its debut in the present volume. Two better-known stories from the 1890s that have