I think I have something of a thing for epistolary novels. The conceit that the scenes of this book were transcribed from the characters' own personal journals, letters, and even phonograph recordings, and the mention of Mina transcribing the materials of the novel from shorthand being part of the plot were really nice touches.
There are some things which stretch credulity of this being a series of real letters and journal entries, however. Such as the idea that the characters would write down word for word quotations of various persons speaking with a heavy accent as a phonetic spelling of what the accent sounds like, in shorthand. Or the idea that Mina or Lucy, while tired and weakened from loss of blood, would be able to write some of the longer entries that they seemed to be capable of. Or that a person beset by wolves in a camp would think to be recording impressions of what the snowfall looked like in their narrative. But I like the idea in concept.
The first hundred pages of the novel were very good. I was a bit inclined to question why Harker was ignoring the somewhat blatant warning signs given to him by the people he met on the way. I mean, the moment that creepy carriage pulled up, I'd probably have turned around and gone home. But I have to keep in mind it was his first job in a new position in a conservative firm, so I could maybe see why he felt a fire under his feet, because we've all had that feeling with a new job, that we don't want to screw this up, right? Once he got there, he seemed to catch on pretty quickly that things were not right and did do a decent job at trying to escape.
Then, the part where Dracula comes to England in the middle of a storm at sea was probably the best prose in the entire book.
The second hundred pages are where the novel really starts to drag. Mina's friend Lucy is slowly being drained dry by the relocated Count, and Dr. Seward's patient Renfield seems to be suffering bouts of madness whenever his vampire master comes around. The irritating part about this section is that, while the people witnessing the odd changes in their friend/patient's behavior spend an inordinate amount of time trying to figure out what is wrong with them, we've already been informed a good deal about the voyage of Dracula, so there's no suspense for the reader about what is happening, and this section of the plot idles in place while the health of the afflicted characters gets cyclically better, then worse.
I had too many questions about this part of the plot. Why did Dracula keep coming after Lucy when Mina and the others keep making it so difficult for him to feed on her? He seems to have a his eye on few other women in town who are probably easier targets. Why, once Van Helsing comes along and recognizes the signs of a vampire attack, did he not propose to move her to someplace safer, maybe someplace far, far away from Exeter, possibly taking her ill mother with her? Even though Mina was not aware of the existence of vampires, why did she still seem to be so blasé about so many of the important, unusual details she keeps noting in her journal night after night, like, oh, say, "Why is there so often a bat that keeps flapping steadily outside of my friend's window every night while she sleepwalks over to sit with it? Isn't it weird that I saw a man leaning over her in the graveyard one night, and I caught another glimpse of him around at sunset on another occasion?"
You know, things a normal person would quickly write, "That's really weird, and maybe I should be very worried, especially since my friend is also acting weird and looks ill." I guess what I'm trying to say is watching unaware characters fail to respond for a period of time when you already know what's really going on is frustrating. And what gets me is that later on, when Mina herself starts looking pale every evening, everyone, who by this time knows very well about Dracula's true identity, is chalking it up to stress until he pretty much attacks her in front of them. :facepalm:
The action does pick up in the third act, and there are some very satisfying moments when the characters discover things and act on them, but there's also a lot of filler in the form of long exposition, repetition of information, details about stretches of travel where little important is actually happening, and so on. I admit I found myself skimming a lot through this part of the book because I was eager to get it over with at, and my paltry 2 star score reflects my impatience with the latter two-thirds of the novel.
I think I'd have liked to give the first 100 pages 4 or 5 stars, because they were definitely worth reading, with some nice prose and storytelling. For the rest of the book, I'd think reading a Cliff's Notes synopsis would do just as well, considering how verbose and drawn-out it is. I was disappointed that the storytelling did not hold up until the end, because it was quite good up to a point.
At least now I can say I've read the original vampire best-seller. Without it, we would just be up to our knees in werewolves and zombie apocalypses instead.