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The disquieting novel How to Quiet a Vampire is a rumination on terror and intellect in the tradition of Joseph Heller and George Steiner. Published to acclaim in 1977, Pekic's novel of ideas follows Konrad Rutkowski, professor of medieval history and former Gestapo officer, as he returns to the scene of his war crimes determined to renounce, or perhaps justify, his Nazi past. In a series of letters, Rutkowski lays out his ambivalent reactions to war and violence, connecting his own swirling ideas to those of the major figures of European thought: Plato, St. Augustine, Descartes, Nietzsche, Freud, and others.

Delving far deeper than mere intellect, however, Borislav Pekic was himself a frequent political agitator and occasional prisoner, and he drew on his first hand knowledge of police methods and life under totalitarianism to paint a chilling portrait of a supposedly free-thinking intellectual acting in the service of repression. At the same time he questions whether Rutkowski's ideology puts him outside the philosophical tradition he so admires—or if the line separating European thought from totalitarianism is not as clear as we like to think.

In his Preface to The Living Dead: A Study of the Vampire in Romantic Literature, James Twitchell writes that he is not interested in the current generation of vampires, which he finds "rude, boring and hopelessly adolescent. However, they have not always been this way. In fact, a century ago they were often quite sophisticated, used by artists varied as Blake, Poe, Coleridge, the Brontes, Shelley, and Keats, to explain aspects of interpersonal relations. However vulgar the vampire has since become, it is important to remember that along with the Frankenstein monster, the vampire is one of the major mythic figures bequeathed to us by the English Romantics. Simply in terms of cultural influence and currency, the vampire is far more important than any other nineteenth-century archetypes; in fact, he is probably the most enduring and prolific mythic figure we have. This book traces the vampire out of folklore into serious art until he stabilizes early in this century into the character we all too easily recognize.

Carol A. Senf traces the vampire’s evolution from folklore to twentieth-century popular culture and explains why this creature became such an important metaphor in Victorian England. This bloodsucker who had stalked the folklore of almost every culture became the property of serious artists and thinkers in Victorian England, including Charlotte and Emily Brontë, George Eliot, Charles Dickens, Karl Marx, and Friedrich Engels. People who did not believe in the existence of vampires nonetheless saw numerous metaphoric possibilities in a creature from the past that exerted pressure on the present and was often threatening because of its sexuality.