Today, friends, we are going to jump into the way-back machine and take it out for a spin. We are going back…to the 90’s. Not the 90’s of Nirvana, Pearl Jam, coffeeshops and the Seattle grunge scene, Seinfeld, Friends, Arrested Development (the band, not the TV show), Abercrombie & Fitch and other crimes against women’s body image. No, we are going back further, to a place and time very much like our own, in which a fabulously wealthy and powerful God-fearing white Christian empire that controlled a goodly portion of the globe, much like our own, faced fears of its own decline.
The place is Great Britain. The time, the 1890’s.
The 1890’s were a heady and exciting time in Great Britain. Technological advances like the typewriter, the telephone, the telegraph, and the first underwater transoceanic telegraph cables changed how we communicate and even how we saw the world and our place in it, and created new possibilities for women seeking to live independently and/or attain greater social stature. In the entertainment world, movies were starting to become a thing. The Great Exhibition of 1851, a precursor to today’s museums, brought together artifacts from throughout the British Empire’s colonial possessions all in one place for the first time ever. Previously anyone who wished to view such things had to rely exclusively on written descriptions by missionaries and colonial administrators. Painted dioramas were a 19th-century version of virtual reality, allowing viewers to experience such things as a cruise down the Nile or the Ganges virtually, without ever actually leaving London.
Yet despite all these exciting new developments, there were mounting fears of social/cultural decline. Though the British empire was at the height of its power and glory, there was a growing sense that the peak had been reached and there was nowhere to go but down. This sense was fed by recent military defeats and fears around the rise of Germany and the US as burgeoning economic powers, and just a general sense that the world was running out of unexplored places where adventure could still be found. Changing social and cultural realities such as the ascendance of women and an increasing immigrant population further fed these fears of impending decline.
Not surprisingly, these ever-mounting fears of social/cultural decline found expression in the literature of the period. The 1890’s gave us some of our best known and loved Gothic horror novels: H. G. Wells’ The Time Machine, Richard Marsh’s The Beetle, Bram Stoker’s Dracula, and more. These stories gave us the Victorian monster, in which all the social/cultural anxieties of the day – the decline of traditional gender roles as women assumed greater social/cultural power and influence, the loss of white identity due to an increasing population of immigrants from places that were the 1890’s equivalent of what our previous political leadership called “shithole countries”, and the loss of Christian supremacy as these immigrants brought exotic new religions which began to clamor for space in the British religious/cultural milieu – found expression in the form of some larger-than-life supervillain, against whom the Christian heroes of the story would do battle with nothing less than the very fate of humanity itself on the line. The Christian heroes would triumph in the end and readers would breathe an existential sigh of relief. And of course, the larger and more powerful the supervillain could be made out to be, the stronger and sweeter the feeling of triumph at the end.
There are many stories from this period that are worth looking into. The Time Machine is H. G. Wells’ attempt to flesh out what a world in decline would look like. The Beetle gives us a shapeshifting, gender-bending monster with ties to an ancient Egyptian cult and has strong throughlines of queerphobia and transphobia that are increasingly relevant in our present historical/cultural moment. Yen How is an 1890’s predecessor to the more widely known Fu Manchu novels that would begin to appear a couple of decades later. These stories leaned very heavily into stereotypes of the Asiatic criminal mastermind and fears of the Yellow Peril that are increasingly relevant today, as evidenced by right-wing conspiracy theories about nefarious Wuhan virologists cooking up Covid in a top-secret lab somewhere.
The story that is of interest to us today is Dracula.
Dracula has seen numerous adaptations and reboots over the years, in book, movie, TV series, and video game form, each bringing its own unique twist to the tale. So before we go any further, we would do well to review the plot of Bram Stoker’s original version.
The plot can best be summarized in three words, which represent the three overarching movements of the story: East – West – East. In the beginning, a young, naive, freshly minted British solicitor by the name of Jonathan Harker travels east by train to see a wealthy client about a possible real estate deal. That client is none other than Count Dracula of Transylvania. Harker slowly but surely wises up to his circumstances: He has been imprisoned by an immortal vampire who intends to infiltrate London after first feeding him to his bloodthirsty vampire brides. Harker nopes the fuck out, somehow managing to elude all three of Dracula’s brides. After a harrowing journey eventually makes it back home to England and to his wife Mina.
The next movement brings us back to England, where Dracula has arrived via shipwreck at Whitby, a seaside tourist destination. After snacking on a few Russian sailors, Dracula heads inland. He attacks and vampirises Mina’s friend Lucy. He then travels to London where he sets up lairs all around the city. Harker and a small friend group, led by Dr. Abraham Van Helsing, must kill the undead Lucy. This they do by beheading her and impaling her body with a wooden stake.
In the third and final movement, Van Helsing and the vampire hunters have expelled Dracula from London and they head east in hot pursuit, with a sense of urgency as Dracula has attacked Mina and placed her under a curse and they must find and kill him before the curse leaves her in a permanent vampire state. A thrilling chase through the Carpathian mountains ends at Dracula’s castle in Transylvania. There they kill all three of Dracula’s brides and finally Dracula himself, by cutting off his head and stabbing him in the heart. But they neglect to use the required wooden stake, thereby leaving open the possibility that Dracula might one day return.
If just this three-paragraph summary left you gasping for air, imagine how the novel in its entirety must have affected Stoker’s readers in 1890’s England. Whether people loved it or hated it, Dracula elicited very strong reactions. No small part of this was due to its depictions of Christianity.
There were vampire novels before Dracula, but Christian symbolism in vampire stories was not a thing until Dracula. The use of this Christian symbolism makes it clear: Harker and friends are waging a holy war, with Dr. Van Helsing as their fearless, intrepid general. Van Helsing is Catholic, which is a fantastic thing given the state of Catholic/Protestant relations in 1890’s Great Britain. The vampire hunters also include English Anglicans and one American Protestant. Thus, Dracula offers readers the fantasy of Christian unity – an ecumenical brotherhood of modern-day crusaders, setting aside their religious differences to join together in waging holy war. But to these crusaders, the cross is not just a symbol emblazoned on their shields. Instead it is an offensive weapon whose power, as depicted in the story, is very much reminiscent of today’s AR-15.
“Crusader” rifles – That’s a thing, y’all. Google it.
This was a first: Christianity as action movie. But this holy war isn’t merely a product of its time. It has striking connections to our present historical/cultural moment over a century later, in which conservative evangelicals, Catholics, Mormons, and others, including some Jews, Muslims, and Hindus (Vivek Ramaswamy is a case in point), all put aside their differences and come together as a brotherhood of modern-day crusaders to fight the culture wars of the far right.
Realism and a culture of immersive spectacle were very much a thing in 1890’s Great Britain. Movies and dioramas created immersive spectacles for their viewers. Gothic authors would create immersive spectacles with words, and Stoker was a master of this. Stoker wrote Dracula in the style of an epistolary novel – instead of telling the story straight through, he presented it as a series of letters, journals, telegrams, fictional newspaper clippings, photograph transcriptions, and more. The novel references places and events with which Stoker’s 19th century readers would have been familiar. A Nordic edition referenced Jack The Ripper.
But Stoker took his realism to another level by reminding his readers of things they would have feared in real life. Dracula is a tale of dueling conspiracies: there is the conspiracy of the vampire hunters secretly waging their war against the undead, a war not covered by the lame-stream media. But Dracula was also informed by another conspiracy, one with which white Christian readers in late 19th century Great Britain were obsessed. Long before Kanye, British anti-Semites were talking about the existence of a secret cabal of wealthy Jewish financiers controlling all of society for their own nefarious ends, which could be glimpsed by obsessively scanning current events – doing your own research. The influx of eastern European immigrants, of whom many were Jews fleeing Russian persecution, was believed to be bringing contagion, and the blame for a cholera epidemic in London was laid at the feet of these Jews. Racist politician Arnold White made hay by proposing that Jews were being imported to England, some by wealthy Jewish benefactors. Then there was the Rothschild conspiracy theory which stated that wealthy Jewish magnate Nathan Rothschild made his fortune by profiting from the bloodshed at Waterloo.
Conspiracy theories are their own kind of immersive spectacle: an amalgam of hard fact, hypothesis, and outright fantasy, all packaged together into an all-encompassing narrative that all comes down to one singular idea – THEY are out to get YOU. The cultural obsession with decline that was in the air in 1890’s Great Britain gave this wings. The idea that the Jews are responsible for the decline of the white race drives the anti-Semitism that Stoker channels into Dracula. From the jump, we know that Dracula is from eastern Europe, as are most Jews. When Harker first meets Dracula we learn that his facial features match Jewish stereotypes. Later, Harker sees Dracula sleeping in his crypt and notes that he looks younger, with fresh blood on his lips. This is the first hint of the conspiracy that will be fleshed out over the remainder of the novel – that Dracula intends to colonize London by replacing its residents with a new race of semi-demons. You could say that Dracula is masterminding a “Great Replacement” of his day. The notion of a wealthy supervillain conspiring to alter the demographics of the West for his own nefarious ends – yeah, that didn’t start with George Soros. But Dracula isn’t just conspiring to replace the English people, he is also buying up England’s native soil. In a key subplot, the vampire hunters must race to locate all the properties Dracula has acquired as hideouts. Another dimension is Dracula’s taste for blood, noted above. This harkens back to one of the oldest anti-Semitic conspiracy theories on the books: the “blood libel”, a medieval conspiracy theory that Jews kidnapped Christian children in order to drink their blood in secret rituals.
This was all part of Dracula‘s realism. The notion of a top-secret Jewish cabal, glimpsed by obsessively scanning current events – “doing your own research” – was very much in the air back then. Sound familiar, anyone?
In response to this, Stoker calls for another kind of conspiracy – that of the vampire hunters under the leadership of Dr. Van Helsing. Much like today’s J6 insurrectionists and their allies/sympathizers, Van Helsing and friends have something of a martyr complex that drives their holy war. They believe that they have no choice but to work in secret because the forces of evil are so pervasive that it is not safe to serve God openly. They “do their own research” to track Dracula’s movements and whereabouts. They trespass, they bribe high-ranking officials, they are less than fully transparent about their motives, they desecrate cemeteries and even corpses. All of which would mortify any good upstanding, God-fearing Victorian. But they alone are the true believers in an age of doubt and apostasy, and that justifies everything. At the end, Harker admits to not having a shred of actual evidence to back up any part of his story. In a very clever twist of reverse psychology, Stoker puts this back on the reader and the question hanging in the air is: Are you going to accept this by faith? If you balk because you want proof, then you place yourself on the side of doubt and unbelief, and you know that these are Dracula’s most potent weapons. So you, pious Christian, had better choose wisely.
Stoker’s invitation to join the holy conspiracy resonates throughout today’s American conservatism. And a new generation of true believers is answering the call with astounding enthusiasm. CPAC is a thing of which some of you may have heard, a Comic-Con of the far right, if you will. At CPAC’s 2022 event, attendees were treated to a very curious exhibit: an imprisoned J6 insurrectionist in a cage in the middle of the exhibit space. Viewers could put on headsets and listen to actual testimony from J6 insurrectionists at their trials. The imprisoned insurrectionist was not someone who actually went to jail, but instead an actor. This actor was a J6 participant who was able to elude jail time by informing on other J6 participants. At one point Marjorie Taylor-Greene entered the cage and led the crowd in prayer for the imprisoned insurrectionist. This whole thing was multiple layers of mindfuck: Was this an actual prayer for a fake J6 insurrectionist? Or a fake prayer for an actual J6 insurrectionist? Or a prayer for an actual J6 insurrectionist by proxy some kind of way that only God could sort out? Whatever it was, CPAC attendees loved it and the whole thing only hardened their resolve. Then there is QAnon, which blends the factual, the hypothetical, and the batshit crazy into an all-encompassing narrative that there is a radical leftist “deep state” in which prominent world leaders are part of a top-secret cabal that sexually exploits children and drinks their blood in secret rituals. Adherents keep tabs on the activities of “Q” by obsessively scanning current events. They build their own personal archives of articles and social media posts, reminiscent of the form of Dracula. They eagerly await “The Storm”, in which “Q” and Donald Trump will take down the “deep state” once and for all, resulting in mass arrests of Democrats and globalists the world over. Donald Trump will be installed as president for life and reign forever and usher in a new era of peace and prosperity, world without end, amen.
120 years before “Q”, Stoker and Dracula tantalized readers with the idea of a holy war waged in secret, not covered by the “lame-stream media”. A war in which a notorious undead supervillain who embodied all the worst fears and conspiracy theories of the day wreaked havoc upon the world that Stoker’s readers knew and loved, but the forces of good, the holy conspiracy, triumphed in the end. That invitation to join the true believers in holy war against the forces of darkness resonates across the centuries. Today’s American conservatives have answered the call with unmitigated enthusiasm, and we see the results all around us in the present historical/cultural moment.