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, theatre and scenic walks all available for its guests’, ignoring the town’s medical reputation. See: J. Bierman, ‘A Crucial Stage in the Writing of Dracula ’, in William Hughes and Andrew Smith (eds), Bram Stoker: History, Psychoanalysis and the Gothic (Basingstoke: Macmillan, 1998), pp. 151–72, at p. 153. 83 Pierce, People’s Commonsense Medical Adviser , p. 751. 84 Kellogg, Ladies’ Guide , pp. 150, 151. 85 After being vampirised, animal analogies are frequently evoked to describe
, as malignant as the Evil One’ (p. 279). 86 Browne, ‘Opiophagism’, p. 41. 87 Patricia Anderson, When Passion Reigned: Sex and the Victorians (New York: Basic Books, 1995), p. 57. 88 Robert Mighall, ‘Sex, History and the Vampire’ in William Hughes and Andrew Smith (eds), Bram Stoker: History, Psychoanalysis and the Gothic (Basingstoke: Macmillan, 1998), pp. 62–77, at p. 74. 89 Eve Kosofsky Sedgwick, Between Men: English Literature and Male Homosocial
the White Worm’, in W. Hughes and A. Smith (eds), Bram Stoker: History, Psychoanalysis and the Gothic (Basingstoke and New York: Palgrave Macmillan, 1998), pp. 188–204; A. Worth, ‘Arthur Machen and the horrors of deep history’, Victorian Literature and Culture, 40 (2012), 215–27; S. Forlini, ‘Modern narratives and decadent things in Arthur Machen’s The Three Impostors’, English Literature in Transition, 1880–1920, 55:4 (2012), 479–98. 2 A notable exception is Aviva Briefel’s ‘Hands of beauty, hands of horror: fear and Egyptian art at the fin de siècle’, Victorian