page_title: The Historian
section_title: Themes
hierarchical_section_title: The Historian / Themes
caption_attribution_description: English: Old book bindings at the Merton College library. Français&#160;: Reliures de livres anciens, à la bibliothèque du Merton College, à Oxford (Angleterre).
context_page_description: The Historian is the 2005 debut novel of American author Elizabeth Kostova. The plot blends the history and folklore of Vlad Țepeș and his fictional equivalent Count Dracula. Kostova's father told her stories about Dracula when she was a child, and later in life she was inspired to turn the experience into a novel. She worked on the book for ten years and then sold it within a few months to Little, Brown and Company, which bought it for US$2 million.
  The Historian has been described as a combination of genres, including Gothic novel, adventure novel, detective fiction, travelogue, postmodern historical novel, epistolary epic, and historical thriller. Kostova was intent on writing a serious work of literature and saw herself as an inheritor of the Victorian style. Although based in part on Bram Stoker's Dracula, The Historian is not a horror novel, but rather an eerie tale. It is concerned with history's role in society and representation in books, as well as the nature of good and evil. As Kostova explains, "Dracula is a metaphor for the evil that is so hard to undo in history."
context_section_description: History and questions about its role in society pervade The Historian. In particular, the novel argues that knowledge of history is power, particularly as it is written in books. The title can refer to any of the major characters, including Dracula. As Nancy Baker explains in The Globe and Mail, the novel is "about the love of books" and the knowledge and comfort they offer the characters – even Dracula himself is a bibliophile. As one critic explains, the novel is specifically about the love of scholarship. At the heart of the novel is an exploration of "the power and price of scholarly obsession". As Paul explains in the novel:
  It is a fact that we historians are interested in what is partly a reflection of ourselves we would rather not examine except through the medium of scholarship; it is also true that as we steep ourselves in our interests, they become more and more a part of us. Visiting an American university ... I was introduced to one of the first of the great American historians of Nazi Germany. He lived in a comfortable house at the edge of the campus, where he collected not only books on his topic but also the official china of the Third Reich. His dogs, two enormous German shepherds, patrolled the front yard day and night. Over drinks with other faculty members, he told me in no uncertain terms how he despised Hitler's crimes and wanted to expose them in the greatest possible detail to the outside world. I left the party early, walking carefully past those big dogs, unable to shake my revulsion.
  The novel explores questions of good and evil and as Jessica Treadway states in The Chicago Tribune, it "is intriguing for its thorough examination of what constitutes evil and why it exists". For example, Dracula at one point asks Rossi:
  History has taught us that the nature of man is evil, sublimely so. Good is not perfectible, but evil is. Why should you not use your great mind in service of what is perfectible? ... There is no purity like the purity of the sufferings of history. You will have what every historian wants: history will be reality to you. We will wash our minds clean with blood.
  As Kostova explains, "Dracula is a metaphor for the evil that is so hard to undo in history." For example, he is shown influencing Eastern European tyrants and supporting national socialism in Transylvania. He is "vainglorious, vindictive, [and] vicious". As Michael Dirda explains in The Washington Post, the novel conveys the idea that "Most of history's worst nightmares result from an unthinking obedience to authority, high-minded zealotry seductively overriding our mere humanity." It is in the figure of the vampire that Kostova reveals this, since "our fear of Dracula lies in the fear of losing ourselves, of relinquishing our very identities as human beings". In fact, the narrator is never named in the novel, suggesting, as one critic explains, "that the quest for the dark side of human nature is more universal than specific to a concrete character".
  Religion is also a dominant theme of The Historian. Dracula is Christian and, as Bebergal explains, "Much of what is frightening in the novel is the suggestion of heretical Christian practices and conspiratorial monks." Kostova herself notes that the world is still "wracked by religious conflict", therefore historical fiction about the topic is relevant. The portions of the novel set in Istanbul, for example, highlight the extent to which the real Vlad detested the Ottomans, waging holy war upon them. More specifically, Amir Taheri in Asharq Alawsat argues that the novel highlights the relationship between the West and Turkey. The West, which is laden with the "dead" weight of this past (represented by the vampires) needs the help of Turkey (and perhaps the entire Muslim world) to recover. As Taheri points out, one of the most appealing characters in the novel is Professor Bora, a Turkish professor who is part of an ancient Ottoman society dedicated to defeating Dracula. Taheri emphasizes that the novel highlights that "Western civilisation and Islam have common enemies repre
caption: The Historian is suffused with "the sensual and intellectual pleasures to be found in dusty old libraries, with their leather-bound books and fading maps".[30]
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