In a Laffont-Bompiani book synopsis, we might reveal the entire plot development unwittingly, thus we must not breach too much of the vampire's fang at this juncture, so to speak. A few summary comments follow on "The Jerusalem Vampire" (Fultus, 2006), a comprehensive version. The original "The Jerusalem Vampire" (Anthelion, 1979), less complete, is still a relevant fictional reading today-both for horror fans, political buffs, philosophy majors, folklorists, students, and religious followers. All are welcome to peruse this local oral history, laced with witty monologues and dialogues about a fictional vampire invasion in the Middle East, circa 1970's. This text is in English predominantly, with a sprinkling of Yiddish and French, Arabic and Italian.

"The Jerusalem Vampire" was originally conceived as a possible melodramatic stageplay or operetta, and also possibly as a development project for screen or television treatment. The old horror theme of the bat-oriented, undead vampire is slightly transposed and transmogrified here, and is shifted to modern Israel during wartime. This vampire story is an eclectic auditory, expository, and celebratory oral folklore portrait (in English) of a stoic Israeli and Arab and foreign populace, victimized and beset by warfare and by the invasive visit of the Children of the Night, along with their unholy leader, Count Culandra (Dracula). We eavesdrop on the unwelcome, dreadful plans of the determined Count, all throughout the proceedings. We also see and hear the interactions and reactions of the locals. There is a smorgasbord of minor supporting characters in "The Jerusalem Vampire", some interesting, others simply verbose.

Two characters come to mind. We mention here the two older women, Sadie and Anna, possibly transplanted locals. They are both rather yenta types who provide non-stop outrageous observations, and loquacious commentary on the vampire plague and its meaning. We might be lost without them. Their English (in translation) is impeccable and amazing. They are a modern Punch and Judy show.

We also see and hear and experience an ecumenical community response to this surreal, and otherworldly problem of the Undead, culminating in the defeat and eradication of the vampire menace by the methodical, Professor Israel Hohveh. Hohveh is a local scholar and savant trained in folklore, philosophy, mantic wisdom, black arts, metaphysics, religion, and Kabbalah. Professor Hohveh explains it all to us-from A to Z, from occult Alpha to mystic Omega. The reader concludes that Hohveh embodies Wisdom, Judgment, and common sense. He is the best solution possible. And we do listen. He is assisted by his alter-ego, Professor Herschel Ben-Herschel.

Of course, some other major and minor plot complications develop in the storyline. There are several, among many: Hohveh's consultation with Reena, the witch; the inquisitive boy and girl sabra, near the caves; the incident at the Hilton Hotel in the Papal bathroom; Lottie's suspicion that Culandra was a war criminal and collaborator in WW II; Herman as the victimized shopkeeper; the bazouki lady and the dog; the capture of the Israeli soldiers as well as Arab commandoes, all by the vampires; the outrageous dancing and partying of the vampires at their hideaway; the girl victims near the Wall; the U.N. delegate scenes often revealing disbelief, ridicule, and bigotry; Dracula's visit to the local cabaret as Culandra; the joint ecumenical team effort and assistance given by the two local rabbis; roles of Muslim Khalid, the nuns, the Friar, the Deacon, and Father Demetrius of the Greek community, all to aid Professor Hohveh; the supersleuthing by the sharp reporter, Shapiro; the special camera/video room; the sudden earthquake; the Count as a statue; the revisited Crucifix type perambulation scene amidst the pedestrians of Jerusalem; the final fireworks; the use of the Star of David; the prayer celebration, yet the war recommences; the final interview with Golda Meir.

There are also several other revealing and notable scenes (some at the U.N., some at the Knesset), including observations and speeches by Golda Meir, Kurt Waldheim, Moshe Dayan, and Henry Kissinger. These provide interesting rhetorical asides and commentary. The Pope and also Dracula provide some vocal ruffles and flourishes, criticisms and critiques.

This fictional 1970's vampire reverie and interlude starts with a submarine visit near the beaches of Haifa (North), and ends with the dying Count Culandra near the Wailing Wall, followed by a fireworks display over Jerusalem. Then, the warfare renews and commences in the distance. Golda Meir makes her final poignant comments. We arrive suddenly at the end-perhaps speechless. A thorough reading and studious perusal might engage, outrage, interest, entertain, educate, and surprise the lexic devotees. You might even hear some random strains of suggested musical interludes, lyrics, and night music. So, take some advice: Get out the garlic, and come totally prepared.

In this work, the writer assumes the anecdotal omniscient guise of a native sabra storyteller. He thus relates to the reader (via monologues/dialogues) the details of an ongoing event concerning an unexpected vampire invasion of Israel in the 1970's. This happened during a Middle Eastern war. The story is also explained via petulant diatribes, rhetorical asides, quibbling, and absurd slapstick ripostes. With some assistance from traditional props, we thus see: holy water, mirrors, crosses, garlic, magen Davids, stakes, hammers, coffins, etc.

Haifa and Hebron are tangentially involved, but Jerusalem is at the center. The psychodrama flares in Jerusalem as Dracula makes his triumphal entry (later, the site of his defeat). He often miniaturizes into bat form by conventional format. The Hollywood influence in this hyperactive and psychic treatment is sometimes obvious.

The presence of Count Culandra (Dracula), Professor Hohveh, Golda Meir, the Pope, Kurt Waldheim, and Henry Kissinger, among others, as well as a long cast of local sabras, and other minor characters and foreigners (as well as U.N. scenes), taken together, add a dash of interest to the overall storyline. Elements of folklore and superstition and religion also add to the mix. Dramatic speeches, theological diatribes, numerous non sequiturs, epic-heroic exhortations, repartees with ripostes, campy and catty comments, passionate eloquence, sonorous vocalisms, short witticisms, ethnic lingo, histrionic rhetoric, and silly slapstick comedy--all these are found, in varying degrees, within this vampire story. They are often juxtaposed here in a loquacious monologue and dialogue effort. All we need are some extra hymns and chants. Be patient, and take a deep breath.

Let the vampire be the vampire-but there will probably never be another Jerusalem Vampire in modern English fiction. (This vampire does not really use Hebrew or Arabic or Transylvanian in the storyline). "The Jerusalem Vampire" is unique, a literary solitaire, and perhaps a psychic overload for some readers who might say: too baroque, too preachy, too profane, too vaudeville, too art deco, too avant garde, too cute, too precocious, too hyper, too psycho, etc. "AMEN," to all that comment and criticism. Everybody should have an informed opinion on the pilgrim prince headed for Jerusalem.

The vampire motif or literary device, involving the revival and resurrection of the undead "evil doer," knows no boundaries or geographic restrictions. The vampire persona lives on in several forms, scenarios, and locales in fiction (and film). Enter Professor Hohveh, the Jerusalem hero, who rules much of this story as fearless vampire killer of the Undead. Count Dracula (aka, Culandra) is suddenly resident in modern Israel, but not for long. He may have met his match. There is no exodus possible for him and his cohorts. Hopefully, this contemporary vampire literary version will provide an interactive experience for the new reader, young or old.. Maybe it will stimulate reader interest and provoke some discussion. Who knows? We do surmise that the fight of good-versus-evil goes on. May the "best man" win. Good luck!

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