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So much to love about this book, how it weaves together unanswerable questions about consciousness and computation, together with a much more didactic message about humans' consumptive relationships with, well, everything including each other, and enough of a mystery story to keep the plot moving along. Also some great evocations of places (ahhh, multiple key scenes on Istanbul ferries), and of the ways peoples' reputations misrepresent their selves.

It's not a strongly character driven book - every character that is fleshed out seems to be a variant of "loner who wishes for connection" and largely a vehicle for the author's ideas - but there's enough depth to the characters to keep me reading. My one real criticism is that the ending felt a bit rushed. Not in the sort of too convenient, story-undermining way, but not quite satisfying either. It doesn't feel like a set up for a sequel, but I kind of want Nayler to write a few short stories filling out the characters a bit more and picking up some of the loose ends - perhaps something like Sofia Samatar did with The Winged Histories.

First of all: I read this in draculadaily.substack.com/about form. I highly recommend this approach because the pacing in real time adds a lot of tension. But it does also mean that I didn't read it in exactly the order that the author put the text in.

In some ways this is a great book. There's a reason why Stoker's vision of the vampire has become so dominant in pop culture. And the format--a series of letters and journal entries--works very well, even if sometimes one has to suspend disbelief about how the characters found time to write thousands of words on the most action-packed days.

But it's also deeply flawed in ways that reflect very poorly on the author. It's super racist and very sexist--even by the low standards of the era it was written in--and Stoker insisted on writing various accents even though he was terrible at that, and apparently some of the best place-description passages were essentially plagiarised from travel guides. And at times I really struggled with how intensely the Dracula character maps on to antisemitic tropes of the time: the strange outsider from Somewhere East who drinks the blood of innocent Christians and must not only be defeated but hunted down wherever he flees to.

I am glad I read this, but I'll be happy to never read another page by Bram Stoker again.

This is a collection of 80 short essays each by a different writer, each anchored to a consecutive 5-year span, starting with the first documented landing of enslaved Africans in the North American colonies.

The range of voices is a huge strength, with each writer not only having a different style but getting to make dramatically different choices in where to focus attention. Individually, many of the essays filled in gaps in my knowledge, but the whole is much more than the sum of those parts. It helps the book really live up to its "community history" billing - while of course even 80 authors can't speak for a whole community of millions, they can get a lot closer to that than any one alone could.

As should be expected given the subject matter, many of the pieces are very heavy and grim. Certainly some of the things I learned from reading it are further, deeper depravities than I'd already known of how white people dehumanised those they had enslaved. But there are also flashes of brilliance.

I never read more than one chapter in a day, to really let things sink in. That it took me so much longer than 80 days does reflect the heaviness: this is not a book to escape into after a hard day. But it's thoroughly worth the effort.