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The essays in this volume use a humanistic viewpoint to explore the evolution and significance of the vampire in literature from the Romantic era to the millennium."--BOOK JACKET.
From yesterday to a hundred years ago, he lives in the world and walks among us. He enjoys the finest things in life, including beautfiul women, well-aged wine, and the finest classical composers. He has no guilt—he has no need of it. Neither good, nor bad, neither angel nor devil, he is a man, he is a vampire. And this is his story. . . . “Women are my weakness. Or to be more accurate, I should say they are my greatest weakness, for I have many. Travel. Books. Classical music. Art. Excellent wine. And, formerly, cocaine. I admit these things without a sense of guilt. I am, as my friend from Vienna says, a man with a man’s contradictions. I am neither good nor bad, neither angel nor devil. I am a man. I am a vampire.”—From I, Vampire
The spellbinding classic that started it all, from the #1 New York Times bestselling author—the inspiration for the hit television series “A magnificent, compulsively readable thriller . . . Rice begins where Bram Stoker and the Hollywood versions leave off and penetrates directly to the true fascination of the myth—the education of the vampire.”—Chicago Tribune Here are the confessions of a vampire. Hypnotic, shocking, and chillingly sensual, this is a novel of mesmerizing beauty and astonishing force—a story of danger and flight, of love and loss, of suspense and resolution, and of the extraordinary power of the senses. It is a novel only Anne Rice could write.
"Describes some of nature's vampires, including vampire bats, leeches, lampreys, and mosquitoes"--Provided by publisher.
The Nevermoor series meets Hotel Transylvania in this “delightful and spooky” (Booklist) debut middle grade adventure set in a world of talking spiders, living forests, and haunted castles about a vampire girl who wants to fit in but first must defeat an evil ghost. After one hundred years of being a vampire, it’s time for Eleonora to have her Birthnight. Since Leo’s last rite of passage, her Grimwalk, ended with her losing her right leg and a good deal of her confidence, she’s hoping to redeem herself in the eyes of her mother, the fearsome Lady Sieglinde. All Leo has to do is hunt down and kill her first prey, and she already has the perfect plan. After all, who will miss an orphan from the bleak St. Frieda’s Home for Unfortunate Children? But an accidental fire causes more death and destruction than Leo bargained for. Instead of killing one carefully selected victim, she’s created several ghosts from the orphanage residents. And one sinister specter, the Orphanmaster, is poised to terrorize the living residents in a nearby town. To stop him and try to undo some of the mess she’s made, Leo must team up with the orphan ghost Minna. Will Leo have the chance to prove herself as a vampire before her Birthnight is over, or will she discover that there are no winners in the battle of undead versus undead?
Hello my name is Jack, I’m a vampire. I live L.A. but there is no need to fear me. There are a lot scarier creatures than me out here. I’ve seen them suck the very marrow and soul out of their victims. They are called agents and lawyers. You can kill a man but that doesn’t mean he has to stay down and dead, you kill some one’s dreams and they are dead as a door knob.
For those who join the decadent realm of the vampire, eternal life holds juicy perks--charm and strength, shape-shifting and flying, telepathy and super-powered senses. "How to Be a Vampire" is a comprehensive guide to the vampire lifestyle that quenches newcomers' thirst for lore--and tasteful tips. Illustrations.
In 1896, French magician and filmmaker George Méliès brought forth the first celluloid vampire in his film Le manoir du diable. The vampire continues to be one of film's most popular gothic monsters and in fact, today more people become acquainted with the vampire through film than through literature, such as Bram Stoker's classic Dracula. How has this long legacy of celluloid vampires affected our understanding of vampire mythology? And how has the vampire morphed from its folkloric and literary origins? In this entertaining and absorbing work, Stacey Abbott challenges the conventional interpretation of vampire mythology and argues that the medium of film has completely reinvented the vampire archetype. Rather than representing the primitive and folkloric, the vampire has come to embody the very experience of modernity. No longer in a cape and coffin, today's vampire resides in major cities, listens to punk music, embraces technology, and adapts to any situation. Sometimes she's even female. With case studies of vampire classics such as Nosferatu, Martin, Blade, and Habit, the author traces the evolution of the American vampire film, arguing that vampires are more than just blood-drinking monsters; they reflect the cultural and social climate of the societies that produce them, especially during times of intense change and modernization. Abbott also explores how independent filmmaking techniques, special effects makeup, and the stunning and ultramodern computer-generated effects of recent films have affected the representation of the vampire in film.
An unforgettable coming-of-age story, Until We're Fishblends the romance, violence, mood, and ethos of the Cuban Revolution with a young man's hopeless and heroic first love. With the truth of experience and the lyricism of poetry, Rodríguez Drissi constructs an exquisite, gossamer tale of revolution and hearts set adrift. A Don Quixote for our times, Until We're Fish is an intimate exploration into the souls of people willing to sacrifice everything to be free.
An authoritative new history of the vampire, two hundred years after it first appeared on the literary scene Published to mark the bicentenary of John Polidori’s publication of The Vampyre, Nick Groom’s detailed new account illuminates the complex history of the iconic creature. The vampire first came to public prominence in the early eighteenth century, when Enlightenment science collided with Eastern European folklore and apparently verified outbreaks of vampirism, capturing the attention of medical researchers, political commentators, social theorists, theologians, and philosophers. Groom accordingly traces the vampire from its role as a monster embodying humankind’s fears, to that of an unlikely hero for the marginalized and excluded in the twenty-first century. Drawing on literary and artistic representations, as well as medical, forensic, empirical, and sociopolitical perspectives, this rich and eerie history presents the vampire as a strikingly complex being that has been used to express the traumas and contradictions of the human condition.