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The beautiful Maerlin lives in a house by the sea. One stormy night, she manages to rescue a beautiful stranger who is shipwrecked. The young man is persecuted by demons, because he is the crown prince of the country on which the curse fell. Now Maerlin has to travel to a distant kingdom and attend a magnificent ball at which every mortal guest becomes a victim. Already on the way, a terrible danger awaits, but what you will not go for love!
This book examines ‘Southern Gothic’ - a term that describes some of the finest works of the American Imagination. But what do ‘Southern’ and ‘Gothic’ mean, and how are they related? Traditionally seen as drawing on the tragedy of slavery and loss, ‘Southern Gothic’ is now a richer, more complex subject. Thirty-five distinguished scholars explore the Southern Gothic, under the categories of Poe and his Legacy; Space and Place; Race; Gender and Sexuality; and Monsters and Voodoo. The essays examine slavery and the laws that supported it, and stories of slaves who rebelled and those who escaped. Also present are the often-neglected issues of the Native American presence in the South, socioeconomic class, the distinctions among the several regions of the South, same-sex relationships, and norms of gendered behaviour. This handbook covers not only iconic figures of Southern literature but also other less well-known writers, and examines gothic imagery in film and in contemporary television programmes such as True Blood and True Detective.
Modern Gothic culture alternately fascinates, horrifies, or bewilders many of us. We cringe at pictures of Marilyn Manson, cheer for Buffy in Buffy the Vampire Slayer, and try not to stare at the pierced and tattooed teens we pass on the streets. But what is it about this dark and morbidly morose aesthetic that fascinates us today? In Contemporary Gothic, Catherine Spooner probes the reasons behind the prevalence of the Gothic in popular culture and how it has inspired innovative new work in film, literature, music, and art. Spooner traces the emergence of the Gothic subculture over the past few decades and examines the various aspects of contemporary society that revolve around the grotesque, abject, and artificial. The Gothic is continually resituated in different spheres of culture, she reveals, as she explores the transplantation of the “street” Goth style to haute couture runway looks by fashion designers. The Gothic also appears in a number of surprisingly diverse representations, and Spoonerconsiders them all, from the artistic excesses of Jake and Dinos Chapman to the fashions of Alexander McQueen, and from the mind-bending films of David Lynch to the abnormal postmodern subjects of Joel-Peter Witkin’s photography. In an engaging way, Contemporary Gothic argues that this style ultimately balances a number of contradictions—the grotesque and incorporeal, authentic self-expression and campiness, mass popularity and cult appeal, comfort and outrage—and these contradictions make the Gothic a crucial expression of contemporary cultural currents. Whether seeking to understand the stories behind the TV show Supernatural or to extract deeper meanings from modern literature, Contemporary Gothic is a lively and virtually unparalleled study of the modern Gothic sensibility that pervades popular culture today.
Goth Chic is the first book to properly explore Gothic culture in the modern world. Gavin Baddeley unearths hidden gems from the underground alongside better-known manifestations, including horror comics, fetish clubs, Goth-rock superstars and vampire cultists. The result is a book that provides a peerless primer for Gothic culture novices and an incisive analysis to challenge and compel even the most seasoned veteran of this dark underworld.
Is "goth music" a genre, and if so, how does it relate to the goth subculture? The music played at goth club nights and festivals encompasses a broad range of musical substyles, from gloomy Batcave reverberations to neo-medieval bagpipe drones and from the lush vocals of goth metal to the harsh distortion of goth industrial. Goth Music: From Sound to Subculture argues that within this variegated musical landscape a number of key consistencies exist. Not only do all these goth substyles share a number of musical and textual characteristics, but more importantly these aspects of the music are constitutive of goth social reality. Drawing on their own experiences in the European and American goth scenes, the authors explore the ways in which the sounds of goth inform the scene’s listening practices, its fantasies of other worlds, and its re-enchantment of their own world. Goth music, this book asserts, engenders a musical timespace of its own, a musical chronotope that is driven by nostalgic yearning. Goth Music: From Sound to Subculture reorients goth subcultural studies onto music: goth music must be recognized not only as simultaneously diverse and consistent, but also as the glue that holds together goth scenes from all over the world. It all starts with the music.
After defeating the thirteenth demon, Jonathan Steel and Josh Knight return to Dallas, Texas, to finish up Josh's family affairs. When they arrive, a mysterious assassin named Raven surfaces from Steel's murky, dangerous past. At the same time, Rudolph Wulf, the twelfth demon, has arrived from Romania with plans to fulfill a two-thousand-year-old promise to unleash an army of demonic creatures-creatures that will inhabit the bodies of his vampyre army. When Wulf kidnaps Josh, Steel must find them in time to save Josh from a violent death and to prevent Wulf from unleashing vampyre majick on the world.
"The Tale of Terror" by Edith Birkhead is a collection of essays and writings that explore the themes and elements of Gothic literature. It provides an in-depth analysis of the Gothic genre, its origins, and its enduring appeal. The book delves into the historical context of Gothic literature, tracing its roots back to the 18th century and its connection to the Romantic movement. It discusses how Gothic literature emerged as a response to societal and cultural changes, including the Industrial Revolution and the Enlightenment. Birkhead's work also explores the key characteristics of Gothic fiction, such as gloomy and atmospheric settings, mysterious and haunted locations, and the use of supernatural elements. It delves into the psychological aspects of the genre, including the portrayal of madness and the exploration of the darker aspects of the human psyche. Throughout the book, Birkhead analyzes famous works of Gothic literature, including novels by authors like Edgar Allan Poe, Mary Shelley, and Bram Stoker. She examines the role of women in Gothic fiction and their portrayal as victims or heroines. "The Tale of Terror" also provides insights into the cultural significance of the Gothic genre, its influence on other literary movements, and its impact on popular culture. It discusses how Gothic themes have persisted and evolved in various forms of media, from literature to film and beyond. In summary, Edith Birkhead's "The Tale of Terror" is a comprehensive exploration of the Gothic genre, offering readers a deeper understanding of its history, themes, and enduring legacy in literature and culture. It serves as a valuable resource for scholars, students, and anyone interested in the rich and eerie world of Gothic fiction.
The literature of Cuba, argues Eduardo González in this new book, takes on quite different features depending on whether one is looking at it from "the inside" or from "the outside," a view that in turn is shaped by official political culture and the authors it sanctions or by those authors and artists who exist outside state policies and cultural politics. González approaches this issue by way of two twentieth-century writers who are central to the canon of gay homoerotic expression and sensibility in Cuban culture: José Lezama Lima (1910–1976) and Reinaldo Arenas (1943–1990). Drawing on the plots and characters in their works, González develops both a story line and a moral tale, revolving around the Christian belief in the fall from grace and the possibility of redemption, that bring the writers into a unique and revealing interaction with one another. The work of Lezama Lima and Arenas is compared with that of fellow Cuban author Virgilio Piñera (1912–1979) and, in a wider context, with the non-Cuban writers John Milton, Nathaniel Hawthorne, William Faulkner, John Ruskin, and James Joyce to show how their themes get replicated in González’s selected Cuban fiction. Also woven into this interaction are two contemporary films—The Devil’s Backbone (2004) and Pan’s Labyrinth (2007)—whose moral and political themes enhance the ethical values and conflicts of the literary texts. Referring to this eclectic gathering of texts, González charts a cultural course in which Cuba moves beyond the Caribbean and into a latitude uncharted by common words, beyond the tyranny of place.
In The Witches of Kyiv and Other Gothic Tales by Orest Somov the supernatural is present throughout Ukraine, from a cemetery in Kyivan Rus, to an isolated forest cottage in the seventeenth century Kozak era, to the society ballrooms of Somov’s own world – the early nineteenth century. Gothic horror appears in many guises including witches, warlocks, demons and vengeful ‘rusalka’. Strange soothsayers and malevolent visitors represent the forces of good and evil. In her foreword Dr Svitlana Krys describes Somov “as an initiator of an indigenous literary tradition of the Gothic in the Ukrainian literary canon”. Native folk traditions, ghost stories and European Romanticism are twisted together in Somov’s imaginative tales, most of which are published here in English for the first time.
God Said,'Vengeance is Mine' (But the Lord Does Subcontract) By: Aundrie McHenry If you could see the future… would you have the courage to change it? Dreyu Nattaya-Hayabusa has abilities beyond the norm, even for his extraordinary kin. Read his story and embrace a world that could have been..