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Imagine being an immortal and knowing that you had to share your 6,000-year existence with your mother and grandmother. Imagine if you were forced to watch the follies of humanity while causing problems of your own with famous figures from history. Welcome to the world of Isidore Glassman, Izzy to his friends, in this politically incorrect romp through history, as seen from the perspective of a Jewish vampire. Yes, a Jewish vampire. Sometimes intellectual, often irreverent, and constantly hilarious, this story will make you rethink the way you look at vampires. Memoirs of a Jewish Vampire: 6,000 Years of Kvetching projects a full-frontal assault on political correctness. Meet Izzy’s best friends, Jerry and Shlomo, his mother who is frequently drunk and always embarrassing, and his beloved grandmother, Bubbe.
The last thing zaftig middle-aged journalist, Rhoda Ginsburg, expects when she signs up for JDate is to fall for a vampire. But when she meets drop-dead gorgeous Sheldon, a Hasidic vampire, she falls hard. She rationalizes that he may not be alive, but at least he's Jewish. Desperate to save the life of her terminally ill mother, Rhoda comes up with the crackpot idea of getting Sheldon to turn her and her little old Jewish lady friends into vampires. Who knew that they would "go rogue" and start preying on the young? Erica Manfred's wry humor is the perfect match for the sexy-vampire genre in this novel about the emotional intricacies of dating a hot Jewish guy who is a card-carrying member of the undead. Delicious!" -Nancy Peske, coauthor of the bestselling Cinematherapy series "Bloodaholics! Only Erica could think of this. Clever, clever, clever."- -Avigayil Lansmann, contributor to The Meta Arts Magazine. With wild irreverent humor this book turns upside down and sideways all the vampire clichés and stock images. Jewish vampires keeping kosher, old lady vampires on the prowl. Above all, it's fun! -Rachel Pollack, author of World Fantasy Award winner Godmother Night www.interviewwithajewishvampire.com
A COMING-OF-AGE STORY LIKE NO OTHER: CHAIM CAAN, AN OBSERVANT ORTHODOX JEW, FINDS HE MUST MAKE SENSE OF HIS PLACE IN THE WORLD WHEN HE DISCOVERS HE HAS BEEN TURNED INTO A VAMPIRE Chaim Caan was just out for a night of fun, blowing off some steam the way a young man will. After the better part of a year spent in COVID lockdowns, he was ready to let his hair down at a night club. But the fascinating young woman who he encountered that night left him with something to remember her by: she turned Chaim into a vampire. Soon, Chaim finds himself thrust into a weird underground world of mysticism and enchantment as he navigates life as the newly undead, trying to reconcile his beliefs as an Orthodox Jew with the new reality that has been thrust upon him. He is forced to deal with a lot of change: to his body, to his mind, to his perceptions, to his relationships, and even to his world. He finds himself in parts of the world he had never dreamed of being in, and he finds himself doing things that he had never envisioned being a part of his life. And if he can come to terms with these changes, this mild-mannered young man might just find himself a hero. At the publisher's request, this title is sold without DRM (Digital Rights Management). About 1636: The Devil's Opera, by Eric Flint and David Carrico: “Another engaging alternate history from a master of the genre.” —Booklist “. . . an old-style police-procedural mystery, set in 17th century Germany. . . . the threads . . . spin together . . . to weave an addictively entertaining story. . . . a strong addition to a fun series.” —The Galveston County Daily News
String garlic by the window and hang a cross around your neck! The most powerful vampire of all time returns in our Stepping Stone Classic adaption of the original tale by Bran Stoker. Follow Johnathan Harker, Mina Harker, and Dr. Abraham van Helsing as they discover the true nature of evil. Their battle to destroy Count Dracula takes them from the crags of his castle to the streets of London... and back again.
A whirlwind romance between an eccentric archivist and a grieving widow explores what it means to be at home in your own body in this clever, humorous, and heartfelt novel. When archivist Sol meets Elsie, the larger than life widow of a moderately famous television writer who's come to donate her wife's papers, there's an instant spark. But Sol has a secret: he suffers from an illness called vampirism, and hides from the sun by living in his basement office. On their way to falling in love, the two traverse grief, delve into the Internet fandom they once unknowingly shared, and navigate the realities of transphobia and the stigmas of carrying the "vampire disease." Then, when strange things start happening at the collection, Sol must embrace even more of the unknown to save himself and his job. DEAD COLLECTIONS is a wry novel full of heart and empathy, that celebrates the journey, the difficulties and joys, in finding love and comfort within our own bodies.
Adrenaline, stress, and avarice are the drugs that make up the addicting cocktail of the global oil and gasoline markets. It is an industry that entices young men and women to pursue their dreams of attaining wealth beyond their means. It is an environment that destroys as many as it rewards. In A Crude World—A Life of Drugs, Greed, and Power in the New York Mercantile Exchange, Russell Andresen opens the curtains behind of one of the most secretive industries in the world, where loyalty means nothing, ethics is a four letter word, and silence is the most valuable commodity.
“I wish I was a fly on the wall.” We’ve all said those words before, but what really happens when we say them? Meet Max Cohen, an angel living in human form in the city of Brooklyn, New York. His job is very simple: Keep your nose clean, stay out of mankind’s way – and whenever those words are uttered – go and witness the event and report back to heaven. Max has done his job successfully for millennia and has never had a problem, until he meets the lovely Georgia, and his world is thrown upside down. He can think of nothing other than her. One night, while on an assignment, he allows himself to be seen in human form. The same night, a murder takes place in an apartment building and Max is the only suspect. He not only has to prove his innocence to the wily veteran detective hot on his trail, but also to his superiors in heaven who want answers. With the unlikely help of the mischievous Loki and that of Satan himself, Max sets out to prove once and for all that he is innocent. Full of irreverent humor and politically incorrect settings, Fly on the Wall is a hilarious read that will keep readers entertained throughout.
In this deliciously strange debut collection, Leon Craig draws on folklore and gothic horror in refreshingly inventive ways to explore queer identity, love, power and the complicated nature of being human. Some say that hell is other people and some say hell is loneliness . . . In the thirteen darkly audacious stories of Parallel Hells we meet a golem, made of clay, learning that its powers far exceed its Creator's expectations; a ruined mansion which grants the secret wishes of a group of revellers and a notorious murderer who discovers her Viking husband is not what he seems. Asta is an ancient being who feasts on the shame of contemporary Londoners, who now, beyond anything, wishes only to fit in with a group of friends they will long outlive. An Oxford historian, in bitter competition with the rest of her faculty members, discovers an ancient tome whose sinister contents might solve her problems. Livia orchestrates a Satanic mass to distract herself from a recently remembered trauma and two lovers must resolve their differences in order to defy a lethal curse.
For the last three hundred years, fictions of the vampire have fed off anxieties about cultural continuity. Though commonly represented as a parasitic aggressor from without, the vampire is in fact a native of Europe, and its "metamorphoses," to quote Baudelaire, a distorted image of social transformation. Because the vampire grows strong whenever and wherever traditions weaken, its representations have multiplied with every political, economic, and technological revolution from the eighteenth century on. Today, in the age of globalization, vampire fictions are more virulent than ever, and the monster enjoys hunting grounds as vast as the international market. Metamorphoses of the Vampire explains why representations of vampirism began in the eighteenth century, flourished in the nineteenth, and came to eclipse nearly all other forms of monstrosity in the early twentieth century. Many of the works by French and German authors discussed here have never been presented to students and scholars in the English-speaking world. While there are many excellent studies that examine Victorian vampires, the undead in cinema, contemporary vampire fictions, and the vampire in folklore, until now no work has attempted to account for the unifying logic that underlies the vampire's many and often apparently contradictory forms. Erik Butler holds a PhD from Yale University and has taught at Emory University and Swarthmore College. His publications include The Bellum Gramaticale and the Rise of European Literature (2010) and a translation with commentary of Regrowth (Vidervuks) by the Soviet Jewish author Der Nister (2011).
Offering a profound re-assessment of the conceptual, rhetorical, and cultural intersections among sexuality, race and religion in English Renaissance texts, this study argues that antisemitism is a by-product of tensions between received Classical conceptions of masculinity and Christianity's strident critique of that ideal. Utilizing works by Shakespeare, Milton, Marlowe and others, Biberman illustrates how modern antisemitism develops as a way to stigmatize hypermasculine behavior, thus facilitating the transformation of the culture's gender ideal from knight to businessman. Subsequently, the function of antisemitism changes, becoming instead the mark of effeminate behavior. Consequently, the central antisemitic image changes from Jew-Devil to Jew-Sissy. Biberman traces this shift's repercussions, both in renaissance culture and what followed it. He also contends that as a result of this linkage between Jewishness and the limits of masculine behavior, the image of the Jewish woman remains especially unstable. In concluding, Biberman argues that the Gothic resurrects the Jew-Devil (bequeathing it to the Nazis), and that the horror genre is often a rewriting of Renaissance discourse about Jews. In the course of making this larger argument, Biberman introduces a series of more limited claims that challenge the conventional wisdom within the field of literary studies. First, Biberman overturns the assumption that Jewishness and femininity are always associated in the cultural imagination of Western Europe. Second, Biberman provides the historical context needed to understand the emergence of the stereotype of the pathological Jewish woman. Third, Biberman revises the incorrect notion that divorce was not practiced in Renaissance England. Fourth, Biberman argues for the novel claim that serial monogamy in Western culture is a practice understood to possess a Jewish "taint." Fifth, Biberman contributes a major advance in scholarship devoted to T. S. Eliot, illustrating how Eliot's famous critical argument against Milton is an expression of his antisemitism, and a coherent compliment to the antisemitic touches in his poetry. Sixth, in his discussion of Gothic literature, Biberman introduces novel readings of Frankenstein and Dracula, persuasively arguing that Mary Shelley's monster bears the mark of the Jew according to modern antisemitic discourse; and that, in Stoker, both the vampire and the vampire-killer represent Jews executing a scenario of self-policing that was realized in the ghettos and the concentration camps. Biberman's final contribution in this study is to provide a definition for postmodern antisemitism and to apply it to various contemporary incidents, including September 11th and the Arab-Israeli conflict.