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Stories of famous monsters in a new horror anthology featuring Joe R. Lansdale, F. Paul Wilson, Jonathan Maberry, Ramsey Campbell, and many others. Dracula, Frankenstein's Monster, the Bride of Frankenstein, Dr. Jekyll and Mr. Hyde, Dr. Moreau, the Headless Horseman, the Invisible Man, the Phantom of the Opera, the Wicked Witch of the West--they're all here, in this collection of horror short stories that reimagine, subvert, and pay homage to our favorite monsters and creatures. Written by the biggest names in the genre--including Joe R. Lansdale, F. Paul Wilson, Jonathan Maberry, Ramsey Campbell, Lisa Morton, Owl Goingback, Richard Christian Matheson, Seanan McGuire, Maurice Broaddus, Dacre Stoker, Linda D. Addison, Alessandro Manzetti, Tim Waggoner, John Palisano, Mercedes M. Yardley, Lucy A. Snyder, Gary A. Braunbeck, Rena Mason, and Monique Snyman. And monstrously illustrated by Colton Worley and Mister Sam Shearon.
Even monsters have nightmares. . . Wolfbane knows that better than anyone else. After tangling with the Daughters of Neverland and the powers that controlled him, he's ready to escape it all. But he certainly didn't expect to find himself in an entirely different world. With everything changing and a new hope on the horizon, The Crocodile must decide which path to take: Follow the yellow brick road, or forge a path of his own? Both choices could mean death for a monster with the weight of a world's guilt on his shoulders. Come join the Characters of Neverland one more time before they set off on their newest adventure. Four exciting stories you won't want to miss from some of your favorites! Fly into the stars one last time! It's about to get a little monstrous! If you like Sarah J Maas, Gena Showalter, J.R. Ward, Laura Thalassa, or Jennifer L. Armentrout, you won’t be able to put down this highly addictive twisted fairy tale.
Parasites and perverts: an introduction to gothic monstrosity -- Making monsters: Mary Shelley's Frankenstein -- Gothic surface, gothic depth: the subject of secrecy in Stevenson and Wilde -- Technologies of monstrosity: Bram Stoker's Dracula -- Reading counterclockwise: paranoid gothic or gothic paranoia? -- Bodies that splatter: queers and chain saws -- Skinflick: posthuman genderin Jonathan Demme's The silence of the lambs -- Conclusion: serial killing.
Exploring the ideas of bodily monstrosity; vulnerablity; normality; and perfection, this book examines the ideologies surrounding these perceptions and considers what this tells us about ourselves.
Could Dr. Frankenstein's machine ever animate a body? Why should vampires drink from veins and not arteries? What body parts are best for zombies to eat? (It's not brains.) This fascinating encyclopedia of monsters delves into the history and science behind eight legendary creatures, from Bigfoot and the kraken to zombies and more. Find out each monster's origin story and the real-world history that informed it, and then explore the science of each creature in fun and surprising ways. Tips and infographics--including monster anatomy, how to survive a vampire attack, and real-life giant creatures of the deep sea--make this a highly visual and fun-to-browse book.
Skin is the border of our body and, as such, it is that through which we relate to others but also what separates us from them. Through skin, we speak: when we display it, when we tan it, when we tattoo it, or when we mute it by covering it with clothes. Skin exhibits social relationships, displays power and the effects of power, explains many things about who we are, how others perceive us and how we exist in the world. And when it gets sick, it turns us into monsters. In Skin, Sergio del Molino speaks of these monsters in history and literature, whose lives have been tormented by bad skin: Stalin secretly taking a bath in his dacha, Pablo Escobar getting up late and shutting himself in the shower, Cyndi Lauper performing a commercial for a medicine promising relief from skin disease, John Updike sunburned in the Caribbean, Nabokov writing to his wife from exile, ‘Everything would be fine, if it weren’t for the damned skin.’ As a psoriasis sufferer, Sergio del Molino includes himself in this gallery of monsters through whose stories he delves into the mysteries of skin. What is for some a badge of pride and for others a source of anguish and shame, skin speaks of us and for us when we don’t speak with words.
The field of monster studies has grown significantly over the past few years and this companion provides a comprehensive guide to the study of monsters and the monstrous from historical, regional and thematic perspectives. The collection reflects the truly multi-disciplinary nature of monster studies, bringing in scholars from literature, art history, religious studies, history, classics, and cultural and media studies. The companion will offer scholars and graduate students the first comprehensive and authoritative review of this emergent field.
The debut poetry collection from one of feminism’s most passionate voices, with a new preface by the author Well before Robin Morgan was known as a feminist leader, literary magazines published her as a serious poet, and in 1979 she received a National Endowment for the Arts Creative Writing Fellowship in poetry. Monster, her first collection, originally published in 1972, contains work that will astonish, disorient, and move readers in powerful ways. But Monster is more than just a book; it has become a phenomenon. Written at a time of political turmoil during the birth of contemporary feminism, the title poem was adopted by women as the anthem of the women’s movement; it was chanted at demonstrations and some of its lines became slogans. “Arraignment” stirred an international controversy over Ted Hughes’s influence on Sylvia Plath’s suicide—complete with lawsuits, the banning of this book, and the publication of underground, pirated feminist editions, all of which Morgan reveals in her new preface. From her well-wrought poems in classical forms to the searing energy and poignant lyricism of the longer, later ones, Morgan’s work when it was first released spoke to women hungry for validation of their own reality—and the book sold thirty thousand copies in hardcover alone in its first six months, which was unheard of for poetry. Available now for the first time in years, Monster is an intense, propulsive journey deep into the heart of one of feminism’s greatest heroes.
An atmospheric, haunting, romantasy inspired by Jane Austen’s Sense and Sensibility, set in Regency era England about two sisters fighting to hold on to their manor while deadly monsters prowl along its perimeters—perfect for fans of House of Salt and Sorrows and Anatomy: A Love Story. Merrick Darling’s life as daughter of the Manor Lord of Sussex is better than most. Unlike the commoners, she is immune to the toxic fog that encroached on England generations earlier. She will never become a Phantom—one of the monstrous creatures that stalk her province’s borders—and as long as the fires burn to hold them back, her safety is ensured. She wants for nothing, yet she will never inherit her family’s Manor. She must marry smartly or live at the kindness of her elder sister, Essie. Everything is turned on its head, though, when Merrick’s father dies suddenly. Torn from her New London society life of ball gowns and parties, Merrick must travel back to her childhood home, the Darling estate of Norland House, and what she finds there is bewildering. Once strong and capable, Essie is withdrawn and frightened—and with good cause. A recent string of attacks along the province’s borders has turned their formerly bucolic countryside into a terrifying and unpredictable landscape. The fog is closing in and the fires aren’t holding, which makes Merrick and Essie vulnerable in more ways than one. Because the Phantoms are far from the only monsters in Merrick’s world, and the other eleven Manor Lords are always watching for weakness. Revealing her and her sister’s current state to the rest of the Manors is out of the question, but when Essie goes missing, it’s clear that Merrick needs help. Only, who can she trust when everyone seems to be scheming, and when all she holds true feels like it’s slipping right out of her grasp?