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During one of Napoleon's military campaigns, Edouard Delmont, a young officer, promised to marry Alinska, a Hungarian girl. Back in France, he goes back on his vows and marries someone else. Several years later, Alinska suddenly reappears in his life, transformed into an avenging vampire. She threatens to kill his wife and children unless he honors the vows he made to her... In La Vampire (1825), Etienne-Leon de Lamothe-Langon tells the story of the first, implacable, female vampire. What makes Alinska stand out in the ranks of female vampires is that she is not a predator, but the instrument of a higher power, working for God as the tool of Divine Wrath.
This blend of history and dark fantasy feasts upon vampire lore, reinventing the manner in which real-life monsters were transformed into pop culture icons by two of Ireland's great writers. Dubliners Sheridan Le Fanu and Bram Stoker travel to Transylvania where they race to save the women they love from the Countess Elizabeth Bathory. After the blood bath, Le Fanu and Stoker pose as doctors John Seward and Abraham Van Helsing to confront Vlad the Impaler and Count Dracula himself. Together for the first time, this immortal cast offers a highly erotic exploration of the vampire's eternal allure.
The Virgin Vampire leads you on an emotional rollercoaster ride filled with adventure and love. Chan Balum is an ancient vampire, made when the Mayans ruled Guatemala. In 600 CE, he was a priest who sacrificed men to his pagan gods. Determined to find the perfect sacrifice, one that will bring the gods back to Tikal, and his power back to him, he is in Seattle hunting for that perfect sacrifice. Each victim is tried and each one fails the test. Then one night, he meets Targ Erikson. The tall blonde Norseman seems like a perfect sacrifice. He glamours him, takes him back to his home and seduces him. Then he turns Erikson into a vampire. Enrique Valdavar, called Rickie, is a shifter, and gay. He falls in love with Erickson who can’t accept he’s a vampire, or that he’s fallen in love with a man. Will Targ Erickson ever be able to accept his new identity as a gay vampire in love with a shifter?
Sarah Kelley works at a strip club in Sin City and has noticed that everyone seems to be acting strangely lately. She has a plan to leave town as soon as she has enough money to get out. Lord Vincent and his VIPs come into her club. Vincent requests a private dance from the naive bartender. Sarah is reluctant, but the payday would get her out of town. She accepts the offer from her sleazy boss to dance for Vincent and makes such a good impression Vincent wants to see her again. Sarah's gut tells her to run, but the 10k payday would get her far away from Sin City. The night does not go well, and Vincent bites Sarah, attempting to turn her into a vampire. Sarah makes a run for it. She is alone, afraid and changing, but has no idea what is going on as her body turns on her. Sarah makes her way to a small southern town where she meets Samantha, the daughter of Alpha Edward. Sarah and Samantha bond quickly. Samantha offers her a place to stay with her and her widowed father. Sarah knows something is wrong with her but does not know she is slowly becoming a vampire. Alpha Edward allows Sarah to stay with him, but he becomes furious when Sarah starts turning into a vampire. Alpha Edward will not let Sarah leave, making her his personal servant so he can keep an eye on her and her new bloodthirst. Alpha Edward is a cruel man, but something about Sarah softens him. He tries to push her to her limits but finds her sweet demeanor and honesty refreshing. Soon the two begin to see something in each other. As the two explore the unlikely love between a newbie vampire and an Alpha, Lord Vincent shows up to claim Sarah, but Alpha Edward is not about to let a vampire come between him and the woman who has stolen his heart.
From 18th Century poetry up to modern 3D cinema, the vampire has developed a genre in its own right. Leaving behind its roots in phantasmagoria and horror, taking in romance, action and adventure, as well as flights of science fiction fantasy and political allegory. The vampire is a part of all these fields of artistry and beyond them, a melting pot of imagination and invention that has captivated audiences around the world. In the first part of this volume, Andrew M. Boylan - author of the famous vampire blog Taliesin Meets the Vampires, looks at the genesis of the vampire genre from Ossenfelder's poem Der Vampir to Bram Stoker's seminal novel Dracula. The second part of the book spreads eclectically out from Dracula, just as the genre spread, taking in some famous kissing cousins of the genre as well as looking at the vampire's changing relationship with the divine and following the toothsome bloodsuckers out into space.
It's not easy being a dutiful maid of honor when you're a vampire in the Sunshine State... Cesca Marinelli has been slacking on her duties as a vampire princess, but she will be the best maid of honor ever for Maggie's Victorian wedding. However, when her mostly-human honey, Saber, falls ill due to a magical construct called the Void, she knows she'll have to go beyond the call of bridesmaid duty... The Void is affecting every supernatural being in Cesca's afterlife, including her shapeshifter ex, Triton. To counter the Void's reign of terror, Cesca must fully summon her vampire powers-which may lead to her own doom.
An absorbing account of the descendants of the ancient Aztecs and of the survival of their culture into the twentieth century in the Valley of Mexico is presented in this fascinating volume. Focusing on San Francisco Tecospa—a village of some eight hundred Indians who still spoke Nahuatl, whose lives were dominated by supernaturalism, and who observed with only slight modification much of their Aztec heritage—this story bears out the anthropological principle that innovations are most likely to be accepted when they are useful, communicable, and compatible with established tradition. Nowhere is the Indian genius for combining the old and the new better exemplified than in the story of how the Virgin of Guadalupe came to fulfill the role formerly played by the pagan goddess Tonantzin and of how Christian saints replaced the Aztec gods. At the time of this study, the Tecospans still called the Catholic Virgin Tonantzin, but their concept of the mother goddess had changed profoundly since Aztec times. Tonantzin the Pagan, a hideous goddess with claws on her hands and feet and with snakes entwining her face, wore a necklace of hearts, hands, and skulls to represent her insatiable appetite for corpses. Tonantzin the Catholic—also called Guadalupe—is a beautiful and benevolent mother deity who repeatedly stays God’s anger against her Mexican children and answers the prayers of the poorest Indian, with no thought of return. In Tecospa the road to social recognition lay in the performance of religious works, and the neglect of ritual obligation subjected both the individual and the community to the anger of supernaturals who punished with illness or other misfortune. Religion was inextricably a part of every phase of life, and it is the whole life of the Aztecan that is recorded here: fiesta, clothing, food, agricultural practices, courtship, marriage, pregnancy and childbirth, death, witchcraft and its cures, medical practices and attitudes, houses and home life, ethics, and the hot-cold complex that classifies everything in the Tecospan universe from God to Bromo-Seltzer. With a marked simplicity of style and language William Madsen has produced a profoundly significant anthropological study that is delightful reading from the first sentence to the last. The drawings, the work of a ten-year-old Tecospan lad, are remarkable for their penetrating insight into the culture.
Vampire narratives are generally thought of as adult or young adult fare, yet there is a long history of their appearance in books, film and other media meant for children. They emerge as expressions of anxiety about change and growing up but sometimes turn out to be new best friends who highlight the beauty of difference and individuality. This collection of new essays examines the history of vampires in 20th and 21st century Western popular media marketed to preteens and explores their significance and symbolism.
‘The life of mortals is so mean a thing as to be virtually un-life.’ Empedocles Christian Carfax wants to be immortal. Juliana Celeste, a powerful but embittered French vampire, has the gift he needs. The exchange should be easy enough: his blood relinquished for eternal life. There’s only one problem. For over seventy years, Juliana has endured the Sisyphean burden of The Thirst, while watching as everyone and everything she loves has been lost to her. Now, the time has come to make her parents, the vampires Callisto and Constantine, pay for their theft by ridding the world of them and the scourge of their kin, the Shroudeaters. But, no plan ever evolves as intended and, as the competing desires of Juliana and Christian collide, they will sacrifice lives, loves, and loyalties to gain the ultimate prize.