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If there's no such thing as werewolves then why are all my friends dead? A werewolf is preying upon the denizens of a small town. The only people who know what it is, who understand what is happening, are children. A group of third graders isn't exactly the most credible source of information, especially when it comes to the fantastical. They grow up being ridiculed, shunned, bullied and mistreated by their peers and the broader community. Years later it returns, but this time Thomas and his friends are prepared for it. As the body count rises and the tension mounts throughout the town, only The Freaks (as they call themselves), have come to terms with what it is. After all, they have seen it before. They have seen the blood it spilled firsthand. Nobody is above suspicion. Not even family members. Thomas and his friends cannot trust anyone, must suspect everyone. As children, they learned the truth. As grown werewolf hunters, they must use every bit of courage they have to face the monster. Nothing short of killing it will suffice. Inspired by horror stories and movies from when Werewolves were actually scary. When shifters had fangs. When monsters spilled blood and guts, and nobody cared how nice their abs were. An homage to Stephen King's Cycle of the Werewolf and movies such as An American Werewolf in London, and the Howling series, The Beast will curdle your blood with fear. A quick read, this novelette is intended to be devoured in one or two sittings. In the tradition of Edgar Alan Poe, this story should take just between one-half hour and one hour to finish. Primarily it is a reaction to the lack of good werewolf stories out there on the market today. With speculative fiction taking some very bold, yet unnecessary turns in the twenty-first century, The Beast is an attempt to seize on something purer. Sure, weredragon, alien invasion, sci-fi may be doing great and dominating today's ebook market, but there is something to be said for the kinds of stories that were popular when I was a kid; the kind with fangs, the kind that bite. "The Beast is one hell of a wild ride. One of the best horror stories I have read in a very long time. I had forgotten just how scary werewolves could actually be. An instant classic." - the author's totally biased friend.
The howling heralded the nightmare in Drago that had joined Karyn's husband to the she-wolf Marcia--a nightmare that should have ended with the fire. But it hadn't. Roy and Marcia are still alive, and deadly--thirsty for the most horrifying vengeance imaginable.
"KEPT ME ON THE EDGE OF MY SEAT. GETS YOUR PULSE POUNDING." -Author and award winning investigative journalist, Victor Malarek Using a fun, explosive style, full of new slang and fresh dialogue, WHEREWOLVES is the story of a group of high school seniors, most of them "military brats," who are headed for an army-type survival weekend. "5 stars. It reminded me a bit of Lord of the Flies versus Silver Bullet but only way cooler." "Chillingly terrifying." The underdogs, Jeffrey and Doris, do not want to go as they fear for their safety among the disdain and cruelty of the popular students. Sergeant Tim O'Sullivan, their teacher, as well as their dysfunctional parents pressure them into going, but it is an unforgivable act by their peers that propels the pair to go. Likewise, Elie, a student resented because of his Arab roots, is even more determined to prove himself this weekend. In the background, a news report cautions of a wanted couple with alleged super-human strength supposedly brought on by a new drug on the streets. In the woods, the students hike, hunt, camp, and soon act in unity as the forest brings them closer together. But does it? O'Sullivan leaves them alone for the night. The students bond, chant, tell campfire tales, and quickly lose their fears and inhibitions. HOO-AH! Though sexual tensions are high, it soon turns to violence and everything quickly turns sour. When the kids start disappearing one after the other, the remaining begin to unwittingly "act like the natives" carving spears, ready to face whatever is out there. What has gotten into them? Amid blood-curdling growls and gruesome deaths, the story's underlying layers are revealed. We see how misconceptions, prejudice, greed, fear, and hatred bring out the worst and best in them. What is out there? Can it really be werewolves? "This is one horror novel that will have you thinking long after you've finished reading." Based on the screenplay, WHEREWOLVES, by John Vamvas and Olga Montes "SPARKLING DIALOGUE...THE WRITING IS SENSATIONAL." -Emmy and Peabody Award winning writer, William Mastrosimone
"The first scream came from the snowbound railwayman who felt the fangs ripping at his throat. The next month there was a scream of ecstatic agony from the woman attacked in her snug bedroom." "Now scenes of unbelieving horror come each time the full moon shines on the isolated Maine town of Tarker Mills. No one knows who will be attacked next." "But one thing is sure." "When the moon grows fat, a paralyzing fear sweeps through Tarker Mills. For snarls that sound like human words can be heard whining through the wind. And all around are the footprints of a monster whose hunger cannot be sated..."--Back cover.
From the horrific to the heroic, cinematic werewolves are metaphors for our savage nature, symbolizing the secret, bestial side of humanity that hides beneath our civilized veneer. Examining acknowledged classics like The Wolf Man (1941) and The Howling (1981), as well as overlooked gems like Dog Soldiers (2011), this comprehensive filmography covers the highs and lows of the genre. Information is provided on production, cast and filmmakers, along with critical discussion of the tropes and underlying themes that make the werewolf a terrifying but fascinating figure.
In this fascinating book, Brian J. Frost presents the first full-scale survey of werewolf literature covering both fiction and nonfiction works. He identifies principal elements in the werewolf myth, considers various theories of the phenomenon of shapeshifting, surveys nonfiction books, and traces the myth from its origins in ancient superstitions to its modern representations in fantasy and horror fiction. Frost's analysis encompasses fanciful medieval beliefs, popular works by Victorian authors, scholarly treatises and medical papers, and short stories from pulp magazines of the 1930s and 1940s. Revealing the complex nature of the werewolf phenomenon and its tremendous and continuing influence, The Essential Guide to Werewolf Literature is destined to become a standard reference on the subject.
A werewolf anthology that covers new terrain. Its stories span centuries. Its storytellers, from Stephen King to Saki, de Maupassant to Kipling, Seabury Quinn to Ovid, are eclectic. Its premise delves deep into its subject.
It all begins with a howl, the unsettling sound which tells audiences that someone will soon become a werewolf. But the changes that occur during that transformation aren't just physical; they are psychological as well. Unremarkable men become domineering leaders. Innocuous men become violent and overtly sexual. In films from The Wolf Man and An American Werewolf in London to Ginger Snaps, when the protagonists become werewolves, their perceptions of their gender and their masculinity or femininity change dramatically. This volume explores how werewolves in cinema have provided an avenue for frank and often enlightening conversations about gender roles and masculinity. Werewolves are indeed a harbinger of change, but the genre of werewolf cinema itself has changed over time in how different styles of masculinity and different gender identities are portrayed.
In recent years, shapeshifting characters in literature, film and television have been on the rise. This has followed the increased use of such characters as metaphors, with novelists and critics identifying specific meanings and topics behind them. This book aims to unravel the shapeshifting trope. Rather than pursue a case-based study, the works are grouped around specific themes--adolescence, gender, sexuality, race, disability, addiction, and spirituality--that are explored through the metaphor of shapeshifting. Because of the transformative possibilities of this metaphor and its flexibility, the shapeshifter has the potential to change how we see our world. With coverage of iconic fantasy texts and a focus on current works, the book engages with the shapeshifting figure in popular culture from the United States, Canada, the United Kingdom, and Australia. Instructors considering this book for use in a course may request an examination copy here.
Half-man-half-myth, the werewolf has over the years infiltrated popular culture in many strange and varied shapes, from Gothic horror to the 'body horror' films of the 1980s and today's graphic novels. Yet despite enormous critical interest in myths and in monsters, from vampires to cyborgs, the figure of the werewolf has been strangely overlooked. Embodying our primal fears - of anguished masculinity, of 'the beast within' - the werewolf, argues Bourgault du Coudray, has revealed in its various lupine guises radically shifting attitudes to the human psyche. Tracing the werewolf's 'use' by anthropologists and criminologists and shifting interpretations of the figure - from the 'scientific' to the mythological and psychological - Bourgault du Coudray also sees the werewolf in Freud's 'wolf-man' case and the sinister use of wolf imagery in Nazism. "The Curse of the Werewolf" looks finally at the werewolf's revival in contemporary fantasy, finding in this supposedly conservative genre a fascinating new model of the human's relationship to nature. It is a required reading for students of fantasy, myth and monsters. No self-respecting werewolf should be without it.