Girls In Contemporary Vampire Fiction

This book explores the narratives of girlhood in contemporary YA vampire fiction, bringing into the spotlight the genre’s radical, ambivalent, and contradictory visions of young femininity. Agnieszka Stasiewicz-Bieńkowska considers less-explored popular vampire series for girls, particularly those by P.C. and Kristin Cast and Richelle Mead, tracing the ways in which they engage in larger cultural conversations on girlhood in the Western world. Mapping the interactions between girl and vampire corporealities, delving into the unconventional tales of vampire romance and girl sexual expressions, examining the narratives of women and violence, and venturing into the uncanny vampire classroom to unmask its critique of present-day schooling, the volume offers a new perspective on the vampire genre and an engaging insight into the complexities of growing up a girl.

This book explores the narratives of girlhood in contemporary YA vampire fiction, bringing into the spotlight the genre's radical, ambivalent, and contradictory visions of young femininity. Agnieszka Stasiewicz-Bieńkowska considers less-explored popular vampire series for girls, particularly those by P.C. and Kristin Cast and Richelle Mead, tracing the ways in which they engage in larger cultural conversations on girlhood in the Western world. Mapping the interactions between girl and vampire corporealities, delving into the unconventional tales of vampire romance and girl sexual expressions, examining the narratives of women and violence, and venturing into the uncanny vampire classroom to unmask its critique of present-day schooling, the volume offers a new perspective on the vampire genre and an engaging insight into the complexities of growing up a girl.

Getting over Your Vampire Ex is as Easy as Killing Him and Stealing His Girlfriend Holly Liddell has been stuck with crimped hair since 1987 when she agreed to let her boyfriend, Elton, turn her into a vampire. But when he ditches her at a gas station a few decades into their eternity together, she realizes that being young forever actually means working graveyard shifts at Taco Bell, sleeping in seedy motels, and being supernaturally compelled to follow your ex from town to town—at least until Holly meets Elton’s other exes. It seems that Holly isn’t the only girl Elton seduced into this wretched existence. He turned Ida in 1921, then Rose in 1954, and he abandoned them both before Holly was even born. Now Rose and Ida want to kill him before he can trick another girl into eternal adolescence, and they’ll need Holly’s help to do it. And once Holly starts falling for Elton’s vulnerable new conquest, Parker, she’ll do anything to save her. To kill Elton for good, Holly and her friends will have to dig up their pasts, rob a bank, and reconcile with the people they’ve hurt in their search for eternal love. And to win the girl, Holly will have to convince Parker that she’s more than just Elton’s crazy ex—even though she is trying to kill him.

Collected here for the first time are 34 strange and erotic tales of vampires, created by some of supernatural fiction's greatest mistresses of the macabre. From the classic stories of Edith Nesbit, Mary E. Wilkins-Freeman and Mary Elizabeth Braddon, to modern incarnations by such acclaimed writers as Poppy Z. Brite, Nancy Kilpatrick, Tanith Lee, Caitlin R. Kiernan and Pat Cadigan, these blood-drinkers and soul-stealers range from the sexual to the sanguinary, from the tormented good to the unspeakably evil. Among these children of the night you will encounter Chelsea Quinn Yarbro's Byronic vampire Saint-Germain, Nancy A. Collins' undead heroine Sonja Blue, Tanya Huff's vampiric detective Vicki Nelson and Freda Warrington's age-old lovers Karl and Charlotte. Featuring the only vampire short story written by Anne Rice, the undisputed queen of vampire literature, and boasting an autobiographical introduction and original tale by Ingrid Pitt, the star of Hammer Films' The Vampire Lovers and Countess Dracula, this is one anthology from which every vampire fan will want to drink deeply.

Playhouse of the Damned is an anthology of short horror plays, hosted by Gus the Ghoul. As Gus says, Welcome to the Playhouse of the Damned. This is the playhouse. Guess what part you play. Heres a hint. In just a few minutes, youll find yourself agreeing with hundreds of theatergoers who have attended our playhouse and said, I'll be damned if I'm going to sit through any more of this!

Joy Randall's Top 5 Tips for Vampire Hunters: Location, location, location. Vampires won't be caught dead (ha!) in places like discos, ten-minute lube shops, or Switzerland. Remember, if you wouldn't be there, neither would a bloodsucker. Trust your eyes. You know the handsome, annoyingly arrogant, self-assured man in the shadows with long hair and a cleft in his chin? He's your vampire. No matter how tempting it might be, do not "accidentally" acquire a paper cut on your finger and suggest your vampire kiss it to make it better. Play it cool. Don't offer to accompany your prince of the night on the talk-show circuit, and whatever you do, don't offer him your heart! Most of all, remember: being a vampire is nothing to laugh about.

The first in the Half-Moon Hollow series is “wry, delicious fun” (Susan Andersen, New York Times bestselling author) as it follows a librarian whose life is turned upside down by a tempestuous and sexy vampire. Maybe it was the Shenanigans gift certificate that put her over the edge. When children’s librarian and self-professed nice girl Jane Jameson is fired by her beastly boss and handed twenty-five dollars in potato skins instead of a severance check, she goes on a bender that’s sure to become Half Moon Hollow legend. On her way home, she’s mistaken for a deer, shot, and left for dead. And thanks to the mysterious stranger she met while chugging neon-colored cocktails, she wakes up with a decidedly unladylike thirst for blood. Jane is now the latest recipient of a gift basket from the Newly Undead Welcoming Committee, and her life-after-lifestyle is taking some getting used to. Her recently deceased favorite aunt is now her ghostly roommate. She has to fake breathing and endure daytime hours to avoid coming out of the coffin to her family. She’s forced to forgo her favorite down-home Southern cooking for bags of O negative. Her relationship with her sexy, mercurial vampire sire keeps running hot and cold. And if all that wasn’t enough, it looks like someone in Half Moon Hollow is trying to frame her for a series of vampire murders. What’s a nice undead girl to do?

This handbook provides a comprehensive overview of research on the Gothic Revival. The Gothic Revival was based on emotion rather than reason and when Horace Walpole created Strawberry Hill House, a gleaming white castle on the banks of the Thames, he had to create new words to describe the experience of gothic lifestyle. Nevertheless, Walpole’s house produced nightmares and his book The Castle of Otranto was the first truly gothic novel, with supernatural, sensational and Shakespearean elements challenging the emergent fiction of social relationships. The novel’s themes of violence, tragedy, death, imprisonment, castle battlements, dungeons, fair maidens, secrets, ghosts and prophecies led to a new genre encompassing prose, theatre, poetry and painting, whilst opening up a whole world of imagination for entrepreneurial female writers such as Mary Shelley, Joanna Baillie and Ann Radcliffe, whose immensely popular books led to the intense inner landscapes of the Bronte sisters. Matthew Lewis’s The Monk created a new gothic: atheistic, decadent, perverse, necrophilic and hellish. The social upheaval of the French Revolution and the emergence of the Romantic movement with its more intense (and often) atheistic self-absorption led the gothic into darker corners of human experience with a greater emphasis on the inner life, hallucination, delusion, drug addiction, mental instability, perversion and death and the emerging science of psychology. The intensity of the German experience led to an emphasis on doubles and schizophrenic behaviour, ghosts, spirits, mesmerism, the occult and hell. This volume charts the origins of this major shift in social perceptions and completes a trilogy of Palgrave Handbooks on the Gothic—combined they provide an exhaustive survey of current research in Gothic studies, a go-to for students and researchers alike.