A dark tale of love, obsession, and revenge. A young woman is swept into a life of intrigue, revenge, passion, and betrayal when she falls for the world’s most notorious prince, Vlad Dracula. The year is 1464. King Matthias controls Hungary, his family, and the fate of the world’s most notorious political prisoner, Prince Vlad Dracula. Ilona Szilágy, the king’s cousin, is young and ambitious. Dracula is determined to marry into the family. It is love at first sight, but the king has other plans. The Impaler Prince, however, never takes no for an answer. Eager to become his trusted confidant, Ilona enters a treacherous world where revenge, betrayal, ambition, and passion transcend all that is sacred. And love demands the ultimate sacrifice. Woven throughout is a peek into the life and times of one of the world’s most enigmatic and maligned rulers…the man before the legend. With Bardot’s decadent period detail and a cast of gritty evocative characters, The Impaler’s Wife offers a fierce yet sensuous glimpse into the violent 15th century.

Essays on Romanian History brings together a lifetime of studies on Romanian history and culture by one of the leading American scholars on the history of Romania, Radu R. Florescu. While each chapter is a separate study, in their totality, they form a vision of Romanian history, dealing with issues from ancient times to the present day. Among the studies included in this volume: The Formation of a Nation from the Earliest Times to Burebista; The Struggle between Decebal and Trajan; Prince Negru — Founder of the First Romanian Principality; The Search for Dracula; Vlad Dracul II (1436-1442, 1443-1447); Vlad III The Impaler (or Dracula) (1448, 1456-1462, 1476) — Tactician of Terror or National Hero; The Origins of the Dragon Symbol; Dracula in the Romanian Literature; The Dracula Image in Folklore; Captain John Smith and Romania (1580-1631); Michael the Brave (1593-1601); Dimitrie Cantemir and the Battle of Stanile?ti (1710-1711); The Uniate Church; The Phanariot Regime; Horea, Clo?ca, and Cri?an: Peasants in Arms: 1784-1785; General Ion Emanoil Florescu: Father of the Romanian Army 1817-1893; Elena Cuza: Neglected Woman and Wife (1825-1909); Dumitru Florescu: A Forgotten Pioneer in the History of Romanian Music (1827-1875); Diplomatic and Military Preparation for the War of 1877-1878; An Intimate View; King Carol and Lupescu; and Mircea Eliade’s Contribution to History. The author, Radu R. Florescu, was a professor of history at Boston College. He is the author of The Struggle against Russia in the Romanian Principalities, Dracula: Prince of Many Faces, and In Search of Dracula.

Samples of The Preludes of Illumination vol 1: CursedThey have a secret. We all have wished upon a star, had a dream, or secret desire, but beware demons lurk in our mist willing to grant them for a price. As these young witches come into their powers the demons are looking to take their souls. Beware who you express your hidden desires to; you never know what might go wrong with the phrase "I Wish." These witches are hiding in plain sight as our neighbors, friends, and family. These tales show young witches as they learn the secrets and dangers in their world while learning to control the magic that flows in their veins. Loves will be lost, deals will be made, and family members will have accidents because they did not heed the warnings. You never know which one of them has made a deal and are willing to make you the next course for the local demon. Will these young witches be next?

In this ferociously imaginative novel, abortion is once again illegal in America, in-vitro fertilization is banned, and the Personhood Amendment grants rights of life, liberty, and property to every embryo. Five women. One question. What is a woman for? In a small Oregon fishing town, five very different women navigate these new barriers alongside age-old questions surrounding motherhood, identity, and freedom. Ro, a single high-school teacher, is trying to have a baby on her own, while also writing a biography of Eivv?r, a little-known 19th-century female polar explorer. Susan is a frustrated mother of two, trapped in a crumbling marriage. Mattie is the adopted daughter of doting parents and one of Ro's best students, who finds herself pregnant with nowhere to turn. And Gin is the gifted, forest-dwelling herbalist, or "mender," who brings all their fates together when she's arrested and put on trial in a frenzied modern-day witch hunt. Red Clocks is at once a riveting drama, whose mysteries unfold with magnetic energy, and a shattering novel of ideas. In the vein of Margaret Atwood and Eileen Myles, Leni Zumas fearlessly explores the contours of female experience, evoking The Handmaid's Tale for a new millennium. This is a story of resilience, transformation, and hope in tumultuous -- even frightening -- times.

1456, the night of Vlad’s coronation: a dastardly plot, a joint venture between the Ottoman Empire and Catholic Hungary to kill the Impaler’s beloved, sets off some of the worst atrocities in history, enshrining the name Dracula as a synonym for terror. He drank the blood of his victims, and filled the castles of the land with wretches destined for the stake: Scourge of the Saxons, champion of the peasants, national hero who saved his country from Islamic conquest, Vlad was all of these, and much, much more... His name has become a byword for cruelty, Vlad’s draconian policies the horror of Europe. But who was the man behind the legend? Written off by historians, the Dacians were thought to have vanished immediately after the Roman conquest of Dacia, but Vlad, Son of the Devil, would revive the ancient Gaulish pride, bringing hope to the oppressed Wallach remnants of Transylvania through a dastardly series of impalements: he would become known in Romanian as Vlad Țepeș, the Impaler! A man more terrifying than any vampire.

Insatiable bloodlust, dangerous sexualities, the horror of the undead, uncharted Trannsylvanian wildernesses, and a morbid fascination with the `other': the legend of the vampire continues to haunt popular imagination. Reading the Vampire examines the vampire in all its various manifestations and cultural meanings. Ken Gelder investigates vampire narratives in literature and in film, from early vampire stories like Sheridan Le Fanu's `lesbian vampire' tale Carmilla and Bram Stoker's Dracula, the most famous vampire narrative of all, to contemporary American vampire blockbusters by Stephen King and others, the vampire chronicles of Anne Rice, `post-Ceausescu' vampire narratives, and films such as FW Murnau's Nosferatu and Bram Stoker's Dracula. Reading the Vampire embeds vampires in their cultural contexts, showing vampire narratives feeding off the anxieties and fascinations of their times: from the nineteenth century perils of tourism, issues of colonialism and national identity, and obsessions with sex and death, to the `queer' identity of the vampire or current vampiric metaphors for dangerous exchanges of bodily fluids and AIDS.

“Post/modern Dracula” explores the postmodern in Bram Stoker’s Victorian novel and the Victorian in Francis Ford Coppola’s postmodern film to demonstrate how the century that separates the two artists binds them more than it divides them. What are the postmodern elements of Stoker’s novel? Where are the Victorian traits in Coppola’s film? Is there a postmodern gloss on those Victorian traits? And can there be a Victorian directive behind postmodernism in general? The nine essays compiled in this collection address these and other relevant questions per the novel and the film at three distinct periods: (post)modern Victorianism, post/modernism, and finally postmodernism. Part I on (post)modernist issues in Stoker’s novel establishes the link between Victorian themes and postmodern praxes that begins with colonialist concerns and ends with poststructuralist signification. Part II looks at the post/modernist traits in Stoker’s Dracula, those obviously influenced by modernism but also, with the help of the novel’s plasticity vis-à-vis the media over the last century, by postmodernism. Part III examines more closely the novel’s postmodern characteristics, particularly with respect to Coppola’s 1992 film, Bram Stoker’s Dracula. Dracula defies time and promises to undermine any critical study of it that precisely tries to situate it within a given epoch, including a postmodernist one. Given its relationship to late-capitalist economy, to post-Marxist politics, and to commodity culture, and given its universal appeal to human fears and anxieties, fetishes and fantasies, lusts and desires, Stoker’s novel will forever remain post/modern—always haunting our future, as it has repeatedly done so our past. Though scholars of Dracula and Gothic literature in general will find some of the essays innovative and engaging per today’s literary criticism, the book is also intended for both an informed general reader and a novice student of the novel and of the film. As such, a few essays are highly specialized in postmodern theory, whereas others are more centered around the sociohistorical context of the novel and film and use various postmodern theories as inroads into the novel’s or the film’s study.

A sensual, terrifying, incredibly accomplished first novel, this fascinating prequel to the classic and most popular horror novel of all time, Dracula, focuses on Dracula's great-nephew, who inherits the job of managing his great-uncle's estate...and his appetite. Written in diary form as Dracula is, this compulsively readable book has revelations that will shock and delight readers of the original. More erotic than Anne Rice, Kalogridis is a major new voice in vampire fiction. The first chilling tale in an exciting new trilogy is a rich and terrifying historical novel set fifty years before the opening of Bram Stoker's Dracula. At the castle of Prince Vlad Tsepesh, also known as Dracula, Vald's great-nephew Arkady is honored to care for his beloved though strange great-uncle...until he beings to realize what is expected of him in his new role. It seems that either he provides his great-uncle with unsuspecting victims to satisfy his needs, or Vlad will kill those Arkady loves. He is trapped into becoming party to murder and sadistic torture. And it is in his blood. When Arkady learns that his newborn son is being groomed one day to follow in his footsteps, he knows that he must fight Dracula, even if it means death.