Gloryanne is smart, savvy, and fiercely independent, but her job has put her in danger from the same criminal Rodrigo is investigating. She’s drawn to the enigmatic new farmhand, Rodrigo, a man who is much more than he seems, and who stirs a desire that leaves her breathless. But secrets are about to shatter all their lives, for better, for worse…and maybe forever.Heartless:As a teenager, Gracie worshipped her stepbrother, Jason, a strong, silent young cowboy who left home early to seek his fortune. Though Gracie hadn’t seen him in years, when her mother passed away, Jason ensured that Gracie would be cared for. Now the wealthy owner of Comanche Wells ranch, Jason has finally come back home, and discovered that the little girl he knew is all grown up.

    New features include: a new chapter on queer theory; every chapter has been revised with new introductions with appropriate new critical vocabulary, critical terms, further readings sections, and web sites; new student essays; structuralism and deconstruction have been combined into one section to make the material clearer and more streamlined; and the addition of Plotinus, Giovanni Boccaccio, Joseph Addison, Percy Pysshe Shelley, and Mikhail Bakhtin.

    Included are discussions of Jane Austen, George Sand, Colette, Simone Weil, and Virginia Woolf.

    . . an accepted major work.” This groundbreaking work views in depth both American literature and character from the time of the American Revolution to the present. From it, there emerges Fiedler’s once scandalous―now increasingly accepted―judgment that our literature is incapable of dealing with adult sexuality and is pathologically obsessed with death.

    This provocative book undertakes a new and challenging reading of recent semiotic and structuralist theory, arguing that films, novels, and poems cannot be studied in isolation from their viewers and readers.

    Lovecraft (1890-1937), the most important American supernaturalist since Poe, has had an incalculable influence on all the horror-story writing of recent decades. Altho his supernatural fiction has been enjoying an unprecedented fame, it's not widely known that he wrote a critical history of supernatural horror in literature that has yet to be superceded as the finest historical discussion of the genre. This work is presented in this volume in its final, revised text. With incisive power, Lovecraft here formulates the esthetics of supernatural horror & summarizes the range of its literary expression from primitive folklore to the tales of his own 20th-century masters. Following a discussiom of terror-literature in ancient, medieval & renaissance culture, he launches on a critical survey of the whole history of horror fiction from the Gothic school of the 18th century (when supernatural horror found its own genre) to the time of De la Mare & M.R. James. The Castle of Otranto, Radcliffe, "Monk" Lewis, Vathek Charles Brockden Brown, Melmoth the Wanderer, Frankenstein, Bulwer-Lytton, Fouqué's Undine, Wuthering Heights, Poe (full chapter), The House of the Seven Gables, de Maupassant's The Horla, Bierce, The Turn of the Screw , M.P. Shiel, W.H. Hodgson, Machen, Blackwood & Dunsany are among those discussed in depth. He also notices a host of lesser writers--enough to draw up an extensive reading list. By charting so completely the background for his own concepts of horror & literary techniques, Lovecraft throws light on his own fiction as well as on the horror-literature which has followed. For this reason this book will be especially intriguing to those who've read his fiction as an isolated phenomenon. Any searching for a guide thru the inadequately marked region of literary horror, need search no further. Unabridged & corrected republication of 1945 edition. New introduction by E.F. Bleiler.

    Under the direction of Stephen Greenblatt, General Editor, the editors have reconsidered all aspects of the anthology to make it an even better teaching tool.

    This succeeds and Gilroy begins to go to the Professor's house where Miss Penclosa practices her powers on him. Let me try to reason it out. This woman, by her own explanation, can dominate my nervous organism. She can project herself into my body and take command of it. She has a parasite soul; yes, she is a parasite, a monstrous parasite. She creeps into my frame as the hermit crab does into the whelk's shell. I am powerless! What can I do? I am dealing with forces of which I know nothing. And I can tell no one of my trouble. They would set me down as a madman. Certainly, if it got noised abroad, the university would say that they had no need of a devil-ridden professor. And Agatha! No, no, I must face it alone.

    In this brilliant fiction debut, Libby resurrects the real-life Erzebet Bathory, a 17th-century countess who believed that bathing in human blood would preserve her looks forever.

    Why is he judged so dangerous, even to this day?Stuart Hood acknowledges de Sade as a philosopher of the Enlightenment who took libertarian atheism to its absolute limit! However, "sadism" is far more than a sexual perversion. It was de Sade's weapon of exploration into the fundamental nature of morality. Hood, with integrated illustrations by Graham Crowley place their subject in the materialist current of Western philosophy.

    A young girl is convinced by the spirit of the times that the accusation against her of witchcraft is true.

    In it, you will meet Scarbo the vampire dwarf, Ondine, the faerie princess of the waters, and an unforgettable assortment of lepers, alchemists, beggars, swordsmen and ghosts. Gaspard de la Nuit inspired Baudelaire, Rimbaud, Mallarmi, the Surrealist Movement and composer Maurice Ravel, who wrote a suite of virtuoso piano pieces patterned after it. This new edition has been entirely retranslated by renowned poet and literary historian Donald Sidney-Fryer, the author of Songs and Sonnets Atlantean who has edited four collections of prose and poetry by Clark Ashton Smith. In his extensive introduction and afterword, Sidney-Fryer retraces the steps in Bertrand's life, casts a new light on his works and follows the elusive Gaspard from the Three Kings of Bethlehem to Casper the Friendly Ghost. This collection features a foreword by T.E.D. Klein and is illustrated by drawings from Bertand himself.

    The persistence of white supremacy and the ubiquity of Black death feeds a national culture of terror and a perpetual undercurrent of mourning.If the gothic narrative is metabolized fear, if the goth aesthetic is romanticized melancholy, what does that look and sound like in Black America?

    Dickens' Fur Coat and Charlotte's Unanswered Letters plunks the reader down in the middle of the London book world to expose the madcap shenanigans, rows, rivalries, and general mayhem perpetrated by the supposedly prudish Victorians. We see Dickens on his first American book tour having bits of his fur coat snipped off by manic fans, romantic rumors swirling around Thackeray and Charlotte Bronte, Anthony Trollope scheming with Thomas Hardy in an attempt to get more money for his novels, and Bulwer Lytton (of "It was a dark and stormy night" fame) apparently plotting to poison his wife An eye-opening cultural history and a marvelously entertaining read, this is sure to be a gift book all fans of Victoriana fans.

    Essays explore the connections of Gothic fictions to political and industrial revolutions, the realistic novel, the theater, Romantic and post-Romantic poetry, nationalism and racism from Europe to America, colonized and post-colonial populations, the rise of film, the struggles between high and popular culture, and changing attitudes towards human identity, life and death, sanity and madness. The volume also includes a chronology and guides to further reading.