If you would prefer to read the unedited articles in their old format for free, we have provided a list of the article titles under "chapters" below. Simply go to Wikipedia and use their search form to locate each individual article.)Chapters: The Queen of the Damned, Interview with the Vampire, The Vampire Lestat, Memnoch the Devil, The Tale of the Body Thief, Interview with the Vampire: The Vampire Chronicles, Those Who Must Be Kept, The Vampire Armand, Blood and Gold, Marius de Romanus, Maharet and Mekare, Pandora, Jessica Miriam Reeves, Khayman, Daniel Molloy, Talamasca Caste, Merrick, Blood Canticle, Vittorio the Vampire, Théâtre des Vampires, Merrick Mayfair, Amel, Blackwood Farm, Mona Mayfair, Avicus, Santiago.

    'Dead men DO tell tales! And everybody wants to know what they say. So they use Ouija boards, Tarot cards, etc. Do these work?' Read what RUSSELL LEE says.

    These are tales of relationships with unearthly domesticity and eeriness: a woman falls in love with a haunted house; a beached mermaid is substituted for a disappeared daughter; the imaginary friend of a murdered young woman stalks the streets of her small town; a mother’s teenage son is afflicted with a disease that causes him to vanish; a father exploits his daughter’s talent for calling ghosts to her; and a wife leaves her husband and children to fulfill her obligations in the world from which she escaped.

    Alternating between personal anecdote, hilarious insight, and smart analysis, Luke Skywalker Can’t Read contends that Barbarella is good for you, that monster movies are just romantic comedies with commitment issues, that Dracula and Sherlock Holmes are total hipsters, and, most shockingly, shows how virtually everyone in the Star Wars universe is functionally illiterate. Romp through time and space, from the circus sideshows of 100 years ago to the Comic Cons of today, from darkest corners of the Galaxy to the comfort of your couch. For anyone who pretended their flashlight was a lightsaber, stood in line for a movie at midnight, or dreamed they were abducted by aliens, Luke Skywalker Can't Read is full of answers to questions you haven't thought to ask, and perfect for readers of Chuck Klosterman, Rob Sheffield, and Ernest Cline.

    Written in the 1970s, and in a style geared more toward fantasy than the hardboiled prose of the Repairman Jack novels, "Demonsong" kicks off Wilson's massive Secret History of the World.

    This volume provides her readers and fans with additional insights into her life and work. The first section provides a biographical chapter and literary heritage. The second and third sections analyze the Tales of Tortall and the Magic Circle Sagas as a whole, providing details into the characters and settings of each. The final section of the book, Perspectives, includes both a section on literary techniques along with an interview of Tamora Pierce herself. Appendices include a section on Power Female Heroes, and Fantasy Adventures.Novels include: *The Song of the Lioness Quartet *The Immortals Quartet *The Protector of the Small Quartet *The Trickster Duology *The Magic Circle Quartet *The Circle Opens Quartet *The Will of the Empress

    It includes a history of vampire literature, a professional dominatrix's examination of Rice's erotica, and a behind-the-scenes look at the making of the film version of Interview with the Vampire. From the adventures of the Vampire Lestat to those of the Mayfair Witches, from the evocative historical epic Cry to Heaven to the uninhibited erotica of Exit to Eden and the Sleeping Beauty trilogy, The Anne Rice Reader presents a captivating range of perspectives on the imagination of a writer who has enthralled her generation.

    The Pixels of Paul Cezanne is a collection of essays by Wim Wenders in which he presents his observations and reflections on the fellow artists who have influenced, shaped, and inspired him."How are they doing it?" is the key question that Wenders asks as he looks at the dance work of Pina Bausch, the paintings of Cezanne, Edward Hopper, and Andrew Wyeth, as well as the films of Ingmar Bergman, Michelanelo Antonioni, Ozu, Anthony Mann, Douglas Sirk, and Sam Fuller.He finds the answer by trying to understand their individual perspectives, and, in the process revealing his own art of perception in texts of rare poignancy.

    The Borealis Legends line is a tribute to the creators of the science fiction, fantasy and horror genres as we know them today.

    Now it is a novel, stuffed full of the gruesome and horrible. Taken from the mythologies and histories of humankind, it follows the trail of the Mother Spririt of the worst that the world is capable of producing. From the catacombs of ancient Rome where a blasphemous sect twisted the message of the early Christians--to modern America with its obsession with violence, deities and saints and the reincarnations of beasts battle over sublime and profane, where the very reasons for existence for us all may lie in the unthinkable.Edward Lee (author of CITY INFERNAL, MONSTROSITY, INCUBI, and SUCCUBI) says in his introduction to this new novel-length version, "What's most unique of all here (and jealously fascinating) are the creative guts of the author. If there's an ultimate dichotomy in the horror genre, it's got to be Jacob...armed with a talent to write the most beautiful prose yet using that talent to examine the most unspeakable and detestable horror. ...It's one of my all time favorite novels in the field."

    Made specifically for the small screen, within the tight constraints of broadcasting standards, what these humble movies lacked in budget and star appeal, they made up for in other ways. Often they served as an introduction to genre films, particularly horror, mirroring their theatrical counterparts with a focus on sinister cults, women in prison, haunted houses and even animals in revolt. They were also a place to address serious contemporary issues - drugs, prostitution, sexual violence and justice -albeit in a cosy domestic environment. Production of telefilms continues to this day, but their significance within the history of mass media remains under-discussed. Are You in the House Alone? seeks to address this imbalance in a series of reviews and essays by fans and critics. It looks at many of the films, the networks and names behind them, and also specific genres - everything from Stephen King adaptations to superheroes to true-life dramas. So, kickback and crack open the TV guide once more for the event that is the Movie of the Week!

    For he's about to discover that the streets of New York City have become a secret battleground between forces he cannot comprehend.

    Frank Herbert described it as 'the most valuable science fiction source book ever written' and Isaac Asimov said 'It will become the Bible for all science fiction fans.'. This new edition has taken years to prepare and is much more than a simple updating. The world of science fiction in the 1990s is much more complex than it was back in the late 1970s. The advent of game worlds, shared worlds, graphic novels, film and tv spin-offs, technothrillers, survivalist fiction, of horror novels and fantasy novels with of centres has necessitated a radical revision, and this has allowed the inclusion of related subjects, such as magic realism. Accordingly, the book has expanded dramatically in order to cope with the complexities and changes. It now contains well over 4,300 entries - a staggering 1,500 more than the original - and, at 1.2 million words, it is over half a million words longer than the first edition. This is the indispensable reference work not only for every reader who loves, uses and wishes to know more about science fiction, but for every reader of imaginative fiction at the end of this century.

    Now, The View from the Cheap Seats brings together for the first time ever more than sixty pieces of his outstanding nonfiction. Analytical yet playful, erudite yet accessible, this cornucopia explores a broad range of interests and topics, including (but not limited to): authors past and present; music; storytelling; comics; bookshops; travel; fairy tales; America; inspiration; libraries; ghosts; and the title piece, at turns touching and self-deprecating, which recounts the author’s experiences at the 2010 Academy Awards in Hollywood.

    Hicok gives readers unexpected conjunctions and oddly offbeat thoughts, most darkly whimsical, and has us embrace them wholeheartedly. If he can survive the scary carnival that is this world, we can, too. Highly recommended for a wide range of readers.”— Library Journal, starred review“Bob Hicok is one of my favorite poets. Partly, it’s the movement of his lines, which are both conversational and utterly unexpected, almost as if he (or we) are joining a conversation that extends beyond the framework of the poem…And then there’s his unrelenting vision, a sense of the world as both utterly real and utterly elusive, and heartbreaking because we have to die. Death is at the center of Hicok’s writing—not in a maudlin, self-pitying way, but rather as a vivid presence, infusing everything, even the deepest moments of connection, with a steely sense of loss.”—David Ulin, reviewing Elegy Owed in the Los Angeles Times“This gorgeous collection [Elegy Owed] spans the landscape of loss with unexpected leaps and ripples, as if someone has skipped stones across a lake. …Wordplay, subtle humor and unexpected moments of hope give these lush poems depth and dimension. Hicok’s work is memorable because of the new vistas it creates.” —The Washington Post"Words have weight in Hicok’s poems. They feel nailed in place, and the meter hits like the sure pounding of a hammer. Yet as heft, muscle, and precision draw you forward, Hicok evokes not solidity but, rather, shifting ground, flux, metamorphosis, and, most arrestingly, most unnervingly, death. In his seventh collection, Hicok builds startling images out of the everyday and the surreal, the comic and the sorrowful. Avoiding abstraction and pretension, he cleaves to earth, skin, breath." –Donna Seaman, Booklist“Hicok’s poems [in Elegy Owed] are like boomerangs; they jut out in wild, associative directions, yet find their way back to the root of the matter.” —Publishers Weekly"Seamlessly, miraculously, [Hicok's] judicious eye imbues even the dreadful with beauty and meaning."—The New York Times Book ReviewWhen asked in an interview “What would Bob Hicok launch from a giant sling shot?” he answered, “Bob Hicok.” Elegy Owed, Hicok’s eighth book, is an existential game of Twister in which the rules of mourning are broken and salvaged, and “you can never step into the same not going home again twice.” His poems are the messenger at the door, the unwanted telegram—telling a joke, imparting a depth of longing, returning us finally to a different kind of normality where “the dead have no ears, no answering machines / that we know of, still we call.” There is grief in these poems, though it is a grief large enough for odd awakenings and the unexpected, a grief enlarged by music, color, and joy as well as sober wisdom.“Hicok is funny as hell, in Blake’s sense of the infernal: irreverent, anarchic, undeceived. His bracing ill humor is a vehicle for outrage, longing, tenderness, and a shy cynicism that is the necessary counterbalance to a tenacious sense of hope. He is one of our premier anatomists of contemporary American life, and a wildly refreshing, necessary poet.” —Mark DotyBob Hicok is one of the most active poets writing today, and his poems have appeared widely, including in The New Yorker and Poetry. His honors include the Bobbitt Prize from the Library of Congress and a "Notable Book of the Year" from Booklist. Hicok has worked as an automotive die designer and a computer system administrator, and is currently an associate professor of English at Virginia Tech. He lives in Blacksburg, Virginia.