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"No longer was Brierwood the sanctuary Rose Quennel had cherished all her young life. Her beloved home had become a place of whispering shadows and blossoming fear. Night after night, against her will, a faceless figure crept into her room, into her very dreams, murmuring to her, caressing her, tempting her to taste unknown pleasures and unsuspected desires ... And it was clear that the shadows had begun to spread over Brierwood the day Taylor Wolfe had arrived. The strange, bitter man seemed to haunt her every waking moment--but could he also be the night creature who had taken possession of her dreams? Her heart cried out against the thought--even as she trembled at the coming darkness ..."--Provided by publisher
Joanna Wilder wants a life of her own. No more wayward sister. No surprises. No drama. And she’ll have that in just five short days when her sister becomes the responsibility of a government-selected husband. At last! But things don’t go according to plan. Her sister vanishes, a riot rocks Londo, and Joanna catches the attention of a powerful Overseer. The last thing she needs is to attract attention—if she has any hope of saving her sister. Step into an alternate Victorian London, where love and electricity are banned, and no one dares venture out at night.
An allegorical retelling of Sleeping Beauty. It features a princess who dreams of a succession of kissing princes, and a fairy who inhabits her dreams, regaling her with legends of other sleeping beauties. A look at the power of romantic desire.
Eva Wilder has never made good choices. A rebel boyfriend. An unsanctioned pregnancy. A loveless marriage in a remote seaside town. But all that is gone. Her husband has just been killed for treason. Because of a woman. As Eva stands on the beach in shock, she spots a shipwreck victim on the sand. The shipwreck victim claims to be a vampire hunter who has come to the Anglo Territories to kill vampires—starting with the devil that killed her husband. Will she help him? It sounds dangerous to Eva. Way too rebellious. She decides to turn tail and go back to Londo City. But as Eva waits for the train, she recognizes her estranged sister in a line of prisoners. She knows the horrible fate her sister will face, and all because of her own rash decisions long ago. Eva has to do something. But what? Stay and try to help her sister? They'll both be killed. Or take the easy way out and just get on the train? This is the chance to redeem herself. Will she take it?
The stories in the Grimm brothers' Kinder- und Hausmärchen (Children's and Household Tales), first published in 1812 and 1815, have come to define academic and popular understandings of the fairy tale genre. Yet over a period of forty years, the brothers, especially Wilhelm, revised, edited, sanitized, and bowdlerized the tales, publishing the seventh and final edition in 1857 with many of the sexual implications removed. However, the contributors in Transgressive Tales: Queering the Grimms demonstrate that the Grimms and other collectors paid less attention to ridding the tales of non-heterosexual implications and that, in fact, the Grimms' tales are rich with queer possibilities. Editors Kay Turner and Pauline Greenhill introduce the volume with an overview of the tales' literary and interpretive history, surveying their queerness in terms of not just sex, gender and sexuality, but also issues of marginalization, oddity, and not fitting into society. In three thematic sections, contributors then consider a range of tales and their queer themes. In Faux Femininities, essays explore female characters, and their relationships and feminine representation in the tales. Contributors to Revising Rewritings consider queer elements in rewritings of the Grimms' tales, including Angela Carter's The Bloody Chamber, Jeanette Winterson's Twelve Dancing Princesses, and contemporary reinterpretations of both "Snow White" and "Snow White and Rose Red." Contributors in the final section, Queering the Tales, consider queer elements in some of the Grimms' original tales and explore intriguing issues of gender, biology, patriarchy, and transgression. With the variety of unique perspectives in Transgressive Tales, readers will find new appreciation for the lasting power of the fairy-tale genre. Scholars of fairy-tale studies and gender and sexuality studies will enjoy this thought-provoking volume.