The tale of Bluebeard, reenvisioned as a dark fable of faith and truth 1843 is the "last year of the world," according the Elias Fitcher, a charismatic preacher in the Finger Lakes district of New York State. He's established a utopian community on an estate outside the town of Jeckyll's Glen, where the faithful wait, work, and pray for the world to end. Vernelia, Amy, and Catherine Charter are the three young townswomen whose father falls under the Reverend Fitcher's hypnotic sway. In their old house, where ghostly voices whisper from the walls, the girls are ruled by their stepmother, who is ruled in turn by the fiery preacher. Determined to spend Eternity as a married man, Fitcher casts his eye on Vernelia, and before much longer the two are wed. But living on the man's estate, separated from her family, Vern soon learns the extent of her husband's dark side. It's rumored that he's been married before, though what became of those wives she does not know. Perhaps the secret lies in the locked room at the very top of the house—the single room that the Reverend Fitcher has forbidden to her. Inspired by the classic fairy tales "Bluebeard" and "The Fitcher Bird," this dark fantasy is set in New York State's "Burned-Over District," at its time of historic religious ferment. All three Charter sisters will play their part in the story of Fitcher's Utopia: a story of faith gone wrong, and evil countered by one brave, true soul. At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.

"1843 is 'the last year of the world'--according to Elias Fitcher, a charismatic preacher in upstate New York. There he's established a utopian community on an estate outside the town of Jeckyll's Glen, where the faithful wait, work, and pray for the world to end. Vernelia, Amy, and Catherine Charter are three young townswomen whose father falls under the Reverend's hypnotic sway. In their old house, where ghostly voices whisper from the walls, the girls are ruled by their stepmother, who is ruled by the fiery preacher in turn. Determined to spend Eternity as a married man, Fitcher casts his eye on Vernelia, and before much longer the two are wed. But living on the man's estate, separated from her family, it's not long before Vern learns the extent of her husband's dark side ... Inspired by the classic fairy tales "Bluebeard" and "The Fitcher Bird", this dark fantasy is a story of faith gone wrong, and evil countered by one brave, true soul."--Back cover.

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.

In response to the escalating need for up-to-date information on writers, Contemporary Authors(R) New Revision Series brings researchers the most recent data on the worlds most-popular authors. These exciting and unique author profiles are essential to your holdings because sketches are entirely revised and up-to-date, and completely replace the original Contemporary Authors(R) entries. For your convenience, a soft-cover cumulative index is sent biannually.

An American journalist is trapped in Nazi Germany in this variation on the Sleeping Beauty theme.

Fairy tales retold—with a twist—from “some of our best storytellers” including Neil Gaiman, Gahan Wilson, Tanith Lee, and others (The Washington Post). In this “no holds barred . . . nightmarish . . . provocative” collection, bestselling and award-winning fantasy masters put a dark, disturbing, and erotic spin on your favorite bedtime stories—and give you something entirely new to trouble your dreams (The New York Times Book Review). A boy is haunted through adulthood by a soul-eating creature that lies forever in wait under Neil Gaiman’s “Troll Bridge”; a melancholy amphibian shares his most private fantasies with a therapist in Gahan Wilson’s “The Frog Prince”; in Tanith Lee’s “Snow-Drop,” a lonely artist invites seven circus performers into her home to satisfy an obsession; in Steve Rasnic Tem’s “Little Poucet,” a band of lost brothers find refuge and terror with a hungry family in the woods; and Wendy Wheeler delves into the deviant psyche of the predatory male in “Little Red.” Also featuring Nancy Kress, Charles de Lint, Melanie Tem, Patricia A. McKillip, Jack Dann, and others, all paying a revisit to our favorite fairy tales in ways you’ve never dared to imagine.

This book offers a detailed exploration of the plot genotype, the functional structure behind the plots of classical fairy tales. By understanding how plot genotypes are used, the reader or creative writer will obtain a much better understanding of many other types of fiction, including short stories, dramatic texts and Hollywood screenplays.

Media Depictions of Brides, Wives, and Mothers, edited by Alena Amato Ruggerio, explores how television, film, the internet, and other media variously perpetuate gender stereotypes. The contributors to this volume bring a variety of feminist rhetorical and media criticism approaches from across the communication discipline to their analyses of how television, film, news coverage, and the Internet shape our expectations of the performance of women's identities. This collection includes studies of Bridezillas, Jon & Kate Plus 8, Sex and the City, Sarah Palin, Nancy Pelosi, The Devil Wears Prada, Practical Magic, "momtini" blogs, and Mad Men fan websites. Readers will learn to apply the insights from each chapter to their own sets of myths, stereotypes, and assumptions about gendered roles, and to recognize the possibilities for both liberation and domination when women's practices of marrying, mating, and mothering are represented and misrepresented in the media. This collection is an essential contribution to media studies and criticism of gender stereotypes in contemporary culture. Read the author's recent interview with Literary Ashland. You can also visit the author's website here.

The essays collected here explore the power and sensuality that food engenders within literature. The book permits the reader to sample food as a rhetorical structure, one that allows the individual writers to articulate the abstract concepts in a medium that is readily understandable. The second part of Cooking by the Book turns to the more diverse food rhetorics of the marketplace. What, for example, is the fast food rhetoric? Why are there so many eating disorders in our society? Is it possible to teach philosophy through cookery? How long has vegetarianism been popular?