Could there have been television without California? California without television? The one shows the other: the ostentatiously novel singularity of the place and the seemingly self-effacing transparency of the medium. Yet if television and California both promise again and again to offer us something new, young, immaculate in its transience - a pure surface that will never get caught in the ditch of time - they are also both haunted through and through: by the itinerant contents of the past that they cannot banish, by memories of the infantile-perverse utopian fantasies that taunt us in constant replay ("If you're going to San Francisco...," "two girls for every guy"), by the contradiction played out in the very gesture of dismissing history and leaving the dead to bury the dead. California and television, as it were, conspire in a vampirologic: the forever-young is what has been there the longest, what really "takes us back." And so we also will take ourselves back: to Buffy the Vampire Slayer, already almost charmingly quaint, and Walter Benjamin's magnum opus The Origin of the German Mourning-Play. What can come of this improbable conjunction? It will not seem too strange that Benjamin, posthumous wanderer across the textures of Americana, should again take up lodging at the Hotel California. But more is at stake than just another hapless visitation from the on high of high theory: reading Buffy as the remediated afterlife of the dead-on-arrival genre of the baroque German mourning play, Adler's book records the first broken, awkward steps toward a project that, with the recent rise of "quality television," seems more urgent than ever before: a political-theological characteristic of the television series.

A senior at East Fresno High School lives on as a ghost after his brutal murder in the restroom of a club where he had gone to dance.

This is an encyclopedic work, arranged by broad categories and then by original authors, of literary pastiches in which fictional characters have reappeared in new works after the deaths of the authors that created them. It includes book series that have continued under a deceased writer's real or pen name, undisguised offshoots issued under the new writer's name, posthumous collaborations in which a deceased author's unfinished manuscript is completed by another writer, unauthorized pastiches, and "biographies" of literary characters. The authors and works are entered under the following categories: Action and Adventure, Classics (18th Century and Earlier), Classics (19th Century), Classics (20th Century), Crime and Mystery, Espionage, Fantasy and Horror, Humor, Juveniles (19th Century), Juveniles (20th Century), Poets, Pulps, Romances, Science Fiction and Westerns. Each original author entry includes a short biography, a list of original works, and information on the pastiches based on the author's characters.

Beowulf's presence on the popular cultural radar has increased in the past two decades, coincident with cultural crisis and change. Why? By way of a fusion of cultural studies, adaptation theory, and monster theory, Beowulf's Popular Afterlife examines a wide range of Anglo-American retellings and appropriations found in literary texts, comic books, and film. The most remarkable feature of popular adaptations of the poem is that its monsters, frequently victims of organized militarism, male aggression, or social injustice, are provided with strong motives for their retaliatory brutality. Popular adaptations invert the heroic ideology of the poem, and monsters are not only created by powerful men but are projections of their own pathological behavior. At the same time there is no question that the monsters created by human malfeasance must be eradicated.

Kim Sheridan grew up with animals as her constant companions. Each time she faced the death of a beloved animal, along with the pain came the same questions, to which she could find no answers. Then, mysterious things began to happen that she couldn't explain, which led her on an incredible journey to uncover the truth. Along with her own extraordinary experiences, she compiled heartwarming and meaningful true stories of everyday people around the world, and discovered compelling evidence that forever erased her own doubts about an afterlife for animals. This book provides enormous comfort and reassurance to anyone who has ever cherished an animal, and food for thought for anyone who has ever questioned the place of these beloved creatures in the larger scheme of things, both here on Earth and beyond.

Works of genre fiction are a source of enjoyment, read during cherished leisure time and in incidental moments of relaxation. This original book takes readers inside three popular genres of fiction, including crime, fantasy, and romance, to reveal how personal tastes, social connections, and industry knowledge shape genre worlds. Attuned to both the pleasure and the profession of producing genre fiction, the authors investigate contemporary developments in the field?the rise of Amazon, self-publishing platforms, transmedia storytelling, and growing global publishing conglomerates?and show how these interact with older practices, from fan conventions to writers? groups. Sitting at the intersection of literary studies, genre studies, fan studies, and studies of the book and publishing cultures, Genre Worlds considers how contemporary genre fiction is produced and circulated on a global scale. Its authors propose an innovative theoretical framework that unfolds genre fiction?s most compelling characteristics: its connected social, industrial, and textual practices. As they demonstrate, genre fiction books are not merely texts; they are also nodes of social and industrial activity involving the production, dissemination, and reception of the texts.

A decade dead, Jacob Campbell is a preservationist, providing a kind of taxidermy to keep his clients looking lifelike for as long as the forces of entropy will allow. But in the Land of the Dead, where the currency is time itself and there is little for corpses to do but drink, thieve, and gamble eternity away, Jacob abandons his home and his fortune for an opportunity to meet the man who cheated the rules of life and death entirely. According to legend, the Living Man is the only adventurer to ever cross into the underworld without dying first. It's rumored he met his end somewhere in the labyrinth of pubs beneath Dead City's streets, disappearing without a trace. Now Jacob's vow to find the Living Man and follow him back to the land of the living sends him on a perilous journey through an underworld where the only certainty is decay. Accompanying him are the boy Remington, an innocent with mysterious powers over the bones of the dead, and the hanged man Leopold l'Eclair, a flamboyant rogue whose criminal ambitions spark the undesired attention of the shadowy ruler known as the Magnate. An ambitious debut that mingles the fantastic with the philosophical, Dead Boys twists the well-worn epic quest into a compelling, one-of-a-kind work of weird fiction that transcends genre, recalling the novels of China Miéville and Neil Gaiman.

A vibrant collection of sharp and essential modern pieces on Vladimir Nabokov’s perennially provocative book—with original contributions from a stellar cast of prominent twenty-first century writers. In 1958, Vladimir Nabokov’s Lolita was published in the United States to immediate controversy and bestsellerdom. More than sixty years later, this phenomenal novel generates as much buzz as it did when originally published. Central to countless issues at the forefront of our national discourse—art and politics, race and whiteness, gender and power, sexual trauma—Lolita lives on, in an afterlife as blinding as a supernova. Lolita in the Afterlife is edited by the daughter of Lolita’s original publisher in America. WITH CONTRIBUTIONS BY Robin Givhan • Aleksandar Hemon • Jim Shepard • Emily Mortimer • Laura Lippman • Erika L. Sánchez • Sarah Weinman • Andre Dubus III • Mary Gaitskill • Zainab Salbi • Christina Baker Kline • Ian Frazier • Cheryl Strayed • Sloane Crosley • Victor LaValle • Jill Kargman • Lila Azam Zanganeh • Roxane Gay • Claire Dederer • Jessica Shattuck • Stacy Schiff • Susan Choi • Kate Elizabeth Russell • Tom Bissell • Kira Von Eichel • Bindu Bansinath • Dani Shapiro • Alexander Chee • Lauren Groff • Morgan Jerkins

I didn’t even want to go to the party. I just wanted to stay home with my librarian-witch grandmother and her mystical book club. But my best friend Skyler begged me. So I went. Not only was it the worst party of my life, it was the last party of my life. I should have known there was something really strange about the band—especially when the lead singer bit me before taking off with my best friend. Now I'm chasing down a band of dangerous vamps with my best guy friend, Vaughn. Who also happens to be the boy I’ve been secretly crushing on forever. And out on the road, anything can happen. All I ever wanted was for things to change with Vaughn. For him to finally see the real me. But this isn’t exactly what I had in mind. So be it. Let the afterlife begin. The Afterlife series is best enjoyed in order. Reading Order: Book #1 The Afterlife of the Party Book #2 I'm with the Banned Book #3 A Sucker for You

In a future world that has been decimated by a sentient glacier and corrupt nanotechnology, a film archivist, a former mercenary and a virtuoso dishwasher are manipulated by a man who is overseeing the construction of a Manhattan replica in Puget Sound.