Tessa's world exploded. She survived Deanna's inheritance. She sees more, hears more ... understands more. But more is not always better. Cody doesn't like what's happening around him. Tessa has walked through hell and she has a lot more to go before she's clear. He plans on standing by her side - her guardian - whether she wants him to be there for her or not. Jared can't believe all trails lead him into trouble. He'd escaped once. Tried to stay out of the mess since. But a friend is missing, and when he tries to get help, the person he confides in goes missing too. The vampire world was never ready for Tessa before. The new Tessa? No one is ready for her.

This book explores the idea that while we see the vampire as a hero of romance, or as a member of an oppressed minority struggling to fit in and acquire legal recognition, the vampire has in many ways changed beyond recognition over recent decades due to radically shifting formations of the sacred in contemporary culture. The figure of the vampire has captured the popular imagination to an unprecedented extent since the turn of the millennium. The philosopher René Girard associates the sacred with a communal violence that sacred ritual controls and contains. As traditional formations of the sacred fragment, the vampire comes to embody and enact this ‘sacred violence’ through complex blood bonds that relate the vampire to the human in wholly new ways in the new millennium.

“Vampires. Why do we care? In these pages you will find what is very simply, the most literate, imaginative, and just plain fascinating answer to that question ever written.” ?Whitley Strieber In a culture that does not do death particularly well, we are obsessed with mortality. Margot Adler writes, “Vampires let us play with death and the issue of mortality. They let us ponder what it would mean to be truly long lived. Would the long view allow us to see the world differently, imagine social structures differently? Would it increase or decrease our reverence for the planet? Vampires allow us to ask questions we usually bury.” As Adler, a longtime NPR correspondent and question asker, sat vigil at her dying husband’s bedside, she found herself newly drawn to vampire novels and their explorations of mortality. Over the next four years—by now she has read more than 270 vampire novels, from teen to adult, from gothic to modern, from detective to comic—she began to see just how each era creates the vampires it needs. Dracula, an Eastern European monster, was the perfect vehicle for 19th-century England’s fear of outsiders and of disease seeping in through its large ports. In 1960s America, Dark Shadows gave us the morally conflicted vampire struggling against his own predatory nature, who still enthralls us today. Think Spike and Angel, Stefan and Damon, Bill and Eric, the Cullens. Vampires Are Us explores the issues of power, politics, morality, identity, and even the fate of the planet that show up in vampire novels today. Perhaps, Adler suggests, our blood is oil, perhaps our prey is the planet. Perhaps vampires are us.

Famous for being deathly serious, the vampire genre has a consistent yet often critically overlooked subgenre--the comedic spoof and satire. This is the first book dedicated entirely to documenting and analyzing the vampire comedy on film and television. Various types of comedy are discussed, outlining the important differences between spoofing, serious-spoofing, parody and satire. Seminal films such as Abbott and Costello Meet Frankenstein, Love at First Bite, Vampire in Brooklyn, Dracula: Dead and Loving It and What We Do In the Shadows are featured. More importantly, this book demonstrates how comedy is central to both the common perception of the vampire and the genre's ever-evolving character, making it an essential read for those interested in the laughing undead and creatures that guffaw in the night.

Monsters have always rampant border crossers, from Dracula’s journey from Romania to Whitby, to the rampaging monsters of Godzilla movies across global cities. This volume studies how their transnationality reflects an era of global crisis. Monstrosity has long been explored in a number of ways that connect gender, sexuality, class, race, nationality and other forms of otherness with depictions of monsters or monstrosity. This book, however, explores cultural flow as it relates to the construction of a transnational genre, by both producers and audiences. It also examines the ramifications of representations of monstrosity in socio-political terms as they relate to a tumultuous era of global crises. This era has of course been amplified and altered by the Covid pandemic, which frames much of the content of this collection. This ongoing crisis imbues the discourses of monstrosity, global catastrophe and societal and human vulnerability with its significant expression in artistic terms.

Explores the intersection of the vampire and zombie with 21st Century dystopian and post-apocalyptic cinemaTwenty-first century film and television is overwhelmed with images of the undead. Vampires and zombies have often been seen as oppositional: one alluring, the other repellant; one seductive, the other infectious. With case studies of films like I Am Legend and 28 Days Later, as well as TV programmes like Angel and The Walking Dead, this book challenges these popular assumptions and reveals the increasing interconnection of undead genres. Exploring how the figure of the vampire has been infused with the language of science, disease and apocalypse, while the zombie text has increasingly been influenced by the trope of the areluctant vampire, Stacey Abbott shows how both archetypes are actually two sides of the same undead coin. When considered together they present a dystopian, sometimes apocalyptic, vision of twenty-first century existence.Key featuresRather than seeing them as separate or oppositional, this book explores the intersection and dialogue between the vampire and zombie across film and televisionMuch contemporary scholarship on the vampire focuses on Dark Romance, while this book explores the more horror-based end of the genreOffers a detailed discussion of the development of zombie televisionProvides a detailed examination of Richard Mathesons I Am Legend, including the novel, the script, the adaptations and the BBFCs response to Mathesons script

Being turned into a vampire is the easy part. Actually becoming a vampire is far more difficult. In today’s world of vampire-obsessed pop culture, misinformation abounds. A newly turned vampire who looks to movies and novels for answers to everlasting life’s questions will inevitably be reduced to a smoldering pile of dust. So whom can you, a neophyte immortal, trust to provide reliable information and proven strategies for leading your best and bloodiest existence? The Vampire Miles Proctor, editor of The New Vampire’s Handbook. In this definitive guide, the newly turned will find • a head-to-toe look at your vampiric body: how to harness your new powers to dispatch mortal enemies, maintain your fangs, and embrace your vampirosexuality • methods for luring prey, faking your way through meals, approaching other vampires, and creating a four-hundred-year financial plan • tips on acting your “age,” behaving appropriately if you see a human you knew decades ago, and dealing with epic vampire feuds • essential advice for blending in with the masses, from finding a coven to avoiding the media (and mirrors) to staying on top of the latest fashion trends • the joy of scrapbooking Plus helpful online resources, a glyph guide, renovation instructions for emergency lairs, a Ruling Families directory, nightly mantras, and personal anecdotes from The Vampire Miles Proctor’s nearly five hundred years of experience. Welcome to the night.

The zombie apocalypse has already happened. Or has it? Little Mikey Freeman, the strange and disturbingly silent young loner, can see dead people and speak to them. Or at least they speak to him. Or do they? As a troubled pre-teen was he actually transformed into a blood-thirsty creature of the night by the seductive vampire pedophile babysitter from next door? Did our tragic anti-hero grow up to become a shameless and unapologetic psycho killer? Or is it all just so much psychotic rubbish, barely contained within in his own troubled head? Just one big fatalistic phantasmagoria, the guilty collective conscious of a doomed race conjured up by a lonesome prophet? Like our strange young Moody/Freeman, are we all just hopelessly . . . Lost in Time.

"The Jerusalem Vampire", an oral folklore history of a modern vampire invasion of Israel, centers on Jerusalem, and ultimately ends in the defeat of count Culandra (Dracula) and his vampire cohorts.