The goal of this book is to gather the best, most interesting stories from the legends of the werewolf, especially the important writers and most famous cases of this phenomenon. I have presented the history of the subject in a clear and impartial manner, and look at it from a psychological and magical perspective as well. This book will be of interest to all students of witchcraft, sorcery, and the dark arts, as well as anyone curious about the history of the werewolf. -Arundell Overman
A novel about a fifteen-year-old prostitute who is actually a 2,000-year old werefox who seduces men with her tail and drains them of their sexual power. She falls in love with a KGB officer who is actually a werewolf.
Left-winger Alex Mallum has strange dreams and unexplained blackouts. His rival, Luke Fenris, is the idol of Wall Street right-wingers. Each has secret revolutionary plans to change the face of American politics. Only Ludwig von Dracula knows the secret of the homicidal beast that binds these two rivals together but he's not sure he should intervene.
Here is the the Grimoire of Valentius the Werewolf. The following story may or may not be true. I love truth and almost never lie, and this story would have no meaning to me unless it were true. On the other hand, there is no such thing as werewolves and Skinwalkers, right? So, this story must surely be all made up. And maybe it is. I cannot say one way or the other, and you would not believe me if I did... This small book is an instruction manual of werewolf magic given to me by the ghost of a werewolf named Valentius. I cannot be held responsible if you try any of the techniques in this book...
His heart could be captured--but his passion could never be tamed.... From the acclaimed author of Prince of Shadows and Body and Soul comes the first novel in a powerful new trilogy, the story of a noble clan whose elegance belies a savage secret--and a man who will stop at nothing to preserve his family's dynasty forevermore--. Braden Forster, Earl of Greyburn, has devoted his life to restoring the purity of his clan's werewolf blood. He spent years searching in vain for a distant American cousin, a woman whose pure wolf bloodline is a vital link in his family's heritage. Braden had thought Cassidy Holt was lost forever--until she appeared one rainy night on the steps of his London mansion...her raven hair in disarray, her skin scented with sunlight and sagebrush. As Braden whisks young Cassidy to his family's secluded country estate, both can sense their undeniable attraction. But Cassidy soon learns that they can never satisfy their mutual passion; Braden has already betrothed her to another. Her only hope of claiming the one man she'll always love is to unravel the dark and lustful secrets of his past--.
Endore's classic werewolf novel - now back in paperback for the first time in over forty years - helped define a genre and set a new standard in horror fiction The werewolf is one of the great iconic figures of horror in folklore, legend, film, and literature. And connoisseurs of horror fiction know that The Werewolf of Paris is a cornerstone work, a masterpiece of the genre that deservedly ranks with Mary Shelley's Frankenstein, Bram Stoker's Dracula, and Robert Louis Stevenson's The Strange Case of Dr. Jekyll and Mr. Hyde. Endore's classic novel has not only withstood the test of time since it was first published in 1933, but it boldly used and portrayed elements of sexual compulsion in ways that had never been seen before, at least not in horror literature. In this gripping work of historical fiction, Endore's werewolf, an outcast named Bertrand Caillet, travels across pre-Revolutionary France seeking to calm the beast within. Stunning in its sexual frankness and eerie, fog-enshrouded visions, this novel was decidedly influential for the generations of horror and science fiction authors who came afterward.
Half-man-half-myth, the werewolf has over the years infiltrated popular culture in many strange and varied shapes, from Gothic horror to the 'body horror' films of the 1980s and today's graphic novels. Yet despite enormous critical interest in myths and in monsters, from vampires to cyborgs, the figure of the werewolf has been strangely overlooked. Embodying our primal fears - of anguished masculinity, of 'the beast within' - the werewolf, argues Bourgault du Coudray, has revealed in its various lupine guises radically shifting attitudes to the human psyche. Tracing the werewolf's 'use' by anthropologists and criminologists and shifting interpretations of the figure - from the 'scientific' to the mythological and psychological - Bourgault du Coudray also sees the werewolf in Freud's 'wolf-man' case and the sinister use of wolf imagery in Nazism. "The Curse of the Werewolf" looks finally at the werewolf's revival in contemporary fantasy, finding in this supposedly conservative genre a fascinating new model of the human's relationship to nature. It is a required reading for students of fantasy, myth and monsters. No self-respecting werewolf should be without it.
Niche Tactics aligns architecture's relationship with site with its ecological analogue: the relationship between an organism and its environment. Bracketed between texts on giraffe morphology, ecological perception, ugliness, and hopeful monsters, architectural case studies investigate historical moments when relationships between architecture and site were productively intertwined, from the anomalous city designs of Francesco de Marchi in the sixteenth century to Le Corbusier’s near eradication of context in his Plan Voisin in the twentieth century to the more recent contextualist movements. Extensively illustrated with 140 drawings and photographs, Niche Tactics considers how attention to site might create a generative language for architecture today.
The ambition of this book is to resituate the problem of 'world literature', considered as a revived category of theoretical enquiry, by pursuing the literary-cultural implications of the theory of combined and uneven development. This theory has a long pedigree in the social sciences, where it continues to stimulate debate. But its implications for cultural analysis have received less attention, even though the theory might be said to draw attention to a central -perhaps the central - arc or trajectory of modern(ist) production in literature and the other arts worldwide. It is in the conjuncture of combined and uneven development, on the one hand, and the recently interrogated and expanded categories of 'world literature' and 'modernism', on the other, that this book looks for its specific contours. In the two theoretical chapters that frame the book, the authors argue for a single, but radically uneven world-system; a singular modernity, combined and uneven; and a literature that variously registers this combined unevenness in both its form and content to reveal itself as, properly speaking, world-literature. In the four substantive chapters that then follow, the authors explore a selection of modern-era fictions in which the potential of their method of comparativism seems to be most dramatically highlighted. They treat the novel paradigmatically, not exemplarily, as a literary form in which combined and uneven development is manifested with particular salience, due in no small part to its fundamental association with the rise of capitalism and its status in peripheral and semi-peripheral societies as a 'modernising' import. The peculiar plasticity and hybridity of the novel form enables it to incorporate not only multiple literary levels, genres and modes, but also other non-literary and archaic cultural forms - so that, for example, realist elements might be mixed with more experimental modes of narration, or older literary devices might be reactivated in juxtaposition with more contemporary frames.
