In this sequel to Gaston Leroux's Phantom of the Opera, the young lovers, Christine and Raoul, leave the Phantom in his lair under the Opera House. After faking his own death to escape the authorities, the Phantom sets out to find Christine again, eventually following her to London. With a detective after the Phantom and Christine endangered when Jack the Ripper begins his killing spree not far from Christine's home, the Phantom must put his life at risk for his love.Will Christine -- desperate for song (which her husband, Raoul, has forbidden in his jealousy) -- finally open her heart to the Phantom as he desires?
A doctor and a reformed bad-boy vampire struggle with danger and their desires in this New York Times–bestselling paranormal romantic suspense novel. Dr. Melanie Lipton is no stranger to the supernatural. She knows immortals better than they know themselves, right down to their stubborn little genes. So although a handsome rogue immortal seems suspicious to her colleagues, Sebastien Newcombe intrigues Melanie. His history is checkered, his scars are impressive, and his ideas are daring. But it's not his ideas that have Melanie fighting off surges of desire… Bastien is used to being the bad guy. In fact, he can't remember the last time he had an ally he could trust. But Melanie is different—and under her calm, professional exterior he senses a passion beyond anything in his centuries of experience. Giving in to temptation is out of the question—he can't put her in danger. But she isn't asking him… RT Book Reviews“With this excellent entry, rising star Duvall is fast proving to be a major player in paranormal romance!”— “With a deeply emotional love story, two beautiful, complex main characters, and a pulse-pounding adventure that won’t let up, this book was haunting and addictive.”—The Romance Reviews
A young woman is haunted by the ghost of her conjoined twin, in Lisa Brown's The Phantom Twin, a sweetly spooky graphic novel set in a turn-of-the-century sideshow. Isabel and Jane are the Extraordinary Peabody Sisters, conjoined twins in a traveling carnival freak show—until an ambitious surgeon tries to separate them and fails, causing Jane's death. Isabel has lost an arm and a leg but gained a ghostly companion: Her dead twin is now her phantom limb. Haunted, altered, and alone for the first time, can Isabel build a new life that's truly her own?
In the last thirty years the living-dead, the revenant, the phantom, and the crypt have appeared with increasing frequency in Jacques Derrida's writings and, for the most part, have gone unaddressed. In Cryptomimesis Jodey Castricano examines the intersection between Derrida's writing and the Gothic to theorize what she calls Derrida's "poetics of the crypt." She develops the theory of cryptomimesis, a term devised to accommodate the convergence of philosophy, psychoanalysis, and certain "Gothic" stylistic, formal, and thematic patterns and motifs in Derrida's work that give rise to questions regarding writing, reading, and interpretation. Using Edgar Allan Poe's Madeline and Roderick Usher, Bram Stoker's Dracula, and Stephen King's Louis Creed, she illuminates Derrida's concerns with inheritance, revenance, and haunting and reflects on deconstruction as ghost writing. Castricano demonstrates that Derrida's Specters of Marx owes much to the Gothic insistence on the power of haunting and explores how deconstruction can be thought of as the ghost or deferred promise of Marxism. She traces the movement of the "phantom" throughout Derrida's other texts, arguing that such writing provides us with an uneasy model of subjectivity because it suggests that "to be" is to be haunted. Castricano claims that cryptomimesis is the model, method, and theory behind Derrida's insistence that to learn to live we must learn how to talk "with" ghosts.
The Limits is my first work in English, with English as my second language. It dates back to1994. It has been my first intellectual attempt since I came to the U.S. in 1985. My first try in 1994 was a very hard work which, at that time, went nowhere, because of my language limitations, and because my general knowledge was not to the level of this task. However, at the beginning of 1995, I abandoned this writing as a literary work and turned toward upgrading my scientific knowledge through personal study. In 2000, I made a new attempt, and the result was the original draft of the Seven Essays on Creation, which is my second book with AuthorHouse. In 2001, I abandoned this new work and continued with my science study. A special conjecture in 2003 made me publish the first book with AuthorHouse, which was Multiple Harmonics Create the Patterns of Real World from Chaos. After publishing this at the beginning of 2004, when I threw away mountains of old papers, I discovered the Seven Essays, and I decided to give to it another chance. In three months, it became another book, which was the Seven Essays on Creation, which was also published in 2004. In September 2005, while searching among some old papers, I discovered the original draft of The Limits, and I decided to do something about it. I have to say that The Limits has been on my mind for more than ten years, and I adored this old work. However, I was afraid that I would never be again be capable of writing the way I did in 1994. In the meantime, I was happy that, at the present, I had the answer to the philosophy that I wondered about eleven years ago. It was the nonlinear thinking that changed me a lot over the years. It was real, and I decided to rewrite The Limits. I tried to preserve as much as possible from the old draft, and I inserted in each chapter some nonlinear wisdom.
Erik was not always known as the Phantom of the Opera. For the first years of his life he had no name at all.Forced to flee his home and his mother's murderous rage when he removes his mask, he suffers starvation and torture at the hands of strangers before falling in with a troupe of gypsies. Traveling with the gypsies and performing as The Living Corpse, he finds no friendship or safety? and his anger grows.After being persecuted for his hideous face across Europe, China and India, Erik is discovered in Russia by the mysterious Persian while performing magic and singing as no one else on earth can. He agrees to follow the Persian to Mazenderan to entertain the little Sultana, a child with a natural penchant for evil, and - no longer seeming to know the difference between good and evil - Erik becomes an assassin and gladiator for her father, the Sultan.Escaping Mazenderan and then Constantinople under death sentences, Erik returns to his home country of France. Angry, disillusioned and without hope, he makes his home in the cellars of the Paris Opera House, determined to hide from the world? until a young girl named Christine captures his attention.He is one of the most unforgettable characters in history - both loved and feared for the chaos he created in the Paris Opera House. Now, the story of his childhood is revealed.
With almost 5 million copies sold 60 years after its original publication, generations of readers have now journeyed with Milo to the Lands Beyond in this beloved classic. Enriched by Jules Feiffer’s splendid illustrations, the wit, wisdom, and wordplay of Norton Juster’s offbeat fantasy are as beguiling as ever. “Comes up bright and new every time I read it . . . it will continue to charm and delight for a very long time yet. And teach us some wisdom, too.” --Phillip Pullman For Milo, everything’s a bore. When a tollbooth mysteriously appears in his room, he drives through only because he’s got nothing better to do. But on the other side, things seem different. Milo visits the Island of Conclusions (you get there by jumping), learns about time from a ticking watchdog named Tock, and even embarks on a quest to rescue Rhyme and Reason. Somewhere along the way, Milo realizes something astonishing. Life is far from dull. In fact, it’s exciting beyond his wildest dreams!
Twenty years after the Phantom of the Opera has vacated the Paris Opera House, his past catches up with him, endangering not only his own life, but that of his wife and son. The Sultana of Mazenderan - whom Erik last saw as a ten-year-old girl - wants Erik to commit foul deeds for her (again) and will not take no for an answer. After the Sultana kidnaps Erik's wife to ensure his performance and Erik is injured, he is forced to seek out help. Erik's son leaves his true love to come to Erik's aid. Will Erik be able to rescue his beloved and protect his son without having to perform the retched deeds, or will he be forced to commit evil acts to save the ones he loves?
