From the international bestselling author of Dracul comes the authoritative sequel to Bram Stoker’s original horror classic. London, 1912. A quarter of a century after Count Dracula “crumbled into dust,” Quincey Harker—the son of Jonathan and Mina Harker—leaves law school to pursue a career on stage, only to stumble upon the troubled production of Dracula, directed and produced by Bram Stoker himself. As the play plunges Quincey into the world of his parents' terrible secrets, death begins to stalk the original band of heroes that defeated Dracula a quarter-century ago. Could it be that the count survived and is now seeking revenge? Or is there another, far more sinister force at work whose relentless purpose is to destroy anything and anyone associated with Dracula, the most notorious vampire of all time... Dracula the Un-Dead is the true sequel to Bram Stoker’s classic novel, written by his direct descendant and a well-known Dracula historian. Dracula the Un-Dead provides answers to all the questions that the original novel left unexplained, as well as new insights into the world of iniquity and fear lurking just beneath the surface of polite Victorian England.
Important and provocative, The Undead examines why even with the tools of advanced technology, what we think of as life and death, consciousness and nonconsciousness, is not exactly clear and how this problem has been further complicated by the business of organ harvesting. Dick Teresi, a science writer with a dark sense of humor, manages to make this story entertaining, informative, and accessible as he shows how death determination has become more complicated than ever. Teresi introduces us to brain-death experts, hospice workers, undertakers, coma specialists and those who have recovered from coma, organ transplant surgeons and organ procurers, anesthesiologists who study pain in legally dead patients, doctors who have saved living patients from organ harvests, nurses who care for beating-heart cadavers, ICU doctors who feel subtly pressured to declare patients dead rather than save them, and many others. Much of what they have to say is shocking. Teresi also provides a brief history of how death has been determined from the times of the ancient Egyptians and the Incas through the twenty-first century. And he draws on the writings and theories of celebrated scientists, doctors, and researchers—Jacques-Bénigne Winslow, Sherwin Nuland, Harvey Cushing, and Lynn Margulis, among others—to reveal how theories about dying and death have changed. With The Undead, Teresi makes us think twice about how the medical community decides when someone is dead.
Looking beyond Euro-Anglo-US centric zombie narratives, Decolonizing the Undead reconsiders representations and allegories constructed around this figure of the undead, probing its cultural and historical weight across different nations and its significance to postcolonial, decolonial, and neoliberal discourses. Taking stock of zombies as they appear in literature, film, and television from the Caribbean, Latin America, sub-Saharan Africa, India, Japan, and Iraq, this book explores how the undead reflect a plethora of experiences previously obscured by western preoccupations and anxieties. These include embodiment and dismemberment in Haitian revolutionary contexts; resistance and subversion to social realities in the Caribbean and Latin America; symbiosis of cultural, historical traditions with Western popular culture; the undead as feminist figures; as an allegory for migrant workers; as a critique to reconfigure socio-ecological relations between humans and nature; and as a means of voicing the plurality of stories from destroyed cities and war-zones. Interspersed with contextual explorations of the zombie narrative in American culture (such as zombie walks and the television series The Santa Clarita Diet) contributors examine such writers as Lowell R. Torres, Diego Velázquez Betancourt, Hemendra Kumar Roy, and Manabendra Pal; works like China Mieville's Covehithe, Reza Negarestani's Cycolonopedia, Julio Ortega's novel Adiós, Ayacucho, Ahmed Saadawi's Frankenstein in Baghdad; and films by Alejandro Brugués, Michael James Rowland, Steve McQueen, and many others. Far from just another zombie project, this is a vital study that teases out the important conversations among numerous cultures and nations embodied in this universally recognized figure of the undead.
It’s a journal of survival. Five people set out to escape the Undead who have risen too close to home. Join the emotional and physical struggle as they began on the third day after the awakening of Brooks VanReit, as they are recorded from the point of view of Julie, a former pathologist and part-time survivalist. Each entry is geared toward helping those who want to help themselves and maybe give a few that don’t a swift kick in the ass. Join our group of survivors on their journey through these Days with the Undead.
Valerie is vulnerable but tough. With her handgun, her courage, and her wits, she survives the beginning of the zombie apocalypse during the mayhem in downtown Phoenix and escapes, only to join a motorcycle gang that she doesn't particulary trust. After a horde of zombies and a series of events, she decides, for a while, to vent on her own, until she joins another group of bikers that seems a bit more trustworthy. Infected wildlife, difficult decisions, and teaming up with the right kind of people all become part of her journey until they reach a jail full of inmates that have been locked up and beg them to release them. Once again, they are faced with a dilemma that will require them to follow their instincts. This is book 1 in a shortread series of 6 dystopian zombie books.
Stories of the undead have existed at one time in almost every culture in the world. Today they are thought by most people to be the subject of legends or fairy tales, though they are very popular today in horror movies. This title talks about some of the different kinds of undead, such as mummies and zombies and what the true story behind some of the tales about these creatures might be. The story of Mercy Brown, a supposed vampire in Rhode Island in the late 1800s is delved into in greater detail.
A gripping, thrilling, uncanny tale about the frightful fate that befell a yachting party on the dreadful island of living dead men... ExcerptA drab gray sheet of cloud slipped stealthily from the moon's round face, like a shroud slipping from the face of one long dead, a coldly phosphorescent face from which the eyes had been plucked. Yellow radiance fell toward a calm, oily sea, seeking a narrow bank of fog lying low on the water, penetrating its somber mass like frozen yellow fingers.Vilma Bradley shuddered and shrank against Clifford Darrell's brawny form. "It's--it's ghastly, Cliff!" she said."Ghastly?" Darrell leaned against the rail, laughing softly. "One cocktail too many--that's the answer. It's given you the jitters. Listen!" Faintly from the salon came strains of dance music and the rhythmic shuffle of feet. "A nifty yacht, a South Sea moon, a radio dance orchestra, dancers--and little Clifford! And you call it ghastly!" Almost savagely his arms tightened about her, and the bantering note left his voice. "I'm crazy about you, Vilma."She tried to laugh, but it was an unconvincing sound. "It's the moon, Cliff--I guess. I never saw it like that before. Something's going to happen--something dreadful. I just know it!""Oh--be sensible, Vilma!" There was a hint of impatience in Cliff's deep voice. A gorgeous girl in his arms--dark-haired, dark-eyed, made for love--and she talked of dreadful things which were going to happen because the moon looked screwy.She released herself and glanced out over the sea. "I know I'm silly, but----" Her voice froze and her slender body stiffened. "Cliff--look!"Darrell spun around, and as he stared, he felt a dryness seeping into his throat, choking him....Out of the winding-sheet of fog into the moonlight crept a strange, strange craft, her crumbling timbers blackened and rotted with incredible age. The corpse of a ship, she seemed, resurrected from the grave of the sea. Her prow thrust upward like a scimitar bent backward, hovering over the gaunt ruin of a cabin whose seaward sides were formed by port and starboard bows. From a shallow pit amidships jutted the broken arm of a mast, its splintered tip pointing toward the blindly watching moon. The stern, thickly covered with the moldering encrustations of age, curved inward above the strange high poop, beneath which lay another cabin. And along either side of her worm-eaten freeboard ran a row of apertures like oblong portholes. Out of these projected great oars, long, unwieldy, as somberly black as the rest of the ancient hulk.
In this study of representations of children and childhood, a global team of authors explores the theme of undeadness as it applies to cultural constructions of the child. Moving beyond conventional depictions of the undead in popular culture as living dead monsters of horror and mad science that transgress the borders between life and death, rejuvenation, and decay, the authors present undeadness as a broader concept that explores how people, objects, customs, and ideas deemed lost or consigned to the past might endure in the present. The chapters examine nostalgic texts that explore past incarnations of childhood, mementos of childhood, zombie children, spectral children, images and artefacts of deceased children, as well as states of arrested development and the inability or refusal to embrace adulthood. Expanding undeadness beyond the realm of horror and extending its meaning conceptually, while acknowledging its roots in the genre, the book explores attempts at countering the transitory nature of childhoods. This unique and insightful volume will interest scholars and students working on popular culture and cultural studies, media studies, film and television studies, childhood studies, gender studies, and philosophy.
