Heart and Soul: An Erotic Paranormal Lesbian Vampire Novella

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In nearly years later than in the novella , the von Karnsteins were believed to be vampires. All but one, Millarca, were destroyed. She was saved by her cousin, Ludwig von Karnstein, with whom she was in love. Missing from this history is what ultimately happened to Millarca.

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If she was a vampire, was she destroyed? How did she end up in a grave, her body unable to rise, but her spirit ready to wander?

~ Musings of a newly published writer

But Blood and Roses has no such aspirations; it just sordid to be sordid. It borrows largely from the source material; however, vampires not being enough for this story, it also throws in witchcraft and Satanism. There are Karnsteins galore, but none named Carmilla. Laura Karnstein Audry Amber is tormented by nightmares and is actually suspected of killing members of the family.

Guess what? When a portrait of Scirra is discovered, it resembles Lyuba. Minus the subplot of the housekeeper using the hand of one of the victims to worship the devil, we end up in the same place: the Karnstein tomb. When it is opened, Lyuba lies in it and is destroyed.

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The Vampire Lovers takes the plot points of the original story and puts them in chronological order. So we first see Baron Hartog aka Baron Vordenburg destroy a vampire, we then see a woman years later leave her daughter Carmilla Ingrid Pitt with General von Spielsdorf Peter Cushing and his daughter, Laura Pippa Steel , and we then see the bulk of the story unfold at the household of Mr. Morton with his daughter, Emma Madeline Smith. The subsequent movies are not sequels; they merely use the story of the Karnstein vampires as a springboard for exploring and exploiting the explicit lesbian themes of the novella.

Many horror fans adore The Vampire Lovers and many Hammer fans claim it as their favorite Hammer film. But I find it to be the weakest of the trilogy. That would be Yutte Stensgaard in the second film, Lust for a Vampire. She plays Mircalla, resurrected in by her parents, Count and Countess Karnstein. When she checks into a local boarding school, the movie threatens to become the most lesbian-explicit version yet.

Instead, the beautiful vampire becomes the obsession of two men: the headmaster Ralph Bates and a visiting author Michael Johnson , the latter perhaps a nod to earlier Carmilla adaptation, Vampyr. For me, the true revelation in the Karnstein trilogy is its final movie, Twins of Evil. When identical twins Playboy models Mary and Madeleine Collinson arrive to stay with their puritanical uncle Peter Cushing , one is tempted by the evil Count Karnstein Damien Thomas , who has just become a vampire by raising Countess Mircalla Karnstein from her grave. Following the standard beheading of the lesbian vampire in her crypt, Twins of Evil offers an exciting epilogue in which Cushing battles Thomas on the staircase of a castle.

The Vampire Lovers seems the most exploitative to me, with more unnecessary scenes of scantily-clad women than the others, and is therefore my least favorite. Plus, the story is often repetitive. As she rounded the first bend, however, she was brought to a sudden halt by the sight of an old woman standing in the middle of the road.

She surely was not going to allow some old woman to scare her and she sure as heck wasn't going to let this woman keep her from leaving, she told herself.

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Over to the right, behind the old woman, she saw a dark shape moving in the woods. The old woman observed where Wendy's eyes shifted. She had gray hair that frizzled out thinly around her head and her face was a mass of wrinkled, sallow skin. She was slovenly dressed in a dirty looking housedress of a pale brown color with some kind of tiny, faded, purple flowers on it. A stained apron was tied around her waist and scruffy, tannish-colored houseshoes that had soiled fleece around the tops, were on her feet. Wendy, clad in a T-shirt and blue jeans, was indeed a very attractive woman in her early 20s of average height and build, dark blonde hair touched the tops of her shoulders and her features were well shaped, although at the moment her blue eyes were wide with fear.

It was at that moment, that Wendy noticed the old woman's eyes, which she had thought to be rather narrow, were entirely shut. The sockets were pink and empty with tiny, red veins running through the flesh. The old woman laughed. You don't know who I am, do you, girlie?

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Some folks in these parts think I'm sort of a legend. It was…was… just such an intriguing road and then I saw the house and…I never saw a house so grand. He's the first of the Dixons to come here and we'uns has been here ever since. I won't ever come again and bother you. Wendy made a sudden move to run past the old woman and as she did so, Luraleen gave a shrill, high pitched whistle through her front teeth.

Suddenly the bushes to the right parted and someone or something came rushing forward. It moved clumsily, yet quickly for all that. Wendy screamed as two long arms came around her and she was forced to the ground. That's my good boy. She came over to where he held the girl down and patted the dark, matted hair. Wendy stared up in horror at the face hovering over her own and screamed yet again.

His mouth was open displaying short, wide, sharply pointed teeth that were spaced too far apart; likewise, they were somewhat stained, and from his breath, she was quite certain brushing and flossing wasn't on his agenda. The lips were a thick rubbery pink color and they were presently stretched out in imitation of a smile.

The nose was virtually non-existent, consisting of no more than two dark holes, and the large, bulging eyes were of two different sizes with one eye slightly higher up on the head than the other. His hair was dark and shaggy hanging down about his shoulders. The upper part of his torso was bare and covered with a rather thick layer of coarse hair. From the waist down he was clad in a pair of faded blue jeans and dark leather boots were on his feet. Hopefully a story with a transgender element occurring at times, would be of equal interest to those in this thread I can't help but think that those who like Tolkien will love it When the Queen botches a magic spell, Beezle, a cheerful demon is dispatched from Hell to collect her soul.

Instead he falls in love with her daughter. Beezle relinquishes his magical powers, disguises himself as a woman, and sets out to catch the Princess. But can he survive without his magic in a country ravaged by violence and on the brink of war? Blacula may have partially inspired the vampire-hunting dhampir Blade see below , if only because there were so few examples of vampires of color in mainstream pop culture.

Thanks to authors like Stephen King and Anne Rice, creaky horror archetypes from vampires to witchcraft to ghosts to serial killers to haunted houses got facelifts. At the same time, the nation at large was seeing similar change: advances in gender equality and civil rights as well as a growing cynicism about American economic dominance were all liberalizing the world. Combine these factors with the fact that the era was being called "The Me Decade"—in which personal identity was paramount, just as it was to Rice's navel-gazing, undying vampires—and you get a great new breeding ground for metaphors with which to terrorize and captivate the public.

They're also prettier, smarter, and more talented than any human could ever hope to be.

Oh, and they're immortal. Sound familiar? That's because pretty much every 21st-century vampire "borrowed" Rice's whole steez for their own. Vampires' dangerousness appealed both to teens looking for cool capital and parents terrified their children were doing crack and getting AIDS when they weren't around.

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Buffy 's empowered eponymous hunter—and occasional love pursuit of the same dudes she was trying to kill—countered slutty-vampire gore like From Dusk Till Dawn , which upheld the Madonna-Whore dichotomy. The stories' supernaturals, while dangerous to Buffy, were hardly terrifying; instead, the movie and subsequent TV show "subverted the idea [of the little blonde girl who goes into a dark alley and gets killed in every horror movie]" to explore themes like female power and adolescence more candidly and ultimately, effectively than even the most progressive non-horror teen shows of that era.

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Creator: Stephen Norrington director , David S. Historical Context: The '70s Marvel Comics vigilante is most widely known thanks to Wesley Snipes' portrayal in the live-action movies of the late '90s and early '00s. The culture that spawned the character and his success is almost identical to the one that birthed Buffy : a largely male, largely white European vampire tradition that was ready for some serious subversion.

The major conflicts among vampires, primarily about pure-blooded vs. Contribution to the genre: Blade is a good, if hard-nosed, dude who's seeking vengeance for his mother's death at the hands of a vampire the same one whose mid-labor bite gave him his vampire genes. The bi-species hero gave vampire lore the same boost of sociocultural subtext featured in Buffy and Charlaine Harris's Sookie Stackhouse novels more on that below.

Also, Wesley Snipes offered to hunt down "the Twilight kids" in a hypothetical fourth Blade installment, so the possibilities are endless. Historical Context: Anybody who's seen the opening credits of the HBO series adapted from Charlaine Harris's pulp novels can tell you that these vampires are a not-so-subtle stand-in for the LGBT community. In True Blood 's America, it's the vampires who have to "come out of the coffin," revealing themselves to humans in the hopes of peacefully co-existing with them thanks to the production of a synthetic blood beverage called TruBlood.

The fight for vampire rights, of course, harbors extremists on both sides, from Christian evangelist humans to thousand-year-old vampires tired of playing nice with their food. But the novels and series are also the product of the fanfic era in which crossover supernatural fiction is at an all-time high, which means a cuckoo descent into fairies, maenads, witches, werewolves, werepanthers, shapeshifters and voodoo-practicing mediums. As long as it's fantastic and freaky , it's fair game.

But the series' goopy, unapologetic camp and the use of absurdly supernatural situations to normalize queer characters like flamboyant fry cook-turned-medium Lafayette gave mainstream vampires explicit political themes and real-world parallels whereas before they exhibited mostly unconscious undertones while still maintaining the sexiness that gives the trope its contemporary allure. At a time when gender roles and understandings of sexuality are rapidly evolving, Meyer's strict Mormonism gave her characters similarly conservative views on sex and marriage, and the series paints all its protagonists in inexplicably broad strokes.