A roundup of over two dozen vampire tales illustrating the evolution of the genre since Bram Stoker, gathered by Wolf, our tireless annotator of terrorlit (Dracula, p. 372, etc.). What, Wolf asks, makes vampires so attractive today? He notes in his cogent Introduction that vampire tales draw from the gruesome in mainstream horror, the pulsing eroticism of bodice rippers, the supernatural in sword-and-sorcery. But blood is the primary metaphor, Wolf says, drawing on folk knowledge and traditions from Cain and Abel to Christ and transubstantiation, while the modern blood exchange brings on a kind of sexual dream- bliss beyond the facts of intercourse. Illustrating the classic adventure tale is Wolf's exciting excerpt from Stephen King's only vampire novel, Salem's Lot (1975), with good guy Mark versus a whole townful of bloodsuckers. Mary E. Wilkins-Freeman's ``Luella Miller'' draws the ``psychological vampire'' as a thief of energy rather than a blood drinker. The science-fiction vampire in C.L. Moore's ``Shambleau'' indulges in monstrous, slimy couplings, while the immortal woman in the excerpt from Whitley Streiber's erotically powerful ``The Hunger'' blesses her victims with lives that last for 200 years. The nonhuman vampire in Hanns Heinz Ewers's ``The Spider,'' a beautiful woman in a window, hypnotizes her victims into the supreme delight of suicide (she is, literally, a spider). The heroic vampire in Anne Rice's ``The Master of Rampling Gate'' remains invisible except to the heroine. Also on hand: Joyce Carol Oates, John Cheever, and E.F. Benson. And don't miss Woody Allen's ``Count Dracula.'' A bedtime book with a bite to it.
Pub Date: Dec. 1, 1997
ISBN: 0-19-511593-7
Page Count: 380
Publisher: Oxford Univ.
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Oct. 1, 1997
BOOK REVIEW
BOOK REVIEW
Wacky plot keeps the pages turning and enduring schmaltzy romantic sequences.
Sisters work together to solve a child-abandonment case.
Ellie and Julia Cates have never been close. Julia is shy and brainy; Ellie gets by on charm and looks. Their differences must be tossed aside when a traumatized young girl wanders in from the forest into their hometown in Washington. The sisters’ professional skills are put to the test. Julia is a world-renowned child psychologist who has lost her edge. She is reeling from a case that went publicly sour. Though she was cleared of all wrongdoing, Julia’s name was tarnished, forcing her to shutter her Beverly Hills practice. Ellie Barton is the local police chief in Rain Valley, who’s never faced a tougher case. This is her chance to prove she is more than just a fading homecoming queen, but a scarcity of clues and a reluctant victim make locating the girl’s parents nearly impossible. Ellie places an SOS call to her sister; she needs an expert to rehabilitate this wild-child who has been living outside of civilization for years. Confronted with her professional demons, Julia once again has the opportunity to display her talents and salvage her reputation. Hannah (The Things We Do for Love, 2004, etc.) is at her best when writing from the girl’s perspective. The feral wolf-child keeps the reader interested long after the other, transparent characters have grown tiresome. Hannah’s torturously over-written romance passages are stale, but there are surprises in store as the sisters set about unearthing Alice’s past and creating a home for her.
Wacky plot keeps the pages turning and enduring schmaltzy romantic sequences.Pub Date: March 1, 2006
ISBN: 0-345-46752-3
Page Count: 400
Publisher: Ballantine
Review Posted Online: June 24, 2010
Kirkus Reviews Issue: Dec. 1, 2005
A strict report, worthy of sympathy.
A violent surfacing of adolescence (which has little in common with Tarkington's earlier, broadly comic, Seventeen) has a compulsive impact.
"Nobody big except me" is the dream world of Holden Caulfield and his first person story is down to the basic, drab English of the pre-collegiate. For Holden is now being bounced from fancy prep, and, after a vicious evening with hall- and roommates, heads for New York to try to keep his latest failure from his parents. He tries to have a wild evening (all he does is pay the check), is terrorized by the hotel elevator man and his on-call whore, has a date with a girl he likes—and hates, sees his 10 year old sister, Phoebe. He also visits a sympathetic English teacher after trying on a drunken session, and when he keeps his date with Phoebe, who turns up with her suitcase to join him on his flight, he heads home to a hospital siege. This is tender and true, and impossible, in its picture of the old hells of young boys, the lonesomeness and tentative attempts to be mature and secure, the awful block between youth and being grown-up, the fright and sickness that humans and their behavior cause the challenging, the dramatization of the big bang. It is a sorry little worm's view of the off-beat of adult pressure, of contemporary strictures and conformity, of sentiment….
A strict report, worthy of sympathy.Pub Date: June 15, 1951
ISBN: 0316769177
Page Count: -
Publisher: Little, Brown
Review Posted Online: Nov. 2, 2011
Kirkus Reviews Issue: June 15, 1951
BOOK REVIEW
SEEN & HEARD
SEEN & HEARD
APPRECIATIONS
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