In the past hundred years, since the publication of Bram Stoker's infamous book, no literary figure has enjoyed a more horrific resiliency than Count Dracula. In film, television, novels, and short stories, he keeps coming back to life, fed by the vital imaginative energies of a world-wide audience that cannot seem to resist his abominable charms. Aristocratic and urbane, deeply erotic and profoundly evil, Dracula's bloodsucking savagery has cast a mesmerizing fascination not only over his victims but over his readers as well. And, as Leonard Wolf suggests, "Vampire fiction...exerts an amazing pull on readers for a reason that we may find disturbing. The blood exchange—the taking of blood by the vampire from his or her victim is, all by itself, felt to be a singularly symbolic event. Symbolic and attractive!" Now, in Blood Thirst: One Hundred Years of Vampire Fiction, Leonard Wolf brings together thirty tales in which vampires of all varieties make their ghastly presence felt—male and female, human and non-human, humorous and heroic—all of them kin to the dreadful bat. From Lafcadio Hearn, Mary E. Wilkins-Freeman, Edith Wharton, August Derleth, and Ray Bradbury to such contemporary masters as Anne Rice, Stephen King, Joyce Carol Oates, John Cheever, and Woody Allen, and in settings as diverse as rural New England and outer space, this collection offers readers a dazzling compendium of vampire stories. Wolf organizes the collection into six categories—The Classic Adventure Tale, The Psychic Vampire, The Science Fiction Vampire, The Non-Human Vampire, The Comic Vampire, and The Heroic Vampire—which allows readers to see the many guises Dracula's descendants have assumed and the many ways they can be interpreted. In his penetrating introduction, Wolf argues that such an arrangement enables us to see the evolution of the vampire from an unmitigated evil to a creature we are more likely to identify with. "In a century in which God and Satan have become increasingly irrelevant in the popular arts, there has been an accompanying secularization of the vampire idea. And, as the stories in Blood Thirst will show, sympathy for the vampire has grown as we have become increasingly interested in the workings of the mind." Indeed, the vampire's ability to change over time, to draw into itself such a richness of symbolic meanings, to conjure itself into so many diabolical shapes, may account for the enduring appeal of the literature written about it. Here, then, is a definitive collection for aficionados and novices alike, and whether readers find the vampires who inhabit these pages sympathetic or horrific, psychologically intriguing or spiritually repellent, morbidly seductive or comically absurd, Blood Thirst gives us all something to sink our teeth into.

In You Never Call, You Never Write, Joyce Antler provides an illuminating and often amusing history of one of the best-known figures in popular culture--the Jewish Mother. Whether drawn as self-sacrificing or manipulative, in countless films, novels, radio and television programs, stand-up comedy, and psychological and historical studies, she appears as a colossal figure, intensely involved in the lives of her children. Antler traces the odyssey of this compelling personality through decades of American culture. She reminds us of a time when Jewish mothers were admired for their tenacity and nurturance, as in the early twentieth-century image of the "Yiddishe Mama," a sentimental figure popularized by entertainers such as George Jessel, Al Jolson, and Sophie Tucker, and especially by Gertrude Berg, whose amazingly successful "Molly Goldberg" ruled American radio and television for over 25 years. Antler explains the transformation of this Jewish Mother into a "brassy-voiced, smothering, and shrewish" scourge (in Irving Howe's words), detailing many variations on this negative theme, from Philip Roth's Portnoy's Complaint and Woody Allen's Oedipus Wrecks to television shows such as "The Nanny," "Seinfeld," and "Will and Grace." But she also uncovers a new counter-narrative, leading feminist scholars and stand-up comediennes to see the Jewish Mother in positive terms. Continually revised and reinvented, the Jewish Mother becomes in Antler's expert hands a unique lens with which to examine vital concerns of American Jews and the culture at large. A joy to read, You Never Call, You Never Write will delight anyone who has ever known or been nurtured by a "Jewish Mother," and it will be a special source of insight for modern parents. As Antler suggests, in many ways "we are all Jewish Mothers" today.

In You Never Call, You Never Write, Joyce Antler provides an illuminating and often amusing history of one of the best-known figures in popular culture--the Jewish Mother. Whether drawn as self-sacrificing or manipulative, in countless films, novels, radio and television programs, stand-up comedy, and psychological and historical studies, she appears as a colossal figure, intensely involved in the lives of her children.Antler traces the odyssey of this compelling personality through decades of American culture. She reminds us of a time when Jewish mothers were admired for their tenacity and nurturance, as in the early twentieth-century image of the "Yiddishe Mama," a sentimental figure popularized by entertainers such as George Jessel, Al Jolson, and Sophie Tucker, and especially by Gertrude Berg, whose amazingly successful "Molly Goldberg" ruled American radio and television for over 25 years. Antler explains the transformation of this Jewish Mother into a "brassy-voiced, smothering, and shrewish" scourge (in Irving Howe's words), detailing many variations on this negative theme, from Philip Roth's Portnoy's Complaint and Woody Allen's Oedipus Wrecks to television shows such as "The Nanny," "Seinfeld," and "Will and Grace." But she also uncovers a new counter-narrative, leading feminist scholars and stand-up comediennes to see the Jewish Mother in positive terms. Continually revised and reinvented, the Jewish Mother becomes in Antler's expert hands a unique lens with which to examine vital concerns of American Jews and the culture at large.A joy to read, You Never Call, You Never Write will delight anyone who has ever known or been nurtured by a "Jewish Mother," and it will be a special source of insight for modern parents. As Antler suggests, in many ways "we are all Jewish Mothers" today.

Features the Nebula Award-winning novella "Lost Girls." In these modern myths and tales for the young and the young at hear, Jane Yolen transforms the impossible into the familiar and real. Among the outlandish wonders are an Alice grown tough in Wonderland, a dear--but dead--mother's homecoming, a bridge that longs for a goat-eating troll, and a mutiny among Peter Pan's troops.

On a quiet night in the best part of Greenwich, Connecticut, eight people assemble for a convivial dinner. But after that night, their lives will never be the same, as death erupts into their lives. They are a disparate group, including a former State Department employee, a Catholic nun, a linguistics professor, and a successful novelist. They, and the people they love, portray the arrogance and innocence, brutality and compassion in America today. Each character becomes a thread-dark, light, or a shade in between-in a carpet of intricate design, and as Howard Fast weaves them together, they embody the interdependence of human life and human guilt and the eternal work of redemption.

"One hot midsummer morning, crime novelist Howard Engel picked up his newspaper from his front step and discovered he could no longer read it. The letters had mysteriously jumbled themselves into something that looked like Cyrillic one moment and Korean the next. While he slept, Engel had experienced a stroke and now suffered from a rare condition called alexia sine agraphia, meaning that while he could still write, he could no longer read"--Jacket flap.

The planet was called Pyrrus, a strange place where all the beasts, plants and natural elements were designed for one specific purpose: to destroy man. The settlers there were supermen, twice as strong as ordinary men and with milli-second reflexes. They had to be. For their business was murder. It was up to Jason dinAlt, interplanetary gambler, to discover why Pyrrus had become so hostile during man's brief habitation. This omnibus contains all three novels in the Deathworld trilogy!

Mingling ancient history, modern morality, and the surreal, a collection of stories includes an award-winning novella about a black mind reader who pays a terrifying call on a white serial killer on Alabama's death row.

The last two decades have seen a resurgence of critical and popular attention to Virginia Woolf's life and work. Such traditional institutions as "The New York Review of Books" now pair her with William Shakespeare in promotional advertisements; her face is used to sell everything from Barnes & Noble books to Bass Ale. Virginia Woolf: Lesbian Readings represents the first book devoted to Woolf's lesbianism. Divided into two sections, Lesbian Intersections and Lesbian Readings of Woolf's Novels, these essays focus on how Woolf's private and public experience and knowledge of same-sex love influences her shorter fiction and novels. Lesbian Intersections includes personal narratives that trace the experience of reading Woolf through the 60s, 70s, 80s, and 90s. Lesbian Readings of Woolf's Novels provides lesbian interpretations of the individual novels, including "Orlando, The Waves," and "The Years." Breaking new ground in our understanding of the role Woolf's love for women plays in her major writing, these essays shift the emphasis of lesbian interpretations from Woolf's life to her work.

"Eric Hazan follows in Balzac's footsteps, criss-crossing the city in the novelist's outsize boots, running between printers, publishers, coffee merchants, mistresses and friends, stopping for a moment, struck by a detail that would be fixed in Balzac's photographic memory. More than a tour of the city, this is an attempt to measure the soul of a city as recovered in its finest literature"--

Donald Margulies offers up a vivid new adaptation of Sholom Asch's 1906 Yiddish melodrama, reset on the Lower East Side of New York at the turn of the century. The original English language edition first appeared on Broadway in 1923, but was closed down and the cast arrested for its portrayal of a lesbian love affair on stage. "Teasing out the pesky questions of spirit, love, family and commerce at the heart of Asch's play, Margulies has achieved crossover success, making "God of Vengeance "a profoundly American play."-Alisa Solomon, "Village Voice " Sholom Asch was a noted Yiddish novelist and playwright. Donald Margulies is the Pulitzer Prize-winning author of "Dinner with Friends." His other work includes "Collected Stories "and "Sight Unseen."

A short story and a novella which, together, tell an exquisitely powerful and moving tale of the Holocaust. Both The Shawl and Rosa won first prize in the O. Henry Prize Stories and were chosen for Best American Short Stories.

Focuses on characterization, plot, dialogue, theme, viewpoint, form, and language in explaining the fundamentals of writing novels and short stories

A compelling moral fable in the shape of a gritty, twist-filled thriller. Wall Street Journal John Shannon is a petty thief on the run. A three-time loser framed for murder, he knows that he s facing life in prison or death by lethal injection. Then, a bizarre text message draws him to a meeting in the dark of night. A foreigner who calls himself the Identity Man offers Shannon an incredible chance to start again: a new face, a new home, a new beginning. In a ruined city trying to rebuild, he gets work as a carpenter, and falls in love. It seems too good to be true and it is. It turns out this city is crawling with crooked politicians, gangsters, and dirty cops all of whom seem to want Shannon dead. Moving through the shambles of a town, he s got to ferret out the secret of his new life and fast if he wants to be left with any life at all. A gripping thriller. Entertainment Weekly A work of intense realism pervaded by sorrow, mercy, hope and ultimately, transcendence. Washington Times Andrew Klavan is the author of such classic suspense novels as True Crime , filmed by Clint Eastwood, Don t Say a Word , filmed starring Michael Douglas, and Empire of Lies . He has been nominated for the Edgar Award five times and has won it twice. "

Part of the Jewish Encounter series A dandy, a best-selling novelist, and a man of political and sexual intrigue, Benjamin Disraeli was one of the most captivating figures of the nineteenth century. His flirtation with proto-Zionism, his ideas about power and empire, and his fantasies about the Middle East remain prophetically relevant today. How a man who was born a Jew--and who remained in the eyes of his countrymen a member of a despised minority--managed to become prime minister of England seems even today nothing short of miraculous. In this compelling biography, renowned poet and critic Adam Kirsch looks at Disraeli as a novelist as well as a statesman, recognizing that the outsider Jew who became one of the world's most powerful men was his own greatest character. Though baptized by his father at the age of twelve, Disraeli was seen--and saw himself--as a Jew. But her created an idea of Jewishness to rival the British notion of aristocracy. Disraeli was a figure of fascinating contradictions: an archconservative who benefited from England's liberal attitudes, a baptized Christian who saw Jewishness as a matter of racial superiority, a perennial outsider who dreamed of glory for England, which, in the words of one contemporary, became for Disraeli "the Israel of his imagination."

Bestselling author Sophie Hannah explores the various sides of motherhood in her stunning new psychological suspense novel.

The bad news was bad. I was dying. I was dying of something no one had ever died of before. I was dying of something absolutely, fantastically new. The Subject Steve is a dark, dazzling, and totally original satire on human mortality and our desperate efforts to evade it. Meet Steve (not his real name), a Special Case, in truth a Terminal Case, and the eponymous antihero of Sam Lipsyte’s savagely funny first novel. Steve has been informed by his two doctors, the Philosopher and the Mechanic, that he is dying of a condition of unquestioned fatality but no discernible physical cause. Eager to brand a new plague with their names, they call it Goldfarb-Blackstone Preparatory Extinction Syndrome, or PREXIS for short. The news that this perfectly ordinary postmodern citizen–bitter ex-husband, quasi-deadbeat father, midlife adman, creator of such resonant dot.com slogans as “Reality Is for Those Who Dream” and “How Did You Like Tomorrow?”–is dying of something that might well be boredom sets off a media frenzy. When his physicians are exposed as frauds, but not his death sentence, he betakes himself upstate to the Center for Nondenominational Recovery and Redemption, founded and ruled by the shadowy and brutal caregiver Heinrich of Newark. From there he will travel to the desert, where the success of a cultish media empire will rest on his demise. But nothing will alter the Subject Steve’s inevitable rendezvous with those twin banes of humankind, death and synergy. With the publication of this novel, by turns manic, ebullient and exquisitely deadpan, Sam Lipsyte enters the company of the master American satirists. It is a dark comedy for overlit times. From the Hardcover edition.

YOU SANK THE WRONG BATTLESHIP During a routine naval drill at Pearl Harbor, American forces detect a ship of unknown origins that's crashed in the Pacific Ocean. Lieutenant Alex Hopper, an officer aboard the USS John Paul Jones, is ordered to investigate the ominous-looking vessel--which turns out to be part of an armada of ships that are stronger and faster than any on Earth. And that's when the Navy's radar goes down. Ambushed by a ravenous enemy they cannot see, a small U.S. fleet makes their last stand on the open ocean, armed with little more than their instincts, to defend their lives--and the world as we know it. The official novel of the blockbuster film! Based on the screenplay by Erich Hoeber and Jon Hoeber

A young woman's journey to Palestine in the wake of World War II stands at the center of this compelling novel about the birth of Israel. 25,000 first printing.

Liza Goldberg is twenty-five, Jewish, heterosexual--and unhappy. She is also a bulimic caught in a self-destructive cycle of alternately binging and starving herself. This novel tells of her discovering her lesbian identity, and of the people in her life, her first female lover, Anemone; Harvey, her gay roommate; and the nursery school kids from whom Liza sneaks peanut butter snacks.