From the author of the New York Times bestselling Abraham Lincoln: Vampire Hunter, comes UNHOLY NIGHT, the next evolution in dark historical revisionism. They're an iconic part of history's most celebrated birth. But what do we really know about the Three Kings of the Nativity, besides the fact that they followed a star to Bethlehem bearing strange gifts? The Bible has little to say about this enigmatic trio. But leave it to Seth Grahame-Smith, the brilliant and twisted mind behind Abraham Lincoln: Vampire Hunter and Pride and Prejudice and Zombies to take a little mystery, bend a little history, and weave an epic tale. In Grahame-Smith's telling, the so-called "Three Wise Men" are infamous thieves, led by the dark, murderous Balthazar. After a daring escape from Herod's prison, they stumble upon the famous manger and its newborn king. The last thing Balthazar needs is to be slowed down by young Joseph, Mary and their infant. But when Herod's men begin to slaughter the first born in Judea, he has no choice but to help them escape to Egypt. It's the beginning of an adventure that will see them fight the last magical creatures of the Old Testament; cross paths with biblical figures like Pontius Pilate and John the Baptist; and finally deliver them to Egypt. It may just be the greatest story never told.

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.

Bluebirds by Catulle Mendès (1841-1909), here delightfully translated for the first time into English by Brian Stableford, is fascinating, not only because it illustrates a particular evolution within the pattern of the author's own works, but because that pattern reflects a more general one associated with the evolution from the French Romanticism of the first half of the nineteenth century to the Decadent and Symbolist Movements of the fin-de-siècle. Mendès was one of the key figures in the latter phases of that process of development, launching his literary career in the 1860s under the patronage of Théophile Gautier, whose daughter Judith he married--much against her father's wishes--in 1866, and then becoming a leading figure among the "Parnassians" who attempted a renewal and revivification of Romantic ideals, before he entered wholeheartedly into the Decadent Movement launched in the 1880s. The stories in the present collection extend over a linear spectrum, moving by degrees from the affected sentimentality of Romanticism to a darker and somewhat jaundiced world-view that illustrates the Decadent sensibility very well, although all the stories were written in advance of the enormous fashionability that the sensibility in question achieved in the late 1880s.