By Laurell K. Hamilton
Take a stroll at the wild aspect with Anita Blake, celebrity of the number 1 big apple instances bestselling sequence. those 5 novels of human—and inhuman—passions function vampires, werewolves, and a heroine as sharp as a stake and slick as a silver bullet.
The Killing Dance
Narcissus in Chains
Read or Download Anita Blake, Vampire Hunter Collection 6-10 PDF
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Additional resources for Anita Blake, Vampire Hunter Collection 6-10
At last Dracula’s hiding place is discovered. He had brought some of his earth, and destroying the records in the great chest, had taken up his abode right in the house. That night Lord Godalming leaves Quincey to protect Mercedes, and removing the earth from the chest pours it down a well on the property. The treatment suggests that Godalming and Quincey are little more than names that Hall borrows from Stoker to use for his own narrative ends. Rather than creating a form-driven modernist sequel, Hall worked as postmodernist, incorporating ideas and character names from Stoker without any sense of fidelity to the novel.
The tale grows increasingly dire as Dracula bites Mina, and she then has a stake driven through her heart. Hall describes the denouement as follows: Notifying the authorities, [Lord Godalming] converges with them to the black yacht which still is moored to the dock. They find Mercedes in a sort of somnambulism, wandering towards the boat, stumbling over the broken planks and beams. On the black deck of Nemesis III stands Dracula. At his feet grovels his mad servant. The officers fire at him without result.
The landscape changed to a postmodern play on characters and plotlines to the extent that, say, the time setting of Frankenstein Meets the Wolf Man (1943) takes place before The Wolf Man (1941), but for a variety of reasons it seems to be a loose sequel to it. The Invisible Man’s Revenge (1944) pretends earlier films in the series don’t exist. The Mummy’s Hand (1940) ignores The Mummy (1932) completely; The Mummy’s Curse (1944) makes no direct reference to The Mummy’s Tomb (1942) and The Mummy’s Hand (1940), and it inexplicably dislocates the northern college town geography of The Mummy’s Ghost (1944) to the swamps of Louisiana.