PDF The Emergence: A Succubus Tale - Part 1 (A Short Paranormal Erotica)

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  1. The Cast: A Succubus Tale - Part 3 (A Short Paranormal Erotica)
  2. ‘succubus’ stories
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Relieved to have her girlfriend back safely, Lisa agrees to help fulfil her promise. Neither knows what dangers lurk in the shadows, especially as secrets are unveiled.

The Cast: A Succubus Tale - Part 3 (A Short Paranormal Erotica)

Escape into a hot underground club, where statues are more than stone, and secrets can be deadly. Witches are real, and to be blunt, they're all black-hearted, and evil. These are not wiccans; witches are a different breed that use magic with devastating effect.

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Charged with stopping the witches, taking whatever measures necessary, there are witch-hunters, all reporting to the Malleus Maleficarum Council MMC. For hundreds of years witches have been persecuted and when the powerful Shadow Witch rises again, they have their opportunity for revenge. The best the MMC has to offer, the talented seventh-generation witch-hunting Hunter Astley has his own part to play. In his own way. Lucan, a gargoyle shifter, is finally freed from his stone statue and ready to make up for lost time — a plan that includes acting on the inexplicable pull to the mysterious blonde who waltzes into the underground club where he works.

Elise has hunted Lucan down for one purpose.

No way can she allow herself to get distracted by his captivating presence and magnificent eyes. This complication means she must ignore her attraction to him. A fling with him is strictly off-limits. But, when Elise needs his help to protect her niece and Lucan's daughter, that dangerous desire might be too difficult to resist…. Step into Vamps and discover a thrilling new world of steamy paranormal romance featuring sexy shifters, thirsty vampires, passionate witches, and gorgeous gargoyles! This novella contains strong steamy content and is just under 20, words in length.

When a new witch threat rises, only Hunter Astley can stop them… In the face of dark magic and evil witches, a secret witch-hunting society works tirelessly to keep them at bay. Part one of the Witch-Hunter trilogy. Who can resist a brooding bad boy? Is the curse finally broken? That must mean the witch is dead. And he wouldn't have the satisfaction of destroying her himself… Lucan, a gargoyle shifter, is finally freed from his stone statue and ready to make up for lost time — a plan that includes acting on the inexplicable pull to the mysterious blonde who waltzes into the underground club where he works.

She blurts out the news: He's a father. This form has many of the trappings of Gothic, but the plot is subordinated to the movement towards amatory consummation of romantic fiction; the setting tends to be contemporary; it seems to assume a female readership; and, crucially, it centres on love affairs between humans and supernatural creatures. In some ways, since genre works by fulfilling and revising expectations, it might actu- ally be valid to accept them, provisionally at least; the labelling and associated pack- aging do themselves arouse generic expectations. Themes and perspectives The dominant theme across the genre is difference and toleration, following the not unwelcome but problematic absorption of identity politics or certain liberal aspects of it into the mainstream.

And it is the formal properties of the genre that enable this theme to be dramatised—the humanising, if perhaps sentimental, focus on sympathy, interiority, the reconciliation of difference particularly in heterosexual terms of ro- mantic fiction; and the imaginative power to unsettle of the Gothic, which can conjure up the dangers and strangeness of Otherness though bear in mind the generic hybrid- ity of the original Gothic novel—this too, as in Radcliffe, hovered between similar places.

And slight formal variations—of place, of period; the incorporation of and modulation by other genres; the mode of fantasy—all permit various perspectives on contempo- rary encounters with otherness: adolescent anxieties with either a feminist or reaction- ary tinge; the use of period and setting to explore modernity, technology, and nature in the light of how these issues are expressed in identity politics.

They often raise doubts; having reservations or revealing contradictions. Of course, in the YA novels—which are mostly aimed at teenage women—a primary function is mediating the anxieties of encountering the opposite sex, but there is something in the form, in the very nature of its mixed origins, that makes them espe- cially suited to exploring less personal issues too.

The vampire, with its own fluid crossing of boundaries, has enabled this commingling of genres—leading us, incidentally, to think in broader terms than the Gothic para- digm. But, since then, all kinds of supernatural species have been found in the arms and beds of humankind. Romantic vampires have initi- ated a whole legion of other paranormal lovers—werewolves, werecats, succubae, faeries, angels—the odd merman [pic 9], as in this tempting erotica by Cassidy Beach obviously her real name. Even zombies can now be seen lurching up as lovers. Which she is fine with until she falls in love with a man.

I think even the cover is scary [pic 11]. The different kinds of paranormal lover stand in for different epistemological stances as much as do different modulations of genre, and themselves can be said to identify sub-subgenres, depending on which creature dominates the text. The vampire is a creation of the eighteenth century, first appearing in ethnological reports of the vampire panic in Eastern Europe and detailed with Enlightenment scep- ticism.

There, it is wholly monstrous and inhuman [pic 12]. But it very quickly be- comes a creature of fiction and poetry. The By- ronic overtones, however, are important in the development of the theme. The sleeping women, with the monster looming over her is, as you will notice, a common motif, but here the monster is another woman.

So not exactly love at first sight. In the earliest cinematic incarnation, he is still truly monstrous as Orlok in F. But he gets progressively sexier through the history of cinema: Bela Lugosi, Christopher Lee, Frank Langella [pics 16, 17, 18]. How dare you cast eyes on him when I had forbidden it?

Is it not so? Well, now I promise you that when I am done with him, you can kiss him at your will. Who desires whom? But who are the love objects of Dracula, and other vampires in general? Female vampires are certainly often desirable. The truth is, Lucy is more sexy as a vampire. This is when she, though already trans- formed, lies dormant and apparently newly deceased. So, there must have been some buried seed to work on; the operations of parody, hypertextual- ity, and genre transformation are very important here.

Perhaps that very absence, that unfulfilled desire, the unanswered question—who does Dracula love? Auerbach, however, claims that the demand for a love story arises because Dracula is so bleak. Twilight has, too, been seen by horror stalwarts such as Stephen King as having been far too diluted by the genre of romance; modern vampires are just not scary enough. I confess to thinking that the heavy dose of romance in Twilight brings a kind of certainty that renders it less interesting than other, more questioning fictions.

Vampire lovers Since Stoker, Dracula himself has been a lover many times: inspiring desire; even the formidable slayer of vampires, Buffy, comes under his spell at one point [pic]. This is one of the ur- texts for the vampire as tragic lover and beloved. Here we first see the importance of good biting; you need good biting for the perverse vampire eroticism to work. The distinguishing feature of blood drinking and exchange gives the vampire, along with the conven- tional mesmeric powers, an advantage over other monsters as a focus for sexual de- sire.

There are the tormented romances between Buffy and Angel in Buffy the Vampire Slayer, and later, Spike [pics 21, 22] as with many people here, I suspect, this is where my own thirst for vampire stories became stirred. In the late twentieth and twenty-first centuries, we have a plethora of vampiric lovers. There are Laurell K. Why is there a need for a vampire who is not just humanised and sympathetic, but sexually attractive?

‘succubus’ stories

It might boil down to the cynical and market-driven exploitation of a niche—that of a largely female readership. Often, the male vampire lover appeals precisely because he is both attractive yet dangerous. Precisely why this is appealing would need a deeper kind of psychological analysis than I dare give but it may be as much a way of negotiating the perceived difference of masculinity as any urge to submissiveness particularly in young adult fiction. Why is there this submissive, even masochistic quality in such novels?

Plus, there are all the mysterious and unaccountable excitements of danger and transgres- sion. Recent vampires, however, may stand accused of having watered down their threaten- ing aspects. The dangers from Edward Cullen are so minimised that he is hardly vam- piric anymore—more a superhuman who might accidentally break Bella with his su- perior strength if their passion gets out of hand, and this diminishes the disturbing fas- cination of the true romanced Gothic, with its dangerous lovers from Rochester to Angel.

Smith in The Vampire Diaries solves some of the problems of loving the monster by splitting her vampire lovers into brothers, Stefan and Damon, one good, the other evil though this is qualified [pic 27]. The picture is the more recent TV series. Postmodern vampire love The sympathetic vampire first stirs in a handful of significant texts from the s onwards which lay claim to inaugurating the vampire as lover. Notice how it mimics the iconography of the Twilight cover [pic 32]—many of the covers do. Like many Young Adult paranormal romances, this is touched by the coming-of- age narrative: when the story begins, Solange will be transformed into a vampire on her sixteenth birthday in three days time.

Solange is unique; the only girl in a family of hereditary vampirism for nine hundred years. The sexual appeal of the male of romantic fiction is supplemented by an additional factor, which entwines romance story conventions with epistemological questions al- most from the start. Here, the ideas of agency become complicated. Autonomy here is challenged by a positivist worldview where free will is overridden by desire founded on pheromonal compulsion. I tingled all the way down to my toes [. When his tongue touched mine, my eyelids finally drifted shut.

I gave myself to the moment, all but hurled into it. Just imagine if we actually liked each other. Romantic fiction conventions, by being placed in the supernatural con- text, can themselves raise these questions of knowing. In Solange, too, struggles over different epistemologies of desire are contested.

To vampires, she is irresistible; males compulsively lust after her, wanting to breed with her since she is a rare female. Their lust is triggered by her unique smell, consisting of those powerful pheromones. Vampirism itself is explained with a hesitancy between paranormal and biological causality. All this recalls ac- counts of human behaviour—particularly sexual attraction—by contemporary evolu- tionary psychologists and sociobiologists.

Yet, alongside these determinist view- points, there is a sense of agency asserted too, and the mixture of genres—echoes of science fiction in conjunction with a novelistic depiction of interiority—echoes the perplexity over agency in a supposedly postmodern age. The oscillation between modes and genres allows a scepticism towards the positivist strand of Enlightenment to emerge, but in a way that reasserts subjectivity rather than permitting he poststructuralist dissolution of the subject.

The werewolf, too, being bound to a hierar- chical pack society, evokes a different perspective on the social than the often solitary vampire. Amidst twenty-first century concerns about the environment and a devaluation of the centrality of the human, werewolf narratives often express a longing for a less antago- nistic relationship with nature, alongside utopian aspirations towards the heightened powers particularly sensory perception and imagined intensities of animal existence.

However, many such fictions adopt an uncritical admiration for the instinctual and a postmodern denigration of agency and subjectivity that can lead to unexpectedly reac- tionary positions—as when gender hierarchies become legitimated by an essentialism derived from animal analogies. Generally, werewolves embody determinism more than other paranormal characters, biology inescapably dictating their identity.

Vampire literature - Wikipedia

Various ideological issues are raised by the werewolf narrative. There are those around gender. Thus many of these novels share the obligatory feisty female protago- nist [pic 37], who is present both from a generic imperative and due to what is so- cially acceptable in present-day Western society, particularly when a largely female readership is involved. Yet contradictions emerge between this and the prevalent submission to pack hierarchy and to the dominant alpha male that the heroine half- willingly acquiesces to.

She simply is this creature of uncontrollable sexuality—it is her essence and rooted in her biology. These narratives again echo contemporary anti-humanist ideologies of evolutionary psychology. The temptations of postmodernism are resisted and a valorisation of the spirit of Enlightenment is attempted. The trilogy is tantalisingly ambivalent about the appeal of the instinctual and the bor- derline between an embodied humanity and the animal, particularly as manifested in the love affair of the teenage protagonists.

For Marcuse, the surplus-repression of the proximity senses smell, taste enforces the isolation of individuals in civilisation. Stiefvater continually emphasises the sense of smell both as a trigger to sexual attrac- tion and as an aspect of the pack sociality and sense of belonging of the wolves.

Through such devices, she concretely renders the nearness of Grace and Sam her young lovers to wolfhood. The narrative refuses to endorse simplistic oppositions between the animal and the human, recognising and celebrating the embodied consciousness that is being human, and aware of the complex affinity of romance and instinct.

Stiefvater points towards a transcendence of such antinomies though, ultimately, she asserts the distinctively hu- man powers of language, of individual identity, and goal-oriented agency as her char- acters find their voice and define their projects.

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Faeries These pretty, tiny little creatures that flit through the Victorian imagination are our usual idea of fairies [pic 39]. But the fairies of Celtic myth are more dangerous and unpredictable still, and often not pretty or delicate. It has a magical ring to it. Sixteen is supposed to be the age when girls become princesses and fall in love and go to dances and proms and such. Countless stories, songs, and poems have been written about this wonderful age, when a girl finds true love and the stars shine for her and the handsome prince carries her off into the sunset.

Here, the ruling creature is the faery. But they are associated not with death—rather with intensified life, life out of human control, and thus, in general, nature.

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In the twenty-first century this inevitably evokes the values and concerns of environmentalism, though the scary na- ture of faeries means that the incorporation of these values is not uncritical. Kagawa neatly draws on the folkloric motif of faery aversion to iron, which represents a con- temporary questioning of modernity in many dark faery books.

In The Iron King the Romance quest narrative is contiguous with the romantic fiction plot; it follows the episodic quest structure far more closely than does My Love Lies Bleeding, for example. Meghan, it will appear, is the daughter of Oberon, King of the Summer Fey, by her human mother. The faery half-breed as a central character is a very common figure in these books. They em- body alienation from the human group, yet the full strangeness of Otherness still re- tains its power over that character when they encounter the paranormal.

Robbie Good- fell, turns out to be Robin Goodfellow, the ambivalent Puck of folklore. Kagawa both introduces folkloric motifs and blends literary allusions together. One distinctive feature of dark faery romance is a plot function which necessarily in- volves a genre shift too. Faery narratives, unlike most other dark romances, almost always include a moment of entry into the other world. Lewis, Alan Garner, and Philip Pullman, the descent into the underworld of epic, and, of course, the Tam Lin theme of traditional faery lore itself. Where other supernatural beings dominate, the locale is most often contemporary, and sometimes urban, and the fabulous is intermingled with the mun- dane.

The first transition, into the lands of the Summer and Winter fey, brings with it a wealth of allusions, and we enter into the Romance world, though fantasy and folklore are drawn on. The different Romance landscapes are employed as a contrasting per- spective to modernity and the disenchantment it brings. Kagawa uses this setting to explore utopian desires that appear both in Romance proper and in romantic fiction.

What Faerie offers is the kind of transformed love of romantic fiction, supernaturally intensified as Bella Swan experiences , and a trans- formed world that protests against the disenchantment of modernity. She wanted more from her life than what she was getting. She wanted something extraordinary to happen. Thus, these land- scapes of romance also serve as locale for the modulation into romantic fiction.

The encounter with the male love object here is very familiar from that genre. Ash is a son of the Winter Queen to whom Meghan becomes attracted despite his hostile atten- tions towards her. More than gorgeous, he was beautiful. Regal beautiful, prince- of-a-foreign-nation beautiful. In this, of course, he follows Edward Cullen, though in not quite as sparkly a manner. Though even Cullen has a touch of this dan- gerous duality. Further on, the two genres intersect in order to explore desire and autonomy. Faery music and dance is a frequent method for dramatising romance otherness , and is metonymous with romance and romantic love itself—irresistible, beyond reason thus exploring free will again.

This is also a vivid awakening, for Meghan, to the possibilities of sexuality: Music played, haunting and feral, and faeries danced, leaped, and cavorted in wild abandon. A satyr knelt behind an unresisting girl with red skin, running his hands up her ribs and kissing her neck.