War is on the horizon, the all powerful Gold Witch is dead and her only daughter has been abducted. If she is turned by the shadows and unleashed on the world, no one will be able to stop her. In response, an elite strike team of Knights have been called into action. Allying themselves with dangerous characters and using their unique kinetic powers they must journey into the violent underworld of society to rescue her, before its too late. Shadow Lords, demons, bounty hunters, aliens, soldiers, warlocks, witches, ogres, elves and pirates await them. It will take a lot of bullets, swearing, blood and gore to fight through the nightmare...but what awaits them at the end, will be true horror. An electric fusion of drama, blood, action, comedy and chaos set in a futuristic, post apocalyptic stage. Enter the world of Gothic Opera.

This classic collection features 25 tales shaped by gothic's mood of menace and the macabre. In addition to the world-famous title novel, the anthology includes Horace Walpole's The Castle of Otranto, which launched the gothic novel craze, as well as stories by H. P. Lovecraft, Edgar Allan Poe, Mary Shelley, Arthur Machen, Louisa May Alcott, E. T. A. Hoffmann, J. Sheridan Le Fanu, and Vernon Lee.

THE ENCYCLOPEDIA OF THE GOTHIC “Well written and interesting [it is] a testament to the breadth and depth of knowledge about its central subject among the more than 130 contributing writers, and also among the three editors, each of whom is a significant figure in the field of gothic studies … A reference work that’s firmly rooted in and actively devoted to expressing the current state of academic scholarship about its area.” New York Journal of Books “A substantial achievement.” Reference Reviews Comprehensive and wide-ranging, The Encyclopedia of the Gothic brings together over 200 newly-commissioned essays by leading scholars writing on all aspects of the Gothic as it is currently taught and researched, along with challenging insights into the development of the genre and its impact on contemporary culture. The A-Z entries provide comprehensive coverage of relevant authors, national traditions, critical developments, and notable texts that continue to define, shape, and inform the genre. The volume’s approach is truly interdisciplinary, with essays by specialist international contributors whose expertise extends beyond Gothic literature to film, music, drama, art, and architecture. From Angels and American Gothic to Wilde and Witchcraft, The Encyclopedia of the Gothic is the definitive reference guide to all aspects of this strange and wondrous genre. The Wiley-Blackwell Encyclopedia of Literature is a comprehensive, scholarly, authoritative, and critical overview of literature and theory comprising individual titles covering key literary genres, periods, and sub-disciplines. Available both in print and online, this groundbreaking resource provides students, teachers, and researchers with cutting-edge scholarship in literature and literary studies.

A steamy YA romance inspired by Gaston Leroux's classic The Phantom of the Opera Seventeen-year-old Stephanie Armand doesn't believe in ghosts or spirits. Despite her six-year-old sister insisting a masked figure is hiding in her closet, and the rumors at school, Stephanie isn't convinced her father's latest renovation project--a crumbling Victorian mansion--houses the soul of a monster. So when the very charming (and paranormal-obsessed) Lucas Cheney takes an interest in both Stephanie and her notorious home, Moldavia, the supernatural and romantic activity escalates to an all-time high. But then there's Erik-- the dashing British boy, seemingly from another era, who's taken up residence in Stephanie's nightly dreams. A boy who may have something to do with the man in the mask, and the strange occurrences taking place at Moldavia.

Theodore Fenner’s Opera in London offers a vivid portrait of the operatic and cultural life of a London under the influence of Romanticism as perceived by the English press and the public who viewed the performances. In part 1, Fenner discusses the rise of the periodical press in early nineteenth-century London and the critics of these publications who reviewed opera performances, such as Leigh Hunt and William Hazlitt. Fenner lists in the appendixes for part 1 the leading periodicals—including the Althenaeum, Examiner, and Spectator,— the critics, and reviews by leading critics. Fenner, in part 2, examines the productions of Italian opera in London at the King’s Theatre, including the problems in theatre management and financing; the varied nature of the audience; the operas and performances— those that were popular and those that failed in the words of the critics and the responses of the audience; the singers; and themes and attitudes of the period as expressed by the critics. In part 3, Fenner explores the same topics for the English operas presented at Drury Lane, Covent Garden, and other playhouses. Parts 2 and 3 also contain extensive appendixes listing seasonal and annual performances and reviews, productions by composers and by librettists, comic and serious productions, operas by known playwrights, and minor singers. Forty-eight illustrations of singers, critics, performances, composers, and theatres add to the richness of this study.

“The best single volume ever written on the subject, such is its range, authority, and readability.”—Times Literary Supplement Why has opera transfixed and fascinated audiences for centuries? Carolyn Abbate and Roger Parker answer this question in their “effervescent, witty” (Die Welt, Germany) retelling of the history of opera, examining its development, the musical and dramatic means by which it communicates, and its role in society. Now with an expanded examination of opera as an institution in the twenty-first century, this “lucid and sweeping” (Boston Globe) narrative explores the tensions that have sustained opera over four hundred years: between words and music, character and singer, inattention and absorption. Abbate and Parker argue that, though the genre’s most popular and enduring works were almost all written in a distant European past, opera continues to change the viewer— physically, emotionally, intellectually—with its enduring power.