He’s shagged vampires and other monsters in his sexual escapades across the darkest parts of Europe and beyond, but now it’s time for young Jonathan Woodcock to really take a walk on the wild side! Beneath the moonlit night, ravenous werewolves lurk in the forest surrounding Budapest, ready to make our reluctant hero play fetch! Fur and fangs (and leather collars) will fly in Jonathan Woodcock’s kinkiest adventure to date! Will our young hero be able to stand up to the big daddy of all werewolves, who wants to do nothing more than make Jonathan strip and submit? Coming this far after his previous adventures, will Jonathan succumb to the BITE OF THE QUEERWOLF? (No, he’s our hero! But he’ll definitely leave with a few teeth-marks!) TALES OF MONSTEROTICA A line of comical erotic romps featuring the classic and not-so-classic monsters of book, stage and screen, written by Justin MacCormack, author of "Diary of a Gay Teenage Zombie" and “Hush: A Horror Anthology”. Bite of the Queerwolf is a 15,000-word novella.

Their world lies between the shadows and the moonlight, between man and animal...and in the city under neon moons and through on-treed streets, the queer wolves run. Bound within QUEER WOLF is an exciting collection of contemporary, urban and sensual werewolf tales; a gathering of queer wolves presented by exciting, new and established authors. Stories by: RJ Bradshaw; Naomi Clark; Charlie Cochrane; Laramie Dean; Moondancer Drake; Ginn Hale; Erica Hildebrand; Michael Itig; Lucas Johnson; Andi Lee; Charles Long; Stephen Osborne; Robert Saldarini; Quinn Smythwood; Jerome Stueart; Anel Viz; Cari Z "The debut anthology from James EM Rasmussen's QueeredFiction is an entertaining and varied collection, boasting such talents as Charlie Cochrane and Ginn Hale. Lovers of the lycan will find much to slaver over here: from the werewolf wanabee to the lovers-through-time, to waifs and strays. From the carnal to the violent to the passionate, this anthology will wag your tail, I guarantee it." Erastes author of Standish

Fine, the coffin in the basement was a little unusual. Certainly no more so than the mansion itself, though, or, for that matter, the humpbacked man-servant that came with it, or the mysterious death of its former owner. In fact, so starts a long list of all things unusual for our unlikely hero, Jack, and his newfound and strange family, his werewolf boyfriend, the pack eager to help him, and the ancient clan that wants him dead at all costs. Know this, however, in the end, this misfit group of characters will leave you howling in the crypt aisles!

Taboo breakers and trendsetters, shameless hucksters and famous directors. Exploitation filmmaking has seen it all. Fred Olen Ray made his first movie for $298. In 1936 Marijuana-Weed with Roots in Hell showed drug use and nudity on screen in an effort to "educate the public." Kroger Babb, the man behind Mom and Dad, spliced color medical footage of a baby's birth into his black and white "classic." Russ Meyer, John Waters, Andy Milligan, Doris Wishman, and many others are covered. "Classic" films such as The Immoral Mr. Teas, The Texas Chainsaw Massacre, and Nude on the Moon are examined. Production techniques and innovations are also discussed.

From the beginning, horror has been part of the cinema landscape. Despite some of the earliest genre films with gay directors such as F.W. Murnau (Nosferatu) and James Whale (Frankenstein, The Invisible Man, Bride of Frankenstein), LGBTQIA characters have rarely been portrayed in full view. For decades, filmmakers have included "coded" content in their films with the homosexual experience translated into censor-friendly subtext for consumption by general audiences. Gradually, LGBTQIA characters and themes have moved from the background to the foreground as the horror genre has grown along with its audience's tastes and attitudes. Likewise, more and more LGBTQIA writers and directors have begun to offer their queer-centric takes on scary movies and today, "queer horror" is a thriving film genre. With more than 900 entries, this critical filmography is a comprehensive, critical, yet playful examination of the history of LGBTQIA content in horror films. Eight journalistic contributors dig into every era of scary movies, including the early silents, pre- and post-Hays Code content, grindhouse sleaze, LGBTQIA indies, and megaplex studio releases. From Whale's The Old Dark House (1932) to Don Mancini's Chucky films and everything in between, this collection explores what can be found at the intersection of "LGBTQIA" and "horror" in the film industry.

Half-man-half-myth, the werewolf has over the years infiltrated popular culture in many strange and varied shapes, from Gothic horror to the 'body horror' films of the 1980s and today's graphic novels. Yet despite enormous critical interest in myths and in monsters, from vampires to cyborgs, the figure of the werewolf has been strangely overlooked. Embodying our primal fears - of anguished masculinity, of 'the beast within' - the werewolf, argues Bourgault du Coudray, has revealed in its various lupine guises radically shifting attitudes to the human psyche. Tracing the werewolf's 'use' by anthropologists and criminologists and shifting interpretations of the figure - from the 'scientific' to the mythological and psychological - Bourgault du Coudray also sees the werewolf in Freud's 'wolf-man' case and the sinister use of wolf imagery in Nazism. "The Curse of the Werewolf" looks finally at the werewolf's revival in contemporary fantasy, finding in this supposedly conservative genre a fascinating new model of the human's relationship to nature. It is a required reading for students of fantasy, myth and monsters. No self-respecting werewolf should be without it.

The horror genre mirrors the American queer experience, both positively and negatively, overtly and subtextually, from the lumbering, flower-picking monster of Frankenstein (1931) to the fearless intersectional protagonist of the Fear Street Trilogy (2021). This is a historical look at the queer experiences of the horror genre's characters, performers, authors and filmmakers. Offering a fresh look at the horror genre's queer roots, this book documents how diverse stories have provided an outlet for queer people--including transgender and non-binary people--to find catharsis and reclamation. Freaks, dolls, serial killers, telekinetic teenagers and Final Girls all have something to contribute to the historical examination of the American LGBTQ+ experience. Ranging from psychiatry to homophobic fear of HIV/AIDS spread and, most recently, the alienation and self-determination of queer America in the Trump era, this is a look into how terror may repair a shattered queer heart.