It was in the church of San Lorenzo at Naples, in the year 1758, that Vincentio di Vivaldi first saw Ellena Rosalba. The sweetness and fine expression of her voice attracted his attention to her figure, which had a distinguished air of delicacy and grace; but her face was concealed in her veil. So much indeed was he fascinated by the voice, that a most painful curiosity was excited as to her countenance, which he fancied must express all the sensibility of character that the modulation of her tones indicated. He listened to their exquisite expression with a rapt attention, and hardly withdrew his eyes from her person till the matin service had concluded; when he observed her leave the church with an aged lady, who leaned upon her arm, and who appeared to be her mother. Vivaldi immediately followed their steps, determined to obtain, if possible, a view of Ellena’s face, and to discover the home to which she should retire. They walked quickly, looking neither to the right or left, and as they turned into the Strada di Toledo he had nearly lost them; but quickening his pace, and relinquishing the cautious distance he had hitherto kept, he overtook them as they entered on the Terrazzo Nuovo, which runs along the bay of Naples, and leads towards the Gran Corso. He overtook them; but the fair unknown still held her veil close, and he knew not how to introduce himself to her notice, or to obtain a view of the features, which excited his curiosity. He was embarrassed by a respectful timidity, that mingled with his admiration, and which kept him silent, notwithstanding his wish to speak. In descending the last steps of the Terrazzo, however, the foot of the elder lady faltered, and, while Vivaldi hastened to assist her, the breeze from the water caught the veil, which Ellena had no longer a hand sufficiently disengaged to confine, and, wafting it partially aside, disclosed to him a countenance more touchingly beautiful than he had dared to image. Her features were of the Grecian outline, and, though they expressed the tranquillity of an elegant mind, her dark blue eyes sparkled with intelligence. She was assisting her companion so anxiously, that she did not immediately observe the admiration she had inspired; but the moment her eyes met those of Vivaldi, she became conscious of their effect, and she hastily drew her veil. The old lady was not materially hurt by her fall, but, as she walked difficultly, Vivaldi seized the opportunity thus offered, and insisted that she should accept his arm. She refused this with many acknowledgments; but he pressed the offer so repeatedly and respectfully, that, at length, she accepted it, and they walked towards her residence together. On the way thither, he attempted to converse with Ellena, but her replies were concise, and he arrived at the end of the walk while he was yet considering what he could say, that might interest and withdraw her from this severe reserve. From the style of their residence, he imagined that they were persons of honourable, but moderate independence. The house was small, but exhibited an air of comfort, and even of taste. It stood on an eminence, surrounded by a garden and vineyards, which commanded the city and bay of Naples, an ever-moving picture, and was canopied by a thick grove of pines and majestic date-trees; and, though the little portico and collonade in front were of common marble, the style of architecture was elegant. While they afforded a shelter from the sun, they admitted the cooling breezes that rose from the bay below, and a prospect of the whole scope of its enchanting shores.

Jeb Johnston is a successful trial attorney practicing in St. Anselm Parish, Louisiana. He has a weakness for the downtrodden and those abused by the powers-that-be. His old school southern sense of chivalry compels him to look into a New Orleans halfway house when one of its residents sends him a call for help. She and the other women of the halfway house are being abused by the legal system and other influential donors and members of New Orleans society. Upon further investigation of corruption, Jeb becomes tangled in a web of sex and scandal. He uncovers secrets that the operators and board of directors want to remain hidden at any cost, even murder. In this case, the powerful prey upon the weak, often in the guise of religion. Jeb fights to reveal the exploitation of the so-called religious charitable community, as threats rain down around him. The faithless façade of organized religion is exploiting the weak and innocent, and Jeb will do anything to save these women from further attack.

Gothic Classics: 60+ Books in One Volume presents an unparalleled collection that traces the development and transformations of the Gothic genre across centuries and continents. Encompassing a broad spectrum of literary stylesfrom the foreboding ruins and landscapes of the 18th century to the psychological hauntings of the 19th and early 20th centuriesthis anthology highlights the thematic richness and diversity of Gothic literature. The works included offer readers a unique journey through terror, romance, and the supernatural, showcasing the evolution of the genre and including standout pieces that have influenced the shape of horror and speculative fiction as we know it today. The contributing authors and editors, a veritable who's who of literary giants such as Charles Dickens, Edgar Allan Poe, and Mary Shelley, bring together a mosaic of backgrounds, perspectives, and voices. These creators, many of whom were at the forefront of the Romantic, Victorian, and early modernist movements, offer a multi-faceted exploration of Gothic themes. Their collective oeuvre, reflective of the societal anxieties and fascinations of their times, enriches this anthology by presenting varied narratives that challenge the boundaries between the mortal and the spectral, the oppressor and the oppressed. Gothic Classics: 60+ Books in One Volume is an indispensable addition for students, scholars, and aficionados of the Gothic. This anthology invites readers into a labyrinth of haunted estates, forbidden desires, and ineffable mysteries, offering a comprehensive compendium that spans over two centuries of literary achievement. Through its pages, one discovers not only the depths of human imagination but also the enduring allure of the Gothic story, making it a perfect resource for those seeking to immerse themselves in the shadows and subtleties of Gothic literature's rich legacy.

The Greatest Gothic Classics anthology is a masterfully curated collection that spans the depth and breadth of the gothic genre, showcasing a formidable array of literary styles from the eerie to the sublime. This compendium offers readers an unparalleled journey through the shadows of gothic literature, where the macabre meets the profoundly human. The diversity of the works included highlights not only the historical significance of the genre but also its enduring appeal. Among the spectral landscapes and haunting narratives, standouts delve into themes of duality, decay, and the supernatural, reflecting the complex interplay between societal anxieties and individual fears that gothic literature navigates so adeptly. The contributing authors, ranging from Charles Dickens to Mary Shelley, and including luminaries like Edgar Allan Poe and Emily Brontë, bring a rich tapestry of cultural and historical contexts to the collection. These authors were pivotal in shaping the gothic tradition, their collective works embodying the shifts and transformations of the genre across different periods. The anthology not only pays homage to the canon but also underscores the genres evolution, tracing its roots from Romanticism to its permeation in Victorian culture, further enriched by the diverse geographical and cultural backgrounds of its contributors. The Greatest Gothic Classics is an essential volume for anyone with a penchant for the eerie, the uncanny, and the beautifully macabre. This anthology offers a unique lens through which to explore the myriad forms gothic literature can take, from the grotesque to the ethereal, making it a compelling addition to any literary collection. Readers are invited to immerse themselves in the rich dialogue between these works, discovering the latent connections and contrasts that make the gothic genre a perennial source of fascination and scholarly interest.