Oliver’s life is no different from those of most middle school kids—except he sleeps in a coffin and drinks blood for breakfast Oliver Nocturne lives a pretty normal life—he deals with bullies, has an obnoxious older brother, and generally feels misunderstood. But being a vampire presents another host of problems, especially when he feels—he knows—he’s not quite like everyone else. When Emalie, a human girl with a troubled past, takes a picture of him, Oliver ignores the rules that forbid him from interacting with humans and agrees to show her the darkest secrets of the Seattle underworld. But their quest will uncover more than vampire mythology—they will learn the terrible truth about Oliver’s past and his purpose. And for Emalie, this knowledge could come at a fatal price.

Oliver, a young vampire, discovers that he is a little more human than his vampire family and classmates.

In 1896, French magician and filmmaker George Méliès brought forth the first celluloid vampire in his film Le manoir du diable. The vampire continues to be one of film's most popular gothic monsters and in fact, today more people become acquainted with the vampire through film than through literature, such as Bram Stoker's classic Dracula. How has this long legacy of celluloid vampires affected our understanding of vampire mythology? And how has the vampire morphed from its folkloric and literary origins? In this entertaining and absorbing work, Stacey Abbott challenges the conventional interpretation of vampire mythology and argues that the medium of film has completely reinvented the vampire archetype. Rather than representing the primitive and folkloric, the vampire has come to embody the very experience of modernity. No longer in a cape and coffin, today's vampire resides in major cities, listens to punk music, embraces technology, and adapts to any situation. Sometimes she's even female. With case studies of vampire classics such as Nosferatu, Martin, Blade, and Habit, the author traces the evolution of the American vampire film, arguing that vampires are more than just blood-drinking monsters; they reflect the cultural and social climate of the societies that produce them, especially during times of intense change and modernization. Abbott also explores how independent filmmaking techniques, special effects makeup, and the stunning and ultramodern computer-generated effects of recent films have affected the representation of the vampire in film.

In this gothic debut novel, perfect for fans of Tread of Angels and Gail Carriger’s Soulless, Miss Radhika Dhingra, a newly minted lawyer in 19th century New York, never expected that her first client would be a vampire accused of murder. Having a resident vampire is just the thing for upper-class New Yorkers–besides being a status symbol, they make excellent butlers or housekeepers. The only thing they require in return is a drop or two of blood and a casket to shut out the dawn’s early light. Tolerated by society only if they follow a strict set of rules, vampires are seen as “less than”–and as the daughter of immigrants, Radhika knows firsthand how this feels. Accused of murder, her undead client Mr. Evelyn More, knows that the cards are stacked against him. With the help of a journalist friend and a diminutive detective inspector, Miss Dhingra sets out to prove her client’s innocence and win his freedom. Failure will mean Mr. More’s death, the end of her dreams of becoming a successful attorney, and the loss of the vampire Miss Dhingra has begun to call her friend. Offering an alternative paranormal history, delightful characters, and insightful social commentary, The Vampire of Kings Street will thrill readers of Deanna Rayburn and Rebecca Roanhorse.