"Little Billee is a young English painter with great talent. He and his friends Taffy and the Laird share a studio in a Quartier Latin neighborhood full of artists and musicians, including a German-Polish music teacher named Svengali. The group become acquainted with an artists' model named Trilby, who was orphaned as a child and who works to support her little brother and herself. Trilby is lively, charming, unpretentious, and beautiful, and soon Little Billee is madly in love. When his mother learns that Little Billee intends to marry an artists' model (nude models were almost as socially unacceptable as protitutes) she travels to Paris and tells Trilby that such a marriage would mean ruin for Billee and his family. Trilby promises that she will never see Little Billee again. Soon afterward, Trilby vanishes, leaving Billee sick and distraught. Many years later, Billee and his friends hear of a singer called "La Svengali" who has astonished all of Europe. By attending one of her performances, they learn that "La Svengali" is the wife of the music teacher they knew in the Quartier Latin, trained by him to sing with more technical mastery than anyone has ever heard. When "La Svengali" appears on stage, they see that she is none other than Trilby. Her singing moves the audience to tears, though everyone notices that she moves stiffly and strangely and that her face is as blank as an automaton's. Not until Svengali dies suddenly during a concert is Trilby set free from the hypnotic spell that has controlled her for years.""--Allreaders.com.

Arizona, 1910 Dear Diary, It will take more than threats—and one overbearing rancher— to drive me away from my rightful property.—When I inherited this isolated land near the Mexican border, I knew running it would be difficult and dangerous—very different from my privileged life in Louisiana, where I was the genteel Miss Trilby Lang. But I certainly didn't expect that my neighbor, Thorn Vance, would be challenging me at every turn. Or that his brusque, ruggedly appealing ways would prove a dangerous temptation that I'm finding harder and harder to resist. Now, with trouble sweeping the territory, I need his help. But how much will I risk putting myself in the hands of a man who's used to getting exactly what he wants?

Corlie Roux’s farm life in South Africa is not easy: the Transvaal is beautiful, but it is also a harsh place where the heat can be so intense that the very raindrops sizzle. When her beloved father dies, she is left with a mother who is as devoted to her sons as she is cruel to her daughter. Despite this, Corlie finds solace in her friend, Sipho, and in Africa itself and in the stories she conjures for her brothers. But Corlie’s world is about to vanish: the British are invading and driving Boer families like hers from their farms. Some escape into the bush to fight the enemy. The unlucky ones are rounded up and sent to internment camps. Will Corlie’s resilience and devotion to her country sustain her through the suffering and squalor she finds in the camp at Kroonstad? That may depend on a soldier from faraway Canada and on inner resources Corlie never dreamed she had….

Charles Nodier was one of the first populariser of the literary vampire story: Smarra, or the Demons of the Night(1821) is the most notable and horrific of his stories. Nodier also carried forward the French tradition of literary fairy tales, which he enriched with the fantastic extravagance of the romantics. The best of these half fairy and half fantasy tales is Trilby, or the imp of Argyll(1822), which is set in Scotland.

In the grimy London of 1935, eleven-year-old Dominic Walker has lost his voice. His mother is sick and his father’s unemployed. Rescue comes in the form of his Uncle Roo, who arrives to take him and his young sister, Marlo, to Cornwall. There, in a boarding house populated by eccentric residents, Marlo, who keeps a death grip on her copy of The New Art of Cooking, and Dominic, armed with Incredible Adventures for Boys: Colonel Lawrence and the Revolt in the Desert, find a way of life unlike any they have known. Dominic’s passion for Lawrence of Arabia is tested when he finds himself embroiled in a village uprising against a band of travelers who face expulsion. In defending the vulnerable, Dominic learns what it truly means to have a voice. Trilby Kent brilliantly handles a far-off time and place to present a story of up-to-the-minute relevance.

Literary use of the Gothic is marked by an anxious encounter with otherness, with the dark and mysterious unknown. From its earliest manifestations in the turbulent eighteenth century, this seemingly escapist mode has provided for authors a useful ground upon which to safely confront very real fears and horrors. The essays here examine texts in which Gothic fear is relocated onto the figure of the racial and social Other, the Other who replaces the supernatural ghost or grotesque monster as the code for mystery and danger, ultimately becoming as horrifying, threatening and unknowable as the typical Gothic manifestation. The range of essays reveals that writers from many canons and cultures are attracted to the Gothic as a ready medium for expression of racial and social anxieties. The essays are grouped into sections that focus on such topics as race, religion, class, and centers of power.