Happy Harrow, a Kentucky hills jockey who moonlights as a sleuth, is married to Rick Harrow, an Eton-educated English racehorse trainer. Their training stables and home are in Epsom, England, a delightful and picturesque area. Their newest owner, Achilles Pinot, a tycoon of France's perfume industry gave them a completely pre-paid two week vacation in Morocco with their three small children. The gift had one condition, he asked them to chaperone his adored niece Pricilla. Happy quickly discovered that chaperoning the young and provocative Priscilla was not easy. She was constantly picking up men off the street and inviting them to come to her room either early in the evening or after midnight. The hotel recently developed a sinister reputation that appeared in the media after a teenage girl had been murdered there. The murder was attributed to a vampire because the girl had two holes on her throat that resembled pointed teeth marks. More vampire-style deaths follow at the doomed hotel. The media has created frenzy that does not let up. To get to the truth, Happy enlists her friend Maheen Palazzo to serve as her Dr. Watson-like aide; Sherlock Holmes-style to help solve the murders. The saga travels back and forth to many cities in Morocco, Agadir, Essaouira, Marrakesh and Rabat. What readers are saying about this book: The best jet you could travel to Morocco is this book because it takes you there between its covers. -Julia Hansen, step daughter of Count de Lazar de Szorgany, last direct descendant of the Count de Szorgany reputed to be the legendary Transylvania nobleman on whom the character of Dracula was based I thought this book was about horses but it’s really about sex and a reasonable doubt. -Mrs. John R. McLean, much admired daughter-in-law of the last owner of the Hope Diamond Stunning! -Peter Koppe, popular actor A great combination of horses and sex. - Nicholas Coolidge Bea gets better with time like a great wine. -Socialite Rutilia Burck, former President of Palm Beach Red Cross

**previously published under the titles Lucifer’s Warrior and The Vampire Narcise** “Count on Colleen Gleason for a scorching page-turner!” —Jeaniene Frost “Dark and decadent, sultry and seductive, Colleen Gleason’s sexy Draculia series will hold you in its thrall!” —Lara Adrian “In a world where every third title seems to be a vampire story, it’s a pleasure to come across a series that’s as unique as Colleen Gleason’s. Fresh, unique, sassy, and fun, Gleason’s Draculia trilogy is one of a kind…A must-have addition to the bookshelves of vamp enthusiasts everywhere.” —Maggie Shayne _____ 19th Century London Society: Proper gentlemen, masquerade balls, dance cards…and vampires. The Dracule woman Narcise has been trained as a warrior, enslaved by her brother Cezar—the most dangerous and evil of all Dracule vampires—to provide entertainment for himself and his cronies. When she loses one of her gladiator-type battles, her opponent’s prize is the use of her body for the night. It is no wonder Narcise cannot trust a man…even Giordan Cale, the handsome vampire who vows to free her from her brother’s captivity. But his promise is followed by a deep, shocking betrayal—destroying her heart and trust forever. Yet, Narcise finds a new savior in vampire hunter Chas Woodmore. He wants her, he worships her…he will kill for her. But when a soul is in danger, and the only hope is to risk one’s heart or lose freedom forever, can someone like Narcise learn to trust again? And when Cezar is determined to move heaven and earth to destroy the men who love her, who will walk away…and who will be forever damned? DRACULIA TRILOGY READING ORDER: Dark Rogue Dark Saint Dark Vixen

Two sisters get into catering and crimesolving in “a delicious mystery…that will have readers begging for second helpings” (Leslie Maier). Bernadette Simmons wasn't sure what to expect when she left L.A.—and her no-good, cheating boyfriend—to move back in with her family in New York. And her sister Libby had no idea what she was in for when she hired Bernie to work for her catering business. But in between cutting up canapés and dishing up desserts, the two find themselves in the midst of a mystery they can sink their teeth into… Right now they’re baking cookies and slicing rare beef tenderloin to serve at a high school reunion. The dinner has a Dracula theme and a very strange guest of honor: Laird Wrenn, a New York Times-bestselling author of vampire novels. Libby and Bernie know this will be an evening unlike any other. And they're proven right when Laird pours a glass of water, takes a long sip—and drops stone-cold dead. Now, with murder on the menu and Libby under suspicion, the sisters must put their heads together to figure out whodunit, in a mystery that promises to be deadly to the very last bite. Includes 7 delectable recipes for you to try! “A naturally flowing narrative, lively and likeable characters, and plenty of clever word play amid the foul play set this first novel above the common run of cozies.”—Publishers Weekly “Fans who love culinary mysteries are going to gain pounds after reading this delicious who-done-it.”—I Love a Mystery

Skilled in the seduction of men, both mortal and immortal, Narcise Moldavi is the greatest weapon in her twisted brother's war among the Dracule. Until she falls for Giordan Cale. Her first searing encounter with Giordan seals their fierce connection. But Giordan's vow to help Narcise escape her brother's rule is followed by a betrayal more agonizing than sunlight. Wounded but determined, Narcise ensnares vampire hunter Chas Woodmore in her quest for revenge and to reclaim her life. He wants her, worships her, will kill for her. And the Dracule never forget a wrong—nor do they forgive.

The figure of the vampire serves as both object and mode of analysis for more than a century of Hollywood filmmaking. Never dying, shifting shape and moving at unnatural speed, as the vampire renews itself by drinking victims' blood, so too does Hollywood renew itself by consuming foreign styles and talent, moving to overseas locations, and proliferating in new guises. In Vampires, Race, and Transnational Hollywoods, Dale Hudson explores the movement of transnational Hollywood's vampires, between low-budget quickies and high-budget franchises, as it appropriates visual styles from German, Mexican and Hong Kong cinemas and off-shores to Canada, Philippines, and South Africa. As the vampire's popularity has swelled, vampire film and television has engaged with changing discourses around race and identity not always addressed in realist modes. Here, teen vampires comfort misunderstood youth, chador-wearing skateboarder vampires promote transnational feminism, African American and Mexican American vampires recover their repressed histories. Looking at contemporary hits like True Blood, Twilight, Underworld and The Strain, classics such as Universal's Dracula and Dracula, and miscegenation melodramas like The Cheat and The Sheik, the book reconfigures Hollywood historiography and tradition as fundamentally transnational, offering fresh interpretations of vampire media as trans-genre sites for political contestation.

Vampires are arguably the most popular and most paradoxical of gothic monsters: life draining yet passionate, feared yet fascinating, dead yet immortal. Vampire content produces exquisitely suspenseful stories that, combined with motion picture filmmaking, reveal much about the cultures that enable vampire film production and the audiences they attract. This collection of essays is generously illustrated and ranges across sixteen cultures on five continents, including the films Let the Right One In, What We Do in the Shadows, Cronos, and We Are the Night, among many others. Distinctly different kinds of European vampires have originated in Ireland, Germany, Sweden, and Serbia. North American vampires are represented by films from Mexico, Canada, and the USA. Middle Eastern locations include Tangier, Morocco, and a fictional city in Iran. South Asia has produced Bollywood vampire films, and east Asian vampires are represented by films from Korea, China, and Japan. Some of the most recent vampire movies have come from Australia and New Zealand. These essays also look at vampire films through lenses of gender, post-colonialism, camp, and otherness as well as the evolution of the vampiric character in cinema worldwide, together constituting a mosaic of the cinematic undead.