Samantha Heather Mackey couldn't be more of an outsider in her small, highly selective MFA program at New England's Warren University. A scholarship student who prefers the company of her dark imagination to that of most people, she is utterly repelled by the rest of her fiction writing cohort--a clique of unbearably twee rich girls who call each other "Bunny," and seem to move and speak as one. But everything changes when Samantha receives an invitation to the Bunnies' fabled "Smut Salon," and finds herself inexplicably drawn to their front door--ditching her only friend, Ava, in the process. As Samantha plunges deeper and deeper into the Bunnies' sinister yet saccharine world, beginning to take part in the ritualistic off-campus "Workshop" where they conjure their monstrous creations, the edges of reality begin to blur. Soon, her friendships with Ava and the Bunnies will be brought into deadly collision. The spellbinding new novel from one of our most fearless chroniclers of the female experience, Bunny is a down-the-rabbit-hole tale of loneliness and belonging, friendship and desire, and the fantastic and terrible power of the imagination.

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  Bloody relevant to read!\
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  BEFORE DRACULA, THERE WAS...\
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  But to die as lovers may - to die together, so that they may live together.\
This is a very important book in historic sense, in the genre of vampire reading, due that it was published 25 years before than Dracula. Also, it presented lesbian situations, easily one of the first open mentions of the topic in literature.So, it was a pioneer book in two subjects: Vampires and Lesbian literature.Some may wonder how it was possible to publish a book with lesbian issues in 1872.Joseph Sheridan Le Fanú was ingenious in that, since when he was asked about, he just replied that it wasn't a homosexual situation since Carmilla was a vampire and due that, it was a creature without sexual genre.Sneaky devil this Le Fanu!Of course, that was a trick by the author but it worked since the book didn't have any trouble to be published in those times when there was a extremely close-minded attitude.And certainly the importance of the book to the eventual sucess of Bram Stoker's novel was fundamental.Without Carmilla there weren't Dracula and due that maybe there weren't a vampire sub-genre in the horror books that now it's one of the strongest subjects in modern paranormal literature.\
  BRITISH GOTHIC\
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  Nevertheless, life and death are mysterious states, and we know little of the resources of either.\
Le Fanú also was the father of the Gothic horror of Britain establishing the style of how that kind of literature would be written even on these days.Maybe the only trouble with Carmilla to be read by current readers is its form of mystery that it's impossible that anybody would pick nowadays this particular novel to read without the previous knowledge that Carmilla is a vampire, and due that, the reader felt like reading a mystery where one already knows the answer to the mystery.The clues to the real nature of Carmilla are elegant and stylish but too evident for any reader familiar with vampire-related similar books, movies, TV series, etc...It's clear that Carmilla started all and the reality is that anybody else copied FROM it, but sadly, in many case, readers find the book way after of being already too familiar with the general world of vampires, diminishing the shock that the book could ever do.However, it's still an important book in literature history.

You can find the redesigned cover of this edition HERE.This best-selling Norton Critical Edition is based on the 1847 first edition of the novel. For the Fourth Edition, the editor has collated the 1847 text with several modern editions and has corrected a number of variants, including accidentals. The text is accompanied by entirely new explanatory annotations.New to the fourth Edition are twelve of Emily Bronte's letters regarding the publication of the 1847 edition of Wuthering Heights as well as the evolution of the 1850 edition, prose and poetry selections by the author, four reviews of the novel, and poetry selections by the author, four reviews of the novel, and Edward Chitham's insightful and informative chronology of the creative process behind the beloved work.Five major critical interpretations of Wuthering Heights are included, three of them new to the Fourth Edition. A Stuart Daley considers the importance of chronology in the novel. J. Hillis Miller examines Wuthering Heights's problems of genre and critical reputation. Sandra M. Gilbert assesses the role of Victorian Christianity plays in the novel, while Martha Nussbaum traces the novel's romanticism. Finally, Lin Haire-Sargeant scrutinizes the role of Heathcliff in film adaptations of Wuthering Heights. A Chronology and updated Selected Bibliography are also included.

Pauline Parker and Juliet Hulme met in school during the 1950s. Instant best friends, they proceeded to spend every minute possible together, often writing about a fantasy land of their own invention. More and more estranged from their respective families, the two girls realise that they are extremely different from most other people, and agree to take any steps necessary to ensure that they are not seperated. The two families are increasingly concerned about the girls' friendship in a strictly moralistic era.

At an elite girls boarding school, the award winning diving team is considered the premier group of girls in the school. When a new girl from Spain, Fiamma, comes to the school and joins the team, the rest of the squad is jealous of her relationship with the coach and force her off the team and out of the school by bullying her. When the girl is forced to rejoin the group, they decide to let her into their social circle and begin to be as fascinated with her as their coach is. But things take a turn when the coach lets her fascination lead her too far.

At an exclusive girls' boarding school, a sixteen-year-old girl records her most intimate thoughts in a diary. The object of her obsession is her room-mate, Lucy Blake, and Lucy's friendship with their new and disturbing classmate. Ernessa is a mysterious presence with pale skin and hypnotic eyes. Around her swirl dark secrets and a series of ominous disasters. As fear spreads through the school, fantasy and reality mingle into a waking nightmare of gothic menace, fueled by the lusts and fears of adolescence.And at the center of the diary is the question that haunts all who read it: Is Ernessa really a vampire? Or is the narrator trapped in her own fevered imagination?

Female Manipulator; Gothic Fiction Edition