In Salthill-on-Hudson, a half-hour train ride from Manhattan, everyone is rich, beautiful, and -- though they look much younger -- middle-aged. But when Adam Berendt, a charismatic, mysterious sculptor, dies suddenly in a brash act of heroism, shock waves rock the town. But who was Adam Berendt? Was he in fact a hero, or someone more flawed and human?

Finally returned to print in a beautiful new trade paperback edition, comes Joyce Carol Oates’ lost classic: a satirical, often surreal, and beautifully plotted Gothic Romance that follows the exploits of the audacious Zinn sisters, whose 19th century pursuit of adventurous lives turns a lens on contemporary American culture. Set in a nineteenth century similar to our own, A Bloodsmoor Romance follows the beautiful Zinn sisters, five young women who refuse—for the most part—”the obligations of Christian marriage.” Full of Oates’s mordant wit and breathlessly told in the Victorian style by an unnamed narrator shocked by the Zinn sisters’ sexuality, impulsivity, and rude rejection of the mores of their time, A Bloodsmoor Romance is a delicious filigree of literary conventions, “a novel of manners” in the tradition of Austen, Dickens, and Alcott which Oates turns on its head. Oates’s dark romp interweaves murder and mayhem, ghosts, and abductions, substance abuse and gender identity, women’s suffrage, the American spiritualist movement, and sexual aberration, as the Zinn sisters come into contact with some of the 19th century’s greatest characters, from Mark Twain to Oscar Wilde. A biting assessment of the American landscape and a virtuosic transformation of a literary genre, A Bloodsmoor Romance is a compelling, hilarious, and magical anti-romance—Little Women by way of Stephen King.

This is the first book to construct a theoretical framework that not only introduces a new way of reading romance writing at large, but more specifically that generates useful critical readings of the specific functions of fairies in individual romance texts.

The #1 New York Times bestselling author continues her evocative Westmoreland Dynasty Saga with this romance following two defiant hearts clashing over a furious battle of wills in the glorious age of chivalry. Abducted from her convent school, headstrong Scottish beauty Jennifer Merrick does not easily surrender to Royce Westmoreland, Duke of Claymore. Known as “The Wolf,” his very name strikes terror in the hearts of his enemies. But proud Jennifer will have nothing to do with the fierce English warrior who holds her captive, this handsome rogue who taunts her with his blazing arrogance. Boldly she challenges his will—until the night he takes her in his powerful embrace, awakening in her an irresistible hunger. And suddenly Jennifer finds herself ensnared in a bewildering web…a seductive, dangerous trap of pride, passion, loyalty, and overwhelming love.

Empire of Magic offers a genesis and genealogy for medieval romance and the King Arthur legend through the history of Europe's encounters with the East in crusades, travel, missionizing, and empire formation. It also produces definitions of "race" and "nation" for the medieval period and posits that the Middle Ages and medieval fantasies of race and religion have recently returned. Drawing on feminist and gender theory, as well as cultural analyses of race, class, and colonialism, this provocative book revises our understanding of the beginnings of the nine hundred-year-old cultural genre we call romance, as well as the King Arthur legend. Geraldine Heng argues that romance arose in the twelfth century as a cultural response to the trauma and horror of taboo acts--in particular the cannibalism committed by crusaders on the bodies of Muslim enemies in Syria during the First Crusade. From such encounters with the East, Heng suggests, sprang the fantastical episodes featuring King Arthur in Geoffrey of Monmouth's chronicle The History of the Kings of England, a work where history and fantasy collide and merge, each into the other, inventing crucial new examples and models for romances to come. After locating the rise of romance and Arthurian legend in the contact zones of East and West, Heng demonstrates the adaptability of romance and its key role in the genesis of an English national identity. Discussing Jews, women, children, and sexuality in works like the romance of Richard Lionheart, stories of the saintly Constance, Arthurian chivralic literature, the legend of Prester John, and travel narratives, Heng shows how fantasy enabled audiences to work through issues of communal identity, race, color, class and alternative sexualities in socially sanctioned and safe modes of cultural discussion in which pleasure, not anxiety, was paramount. Romance also engaged with the threat of modernity in the late medieval period, as economic, social, and technological transformations occurred and awareness grew of a vastly enlarged world beyond Europe, one encompassing India, China, and Africa. Finally, Heng posits, romance locates England and Europe within an empire of magic and knowledge that surveys the world and makes it intelligible--usable--for the future. Empire of Magic is expansive in scope, spanning the eleventh to the fifteenth centuries, and detailed in coverage, examining various types of romance--historical, national, popular, chivalric, family, and travel romances, among others--to see how cultural fantasy responds to changing crises, pressures, and demands in a number of different ways. Boldly controversial, theoretically sophisticated, and historically rooted, Empire of Magic is a dramatic restaging of the role romance played in the culture of a period and world in ways that suggest how cultural fantasy still functions for us today.

The phenomenon of medieval women's middle age is a stage in the lifecycle that has been frequently overlooked in preference for the examination of female youth and old age. The essays collected here draw variously from literary studies, history, law, art and theology in order to address this lacuna.

"A great virtue of this reader is the length of its selections--not just snippets, but long enough portions for students to get a real sense of how the text works." - Ruth Mazo Karras, University of Minnesota