Throughout history, from at least as far back as the Epic of Gilgamesh, mankind has shown a fascination with physical transformation--especially that of humans into animals. Tales of such transformations appear in every culture across the course of history. They have been featured in the Western world in the work of such authors as Ovid, Petronius, Marie de France, Saint Augustine, Jack Williamson, Charles de Lint, Charaline Harris, Terry Pratchett, and J. K. Rowling. This book approaches werewolves as representations of a proposed shape-shifter archetype, examining, with reference to earlier sources, how and why the archetype has been employed in modern literature. Although the archetype is in a state of flux by its very definition, many common threads are linked throughout the literary landscape even as modern authors add, modify, and reinvent characteristics and meanings. This is especially true in the work of such authors examined in this book, many of whom have struck a chord with a wide range of readers and non-readers around the world. They seem to have tapped into something that affects their audiences on a subconscious level.

Throughout history, from at least as far back as the Epic of Gilgamesh, mankind has shown a fascination with physical transformation--especially that of humans into animals. Tales of such transformations appear in every culture across the course of history. They have been featured in the Western world in the work of such authors as Ovid, Petronius, Marie de France, Saint Augustine, Jack Williamson, Charles de Lint, Charaline Harris, Terry Pratchett, and J. K. Rowling. This book approaches werewolves as representations of a proposed shape-shifter archetype, examining, with reference to earlier sources, how and why the archetype has been employed in modern literature. Although the archetype is in a state of flux by its very definition, many common threads are linked throughout the literary landscape even as modern authors add, modify, and reinvent characteristics and meanings. This is especially true in the work of such authors examined in this book, many of whom have struck a chord with a wide range of readers and non-readers around the world. They seem to have tapped into something that affects their audiences on a subconscious level.

One last full moon – then it will all be over. Jacob Marlowe has lost the will to live. For two hundred years he has wandered the world, enslaved by his lunatic appetites and tormented by the memory of his first and most monstrous crime. Now, the last of his kind, he knows he cannot go on. But as Jake counts down to suicide, a violent murder and an extraordinary meeting plunge him straight back into the desperate pursuit of life – and love. Sexy, smart, bloody and heartbreaking, The Last Werewolf takes literature by the throat.

In this fascinating book, Brian J. Frost presents the first full-scale survey of werewolf literature covering both fiction and nonfiction works. He identifies principal elements in the werewolf myth, considers various theories of the phenomenon of shapeshifting, surveys nonfiction books, and traces the myth from its origins in ancient superstitions to its modern representations in fantasy and horror fiction. Frost's analysis encompasses fanciful medieval beliefs, popular works by Victorian authors, scholarly treatises and medical papers, and short stories from pulp magazines of the 1930s and 1940s. Revealing the complex nature of the werewolf phenomenon and its tremendous and continuing influence, The Essential Guide to Werewolf Literature is destined to become a standard reference on the subject.

A novel about a fifteen-year-old prostitute who is actually a 2,000-year old werefox who seduces men with her tail and drains them of their sexual power. She falls in love with a KGB officer who is actually a werewolf.

The werewolf is an increasingly popular subject of academic study, and several monographs have been published in recent years. Of these, the closest in format and subject matter (e.g. the contemporary werewolf in popular fiction) are as follows: Chantal Bourgault Du Coudray, The Curse of the Werewolf: Fantasy, Horror, and the Beast Within (New York: I.B. Tauris & Co Ltd, 2006) Brent A. Stypczynski, The Modern Literary Werewolf: A Critical Study of the Mutable Motif (Jefferson, NC and London: McFarland, 2013) Kimberly McMahon-Coleman and Rosalyn Weaver, Werewolves and Other Shapeshifters in Popular Culture (Jefferson NC: McFarland, 2012)

Transformation of the werewolf in literature made its greatest strides in the 19th century when the shape-shifting monster leapt from poetry to the short story. It happened when this shorter form of literature was morphing into darker shapes thanks in no small part to Edgar Allan Poe, Honore de Balzac, E. T. A. Hoffmann, Nathaniel Hawthorne, Prosper Merimee, James Hogg, and so many others in Europe and the United States.The fifty year period between 1800 and 1849 is truly the cradle of all werewolf short stories. For the first time in one anthology, Andrew Barger has compiled the best werewolf stories from this period. The stories are "Hugues the Wer-Wolf: A Kentish Legend of the Middle Ages," "The Man-Wolf," "A Story of a Weir-Wolf," "The Wehr-Wolf: A Legend of the Limousin," and "The White Wolf of the Hartz Mountains." It is believed that two of these fine stories have never been republished in over one hundred and fifty years since their original printing. Read "The Best Werewolf Short Stories 1800-1849" tonight, just make sure it is not by the light of a full moon "