Arguably the most famous vampire story in all of literature, Bram Stoker's Dracula (1897) is the chilling tale of a monster of incomprehensible evil and the band of heroes who desperately hunt him. With twists and turns that unfold through journal entries, letters, and other "found" writings, Stoker stages a dramatic struggle between forces of good and evil, insanity and reason, and fear and desire as the group contends with the mysterious Count Dracula and his terrifying nature. This unforgettable masterpiece of Gothic horror inspired several iconic adaptations and has become the archetype for the vampire lore that continues to grip audiences across countless genres and mediums.

Rock and Romanticism: Blake, Wordsworth, and Rock from Dylan to U2 is an edited anthology that seeks to explain just how rock and roll is a Romantic phenomenon that sheds light, retrospectively, on what literary Romanticism was at its different points of origin and on what it has become in the present. This anthology allows Byron and Wollstonecraft to speak back to contemporary theories of Romanticism through Bob Dylan and the Rolling Stones. Relying on Loewy and Sayre's Romanticism Against the Tide of Modernity, it explores how hostility, loss, and longing for unity are particularly appropriate terms for classic rock as well as the origins of these emotions. In essays ranging from Bob Dylan to Blackberry Smoke, this work examines how rock and roll expands, interprets, restates, interrogates, and conflicts with literary Romanticism, all the while understanding that as a term "rock and roll" in reference to popular music from the late 1940s through the early 2000s is every bit as contradictory and difficult to define as the word Romanticism itself.

Rock and Romanticism: Blake, Wordsworth, and Rock from Dylan to U2 is an edited anthology that seeks to explain just how rock and roll is a Romantic phenomenon that sheds light, retrospectively, on what literary Romanticism was at its different points of origin and on what it has become in the present. This anthology allows Byron and Wollstonecraft to speak back to contemporary theories of Romanticism through Bob Dylan and the Rolling Stones. Relying on Loewy and Sayre's Romanticism Against the Tide of Modernity, it explores how hostility, loss, and longing for unity are particularly appropriate terms for classic rock as well as the origins of these emotions. In essays ranging from Bob Dylan to Blackberry Smoke, this work examines how rock and roll expands, interprets, restates, interrogates, and conflicts with literary Romanticism, all the while understanding that as a term "rock and roll" in reference to popular music from the late 1940s through the early 2000s is every bit as contradictory and difficult to define as the word Romanticism itself.

Covering cultural touchstones ranging from Twilight to Taylor Swift and from Lord Byron to The Bachelor, The Darcy Myth is a book for anyone who loves thinking deeply about literature and culture whether they love Jane Austen or not. You already know Mr. Darcy at least you think you do! The brooding, rude, standoffish romantic hero of Pride and Prejudice, Darcy initially insults and ignores the witty heroine, but eventually succumbs to her charms. It s a classic enemies-to-lovers plot, and one that has profoundly influenced our cultural ideas about courtship. But what if this classic isn t just a grand romance, but a horror novel about how scary love and marriage can be for women? In The Darcy Myth, literature scholar Rachel Feder unpacks Austen s Gothic influences and how they ve led us to a romantic ideal that s halfway to being a monster story. Why is our culture so obsessed with cruel, indifferent romantic heroes (and sometimes heroines)? How much of that is Darcy s fault? And, now that we know, what do we do about it?

In the period between 1815 and 1820, Mary Shelley wrote her most famous novel, Frankenstein; or, The Modern Prometheus, as well as its companion piece, Mathilda, a tragic incest narrative that was confiscated by her father, William Godwin, and left unpublished until 1959. She also gave birth to four-and lost three-children. In this hybrid text, Rachel Feder interprets Frankenstein and Mathilda within a series of provocative frameworks including Shelley's experiences of motherhood and maternal loss, twentieth-century feminists' interests in and attachments to Mary Shelley, and the critic's own experiences of pregnancy, childbirth, and motherhood. Harvester of Hearts explores how Mary Shelley's exchanges with her children-in utero, in birth, in life, and in death-infuse her literary creations. Drawing on the archives of feminist scholarship, Feder theorizes "elective affinities," a term she borrows from Goethe to interrogate how the personal attachments of literary critics shape our sense of literary history. Feder blurs the distinctions between intellectual, bodily, literary, and personal history, reanimating the classical feminist discourse on Frankenstein by stepping into the frame. The result-at once an experimental book of literary criticism, a performative foray into feminist praxis, and a deeply personal lyric essay-not only locates Mary Shelley's monsters within the folds of maternal identity but also illuminates the connections between the literary and the quotidian.