More humans had been taken, now it wasn't just a matter of vengeance, it was a matter of justice. They had vowed to protect mankind, that's why they lived a life of feeding off animals, they never wanted to be the monsters that had created them. The Lopez clique were a family of nine vampires living there lives as humans, in peace and harmony, but now all that was being threatened as the humans were being dragged from their homes and experimented on. Ariana had lost everything, her children, her life, the only thing that kept her immortal existence going was the need to find her creator and destroy him. Her visions into the future lead her to a creature, neither human nor vampire. A creature experimented on, injected with a serum that makes humans obey their master, they become like zombies. His name is Greg, he too has lost everything at the hands of a vampire, all he wants now is to die. He is dying, when Ariana saves him, biting him she creates what she jokingly calls a...., part vampire, part zombie. In the process the serum in Greg's blood gives Ariana more powers making her a super vampire. They fall in love and begin their journey to stop any more humans being killed or experimented on. Ariana's family are wary of Greg they see him as a traitor; however in their quest to protect Ariana, they fail to notice the real traitor amongst them. On their way to stop one of the attacks they discover two more zombies, who later become part vampire part zombie after two members of the Lopez clique bite them. As Greg is kidnapped and tortured for information on Ariana, he comes face to face with her creator, Maxwell. With the help of the two newest members and the new super vampires Sebastian and Claudia, Ariana and the rest of her family set off to free Greg. They eventually rescue him and discover that he has information on the next location where humans will be taken. In their efforts to stop it they come face to face with the Lorwena tribe, the vampires behind the experiments. Ariana and Greg also find a little boy whose mother has been feed upon. Ariana can sense someone watching them. After getting Greg and the little boy to safety she sets off on her own in a quest that will lead her face to face with her creator, Maxwell. Will she finally discover the truth as to why he made her a vampire? Will she finally get her vengeance? And if she does, will they finally be able to live in peace, or is the war with the Lorwena tribe only just beginning?

In early modern England, boys and girls learned to be masculine or feminine as they learned to read and write. This 1999 book explores how gender differences, instilled through specific methods of instruction in literacy, were scrutinised in the English public theatre. Close readings of plays from Shakespeare's Love's Labour's Lost to Thomas Dekker's Whore of Babylon, and of poems, didactic treatises and autobiographical writings from the same period, offer a richly textured analysis of the interaction between didactic precepts, literary models, and historical men and women. At the cross-roads between literary studies and social and cultural history, Eve Sanders' research offers insights into poems, plays, and first-person narratives (including works by women writers, such as Mary Sidney and Anne Clifford) and into the social conflicts that shaped individuals as the writers and readers of such texts.

In early modern England, boys and girls learned to be masculine or feminine as they learned to read and write. This 1999 book explores how gender differences, instilled through specific methods of instruction in literacy, were scrutinised in the English public theatre. Close readings of plays from Shakespeare's Love's Labour's Lost to Thomas Dekker's Whore of Babylon, and of poems, didactic treatises and autobiographical writings from the same period, offer a richly textured analysis of the interaction between didactic precepts, literary models, and historical men and women. At the cross-roads between literary studies and social and cultural history, Eve Sanders' research offers insights into poems, plays, and first-person narratives (including works by women writers, such as Mary Sidney and Anne Clifford) and into the social conflicts that shaped individuals as the writers and readers of such texts.