By Jennifer Estep
I used to homicide humans for cash, yet nowadays it’s extra of a survival technique.
Once an murderer, consistently an murderer. rather a lot for being undeniable outdated Gin Blanco. With each lowlife in Ashland gunning for me, I don’t desire one other challenge, yet a brand new one has come to city.
Salina might sound like a candy Southern belle, yet she’s particularly a deadly enemy whose water elemental magic can pass head-to-head with my very own Ice and Stone energy. Salina additionally has an intimate heritage with my lover, Owen Grayson, and now that she’s again on the town, she thinks he’s hers for the taking.
Salina’s taking part in a mysterious video game that consists of a shady neighborhood on line casino proprietor with a stunning connection to Owen. yet they name me the Spider for a cause. I’m going to untangle her lethal scheme, whether it leaves my love affair putting by means of a thread.
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Additional info for Widow’s Web (Elemental Assassin, Book 7)
Sample text
14 In other words, like Dracula’s dream of life in London, the flâneur must circulate unnoticed within the crowds of the city and feed off the life around him. Stoker’s decision to set his story in modern London was, however, not unique in late nineteenth-century Gothic fiction. The narratives, characters, and settings of Gothic fiction were transforming. While eighteenthcentury Gothic focused upon the past’s intrusion on the present in the form of an external threat or monster, nineteenth-century Gothic was increasingly defined by internal threats and anxieties.
I read in the typescript that in my trance I heard cows low and water swirling level with my ears and the creaking of wood. The Count in his box, then, was on a river in an open boat—propelled probably either by oars or poles, for the banks are near and it is working against stream” (353). The result of her analysis renews the vampire hunters’ pursuit of Dracula. While the methods of the vampire hunters may seem to ground the characters within the modern, they also serve to overturn their own definition of modern in favor of a new form of modernity.
Later in the novel, when Mina describes her encounter with Dracula, she states that it was “as if he had stepped out of the mist—or rather as if the mist had turned into his figure” (287). In his reconception of the modern vampire, Stoker draws upon contemporary developments in electrical sciences that had played a significant role in the changing perception of the natural world in the nineteenth century. He reinvents the vampire through the language and imagery of modern technology and electrical sciences.