Truly a Dracula for both art and book lovers, this new edition of the most famous of vampire tales completely overhauls the notion of how a literary classic might be creatively revisited. James Pyman is already famed for his eerily exacting and hallucinatory draftsmanship, as well as for his relish for the exploration of book formats such as cartoon or children's books, and is therefore ideally suited to the illustration of this volume. Herein, Pyman returns to the original text, illustrating a line or phrase from each of the novel's 27 chapters in a series of wonderfully sinister and weirdly clinical pencil drawings. The book, which Bram Stoker composed as a series of diaries, letters and newspaper cuttings, has been typeset by designer John Morgan with a different typeface allocated to each character--each font being based on those in use at the time of the book's original publication. As a final flourish, the striking bright yellow clothbound cover, with its vivid red lettering, is based on that of the first UK edition.

Orphaned at an early age, Jane Eyre leads a lonely life until she finds work as a governess at Thornfield Hall, where she meets the mysterious Mr Rochester and sees a ghostly woman who roams the halls by night.

Last year after falling through the ice, seventeen-year-old Abby Craig woke up from death.

But she woke into a world she barely recognizes. She can’t see colors, memories have been erased, and her friends all hate her. And then there’s Jesse, who she loves, but who refuses to forgive her the one mistake she made long ago.

Just when she thinks it can’t get any worse, the visions begin. In them, she sees a faceless serial killer roaming the streets. While the police believe that there have been a lot of accidents in town lately, Abby knows differently. And she soon realizes that it’s up to her to find him.

But to stop him, she’ll have to confront more than just the killer. She’ll have to face something else that was lost in those dark waters. The truth.

In the tradition of Amanda Hocking, 44 is a thrilling paranormal romance mystery novel that keeps readers at the edge of their seats and glued to the very end. The ending will haunt you forever.

"A FANTASTIC novel! 44 was just about impossible to put down once I started. From the very beginning, there was an air of mystery that kept me on the edge of my seat… I highly recommend this fantastic novel!"
The Caffeinated Diva

"Fantastic, edge of your seat thriller. A MUST READ! It twists you about and as soon as you think you have it all figured out, throws you for the final loop with an ending that will break the hardest heart."
Wormhole

"44 Book Two" is now available at Amazon.com

Last year after falling through the ice, seventeen-year-old Abby Craig woke up from death.

But she woke into a world she barely recognizes. She can’t see colors, memories have been erased, and her friends all hate her. And then there’s Jesse, who she loves, but who refuses to forgive her the one mistake she made long ago.

Just when she thinks it can’t get any worse, the visions begin. In them, she sees a faceless serial killer roaming the streets. While the police believe that there have been a lot of accidents in town lately, Abby knows differently. And she soon realizes that it’s up to her to find him.

But to stop him, she’ll have to confront more than just the killer. She’ll have to face something else that was lost in those dark waters. The truth.

In the tradition of Amanda Hocking, 44 is a thrilling paranormal romance mystery novel that keeps readers at the edge of their seats and glued to the very end. The ending will haunt you forever.

"A FANTASTIC novel! 44 was just about impossible to put down once I started. From the very beginning, there was an air of mystery that kept me on the edge of my seat… I highly recommend this fantastic novel!"
The Caffeinated Diva

"Fantastic, edge of your seat thriller. A MUST READ! It twists you about and as soon as you think you have it all figured out, throws you for the final loop with an ending that will break the hardest heart."
Wormhole

"44 Book Two" is now available at Amazon.com

"The Picture of Dorian Gray" is Oscar Wilde's classic tale of the moral decline of its title character, Dorian Gray. When Dorian has his portrait painted by Basil Hallward and wishes that he would stay young while his picture changes, his wish comes true. In exchange for this Dorian gives up his soul and as he ages the bad deeds that he commits are reflected in his painting and not him. "The Picture of Dorian Gray", arguably Wilde's most popular work, was considered quite scandalous when it was first published in the late 1800s in Victorian England.

A lush, cautionary tale of a life of vileness and deception or a loving portrait of the aesthetic impulse run rampant? Why not both? After Basil Hallward paints a beautiful, young man's portrait, his subject's frivolous wish that the picture change and he remain the same comes true. Dorian Gray's picture grows aged and corrupt while he continues to appear fresh and innocent. After he kills a young woman, "as surely as if I had cut her little throat with a knife," Dorian Gray is surprised to find no difference in his vision or surroundings. "The roses are not less lovely for all that. The birds sing just as happily in my garden."

As Hallward tries to make sense of his creation, his epigram-happy friend Lord Henry Wotton encourages Dorian in his sensual quest with any number of Wildean paradoxes, including the delightful "When we are happy we are always good, but when we are good we are not always happy." But despite its many languorous pleasures, The Picture of Dorian Gray is an imperfect work. Compared to the two (voyeuristic) older men, Dorian is a bore, and his search for ever new sensations far less fun than the novel's drawing-room discussions. Even more oddly, the moral message of the novel contradicts many of Wilde's supposed aims, not least "no artist has ethical sympathies. An ethical sympathy in an artist is an unpardonable mannerism of style." Nonetheless, the glamour boy gets his just deserts. And Wilde, defending Dorian Gray, had it both ways: "All excess, as well as all renunciation, brings its own punishment."

"The Picture of Dorian Gray" is Oscar Wilde's classic tale of the moral decline of its title character, Dorian Gray. When Dorian has his portrait painted by Basil Hallward and wishes that he would stay young while his picture changes, his wish comes true. In exchange for this Dorian gives up his soul and as he ages the bad deeds that he commits are reflected in his painting and not him. "The Picture of Dorian Gray", arguably Wilde's most popular work, was considered quite scandalous when it was first published in the late 1800s in Victorian England.

Lively young socialite Emma Woodhouse likes nothing more than interfering in the romantic lives of others and when she appoints herself matchmaker to her gentle friend Harriet, she has no idea just how much chaos she will create, and soon her carefully laid plans unravel with consequences that she never expected. Might this social disorder bring about a match for Emma herself?

Of all Jane Austen's heroines, Emma Woodhouse is the most flawed, the most infuriating, and, in the end, the most endearing. Pride and Prejudice's Lizzie Bennet has more wit and sparkle; Catherine Morland in Northanger Abbey more imagination; and Sense and Sensibility's Elinor Dashwood certainly more sense--but Emma is lovable precisely because she is so imperfect. Austen only completed six novels in her lifetime, of which five feature young women whose chances for making a good marriage depend greatly on financial issues, and whose prospects if they fail are rather grim. Emma is the exception: "Emma Woodhouse, handsome, clever, and rich, with a comfortable home and happy disposition seemed to unite some of the best blessings of existence; and had lived nearly twenty-one years in the world with very little to distress or vex her." One may be tempted to wonder what Austen could possibly find to say about so fortunate a character. The answer is, quite a lot.

For Emma, raised to think well of herself, has such a high opinion of her own worth that it blinds her to the opinions of others. The story revolves around a comedy of errors: Emma befriends Harriet Smith, a young woman of unknown parentage, and attempts to remake her in her own image. Ignoring the gaping difference in their respective fortunes and stations in life, Emma convinces herself and her friend that Harriet should look as high as Emma herself might for a husband--and she zeroes in on an ambitious vicar as the perfect match. At the same time, she reads too much into a flirtation with Frank Churchill, the newly arrived son of family friends, and thoughtlessly starts a rumor about poor but beautiful Jane Fairfax, the beloved niece of two genteelly impoverished elderly ladies in the village. As Emma's fantastically misguided schemes threaten to surge out of control, the voice of reason is provided by Mr. Knightly, the Woodhouse's longtime friend and neighbor. Though Austen herself described Emma as "a heroine whom no one but myself will much like," she endowed her creation with enough charm to see her through her most egregious behavior, and the saving grace of being able to learn from her mistakes. By the end of the novel Harriet, Frank, and Jane are all properly accounted for, Emma is wiser (though certainly not sadder), and the reader has had the satisfaction of enjoying Jane Austen at the height of her powers. --Alix Wilber

For more than a Century, Charles Dickens's classic tale of Ebenezer Scrooge and Tiny Tim has been a holiday favorite. When the miserly Scrooge retires for the day on Christmas Eve, he is visited by the ghost of his long-dead partner, Jacob Marley, who warns him of what surely will be if he doesn't change his stingy ways. Highlighting the virtues of Christian love, hope, and generosity, A Christmas Carol is a 19th-century story that extols timeless lessons for today.

In the history of English literature, Charles Dickens's A Christmas Carol, which has been continuously in print since it was first published in the winter of 1843, stands out as the quintessential Christmas story. What makes this charming edition of Dickens's immortal tale so special is the collection of 80 vivid illustrations by Everett Shinn (1876-1953). Shinn, a well-known artist in his time, was a popular illustrator of newspapers and magazines whose work displayed a remarkable affinity for the stories of Charles Dickens, evoking the bustling street life of the mid-1800s. Printed on heavy, cream-colored paper stock, the edges of the pages have been left rough, simulating the way in which the story might have appeared in Dickens's own time. Though countless editions of this classic have been published over the years, this one stands out as particularly beautiful, nostalgic, and evocative of the spirit of Christmas.

Anna Karenina has been described as the perfect Russian novel. Trapped in a loveless marriage, Anna Karenina is defenseless against the power of her passions once they are unleashed by the adoration of Count Vronsky. Having defied the rules of 19th Century Russian society, Anna is forced to pay a heavy price. Human nature, with all its failings, is the fabric of which this great and passionate work is composed.