Get Adrift (Adrift Series, Book 1) PDF

By K. R. Griffiths

ISBN-10: 1503350363

ISBN-13: 9781503350366

For artist Dan Bellamy and his new bride Elaine, a visit at the world's greatest, most modern cruise send represents greater than simply the honeymoon of a life-time: it's also a party of the growth Dan has made towards beating the agoraphobia that has plagued him given that he suffered a awful knife assault years earlier.

The send is an ideal floating paradise, but if Dan spots what he thinks is a physique being thrown overboard, he starts to suspect that now not every body aboard the Oceanus is there for a vacation.

Soon, Dan will observe that there are a few things worse than homicide, and the physique he observed is simply the start. simply because whatever is coming for the passengers at the Oceanus.

Something that isn't speculated to exist...

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Additional info for Adrift (Adrift Series, Book 1)

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Indb 34 11/19/13 2:43 PM The Lesbian Vampire Film 35 3. Susan Sontag, “Persona,” Sight and Sound 36, no. 4 (Autumn 1967): 186, 191. , 1981), 341–46.  Gene Damon, The Ladder (February/March 1971) 36; (June/July 1971), 47–48. 6. Conversation with Tudor Gates, screenwriter of the Hammer lesbian vampire trilogy, on January 16, 1992, London. 7. Bonnie Zimmerman, “Daughters of Darkness: Lesbian Vampires,” Jump Cut 24–25 (Fall 1980): 23. 8. ” in Fantasy and the Cinema, ed. James Donald (London: British Film Institute, 1989), 237.

Indb 32 11/19/13 2:43 PM The Lesbian Vampire Film 33 ternal events such as the masquerade ball and fireworks display are used to suggest Carmilla’s inner turmoil; such events are also symbols for the film’s repressed lesbianism, which emerges in only a few very restrained scenes. There may be pleasure for lesbian viewers in the discovery of these subtextual lesbian scenes, and in reading them as lesbian. While The Vampire Lovers uses the male vampire hunter as a stand-in for the perspective of the male spectator, Blood and Roses uses a similar voiceover narration device, but here it is the voice of Carmilla herself, telling her own story.

This is certainly true of Dracula’s Daughter, and perhaps Blood and Roses as well. In Dracula’s Daughter, produced in 1936, the spectator’s sympathy is with the vampire (Gloria Holden). With the advent of psychology as a more widely accepted field of science, lesbianism and vampirism are presented as uncontrollable afflictions for which the tormented lesbian vampire herself seeks professional help. The countess tries but fails to escape her family heritage of vampirism; she seduces young women before being destroyed by the doctor who failed to cure her.

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Adrift (Adrift Series, Book 1) by K. R. Griffiths


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