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Category: Paranormal by John | Sep 2, | Paranormal, Romance | 0 |. Together with his by John | Aug 2, | Horror Fiction, Paranormal, PDF | 0 |. Keywords: werewolf, secrets, love, packs, war, human, werewolves, romance and a girl with unstable paranormal abilities, a witch searching for answers. Demon Lovers: Embracing the Monster in Paranormal Romance I'm not going to be as terrifying as I should be for Halloween—I'm a timid soul, and a romantic at.

Born in the USA: Love Across the Multiverse by Kimberley Cooper. Take an infinite number of Earths.

Mix in a man trying to stop him. Result — two universes, two men, one woman and a baby. And a cat. Pride of Africa by Tori Knightwood. Colin Kemboi is a bored playboy—and a lion shifter. Paranormal Romance. Download from Instafreebie. site Author Page. They came from another world to protect her. Download from BookFunnel. Download from site. Sometimes the past comes back to haunt you. Sometimes it comes back to tempt you.

When a shy librarian summons a sexy Incubus, love gets a whole lot hotter! A vampire must overcome his centuries-old disdain for witches to save the woman he loves. Catriogwyn Stacey has been around for two hundred thirteen years and has seen a lot in that time.

Jessica Winters is out enjoying her daily nature walk when she stumbles upon that dark secret. Love the freebies?

Share them with your friends! Adults Only. Children's Fiction. Even zombies can now be seen lurching up as lovers.

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Which she is fine with until she falls in love with a man. I think even the cover is scary [pic 11]. The different kinds of paranormal lover stand in for different epistemological stances as much as do different modulations of genre, and themselves can be said to identify sub-subgenres, depending on which creature dominates the text.

The vampire is a creation of the eighteenth century, first appearing in ethnological reports of the vampire panic in Eastern Europe and detailed with Enlightenment scep- ticism. There, it is wholly monstrous and inhuman [pic 12]. But it very quickly be- comes a creature of fiction and poetry. The By- ronic overtones, however, are important in the development of the theme.

The sleeping women, with the monster looming over her is, as you will notice, a common motif, but here the monster is another woman. So not exactly love at first sight. In the earliest cinematic incarnation, he is still truly monstrous as Orlok in F. But he gets progressively sexier through the history of cinema: How dare you cast eyes on him when I had forbidden it?

Then the Count turned, after looking at my face attentively, and said in a soft whisper: Is it not so? Well, now I promise you that when I am done with him, you can kiss him at your will. Who desires whom?

But who are the love objects of Dracula, and other vampires in general? Female vampires are certainly often desirable. The truth is, Lucy is more sexy as a vampire. This is when she, though already trans- formed, lies dormant and apparently newly deceased.

So, there must have been some buried seed to work on; the operations of parody, hypertextual- ity, and genre transformation are very important here. Perhaps that very absence, that unfulfilled desire, the unanswered question—who does Dracula love? Auerbach, however, claims that the demand for a love story arises because Dracula is so bleak. Twilight has, too, been seen by horror stalwarts such as Stephen King as having been far too diluted by the genre of romance; modern vampires are just not scary enough.

I confess to thinking that the heavy dose of romance in Twilight brings a kind of certainty that renders it less interesting than other, more questioning fictions. Vampire lovers Since Stoker, Dracula himself has been a lover many times: This is one of the ur- texts for the vampire as tragic lover and beloved.

Here we first see the importance of good biting; you need good biting for the perverse vampire eroticism to work. The distinguishing feature of blood drinking and exchange gives the vampire, along with the conven- tional mesmeric powers, an advantage over other monsters as a focus for sexual de- sire. There are the tormented romances between Buffy and Angel in Buffy the Vampire Slayer, and later, Spike [pics 21, 22] as with many people here, I suspect, this is where my own thirst for vampire stories became stirred.

In the late twentieth and twenty-first centuries, we have a plethora of vampiric lovers. There are Laurell K. Why is there a need for a vampire who is not just humanised and sympathetic, but sexually attractive? It might boil down to the cynical and market-driven exploitation of a niche—that of a largely female readership. Often, the male vampire lover appeals precisely because he is both attractive yet dangerous.

Precisely why this is appealing would need a deeper kind of psychological analysis than I dare give but it may be as much a way of negotiating the perceived difference of masculinity as any urge to submissiveness particularly in young adult fiction. Why is there this submissive, even masochistic quality in such novels?

Plus, there are all the mysterious and unaccountable excitements of danger and transgres- sion. Recent vampires, however, may stand accused of having watered down their threaten- ing aspects. The dangers from Edward Cullen are so minimised that he is hardly vam- piric anymore—more a superhuman who might accidentally break Bella with his su- perior strength if their passion gets out of hand, and this diminishes the disturbing fas- cination of the true romanced Gothic, with its dangerous lovers from Rochester to Angel.


Smith in The Vampire Diaries solves some of the problems of loving the monster by splitting her vampire lovers into brothers, Stefan and Damon, one good, the other evil though this is qualified [pic 27].

The demon lover still has that appeal: The picture is the more recent TV series. And vampire lovers offer to unleash a utopian potential in the beloved; here, In The Vampire Diaries, Damon tempts Elena: Postmodern vampire love The sympathetic vampire first stirs in a handful of significant texts from the s onwards which lay claim to inaugurating the vampire as lover. Notice how it mimics the iconography of the Twilight cover [pic 32]—many of the covers do.

Like many Young Adult paranormal romances, this is touched by the coming-of- age narrative: Solange is unique; the only girl in a family of hereditary vampirism for nine hundred years.

Her story has an explicitly folkloric aspect, announced here, but becoming bla- tant as the plot unfolds: The sexual appeal of the male of romantic fiction is supplemented by an additional factor, which entwines romance story conventions with epistemological questions al- most from the start. The pheromones that vampires emit like a dangerous perfume keep humans enticed and befuddled with longing [. Here, the ideas of agency become complicated. Autonomy here is challenged by a positivist worldview where free will is overridden by desire founded on pheromonal compulsion.

With Nicholas and Lucy, the conventional vampire glamour, made scien- tific with the apparatus of pheromones, becomes tangled up with the compulsive logic of desire here in a flirtatious stand-off familiar from romantic fiction: I tingled all the way down to my toes [.

When his tongue touched mine, my eyelids finally drifted shut. I gave myself to the moment, all but hurled into it. Just imagine if we actually liked each other. Romantic fiction conventions, by being placed in the supernatural con- text, can themselves raise these questions of knowing. In Solange, too, struggles over different epistemologies of desire are contested. To vampires, she is irresistible; males compulsively lust after her, wanting to breed with her since she is a rare female.

Their lust is triggered by her unique smell, consisting of those powerful pheromones. Vampirism itself is explained with a hesitancy between paranormal and biological causality. All this recalls ac- counts of human behaviour—particularly sexual attraction—by contemporary evolu- tionary psychologists and sociobiologists. Yet, alongside these determinist view- points, there is a sense of agency asserted too, and the mixture of genres—echoes of science fiction in conjunction with a novelistic depiction of interiority—echoes the perplexity over agency in a supposedly postmodern age.

The oscillation between modes and genres allows a scepticism towards the positivist strand of Enlightenment to emerge, but in a way that reasserts subjectivity rather than permitting he poststructuralist dissolution of the subject.

The werewolf, too, being bound to a hierar- chical pack society, evokes a different perspective on the social than the often solitary vampire. Amidst twenty-first century concerns about the environment and a devaluation of the centrality of the human, werewolf narratives often express a longing for a less antago- nistic relationship with nature, alongside utopian aspirations towards the heightened powers particularly sensory perception and imagined intensities of animal existence.

However, many such fictions adopt an uncritical admiration for the instinctual and a postmodern denigration of agency and subjectivity that can lead to unexpectedly reac- tionary positions—as when gender hierarchies become legitimated by an essentialism derived from animal analogies.

Generally, werewolves embody determinism more than other paranormal characters, biology inescapably dictating their identity. Various ideological issues are raised by the werewolf narrative. There are those around gender. Thus many of these novels share the obligatory feisty female protago- nist [pic 37], who is present both from a generic imperative and due to what is so- cially acceptable in present-day Western society, particularly when a largely female readership is involved.

Yet contradictions emerge between this and the prevalent submission to pack hierarchy and to the dominant alpha male that the heroine half- willingly acquiesces to. She simply is this creature of uncontrollable sexuality—it is her essence and rooted in her biology.

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These narratives again echo contemporary anti-humanist ideologies of evolutionary psychology. The temptations of postmodernism are resisted and a valorisation of the spirit of Enlightenment is attempted.

The trilogy is tantalisingly ambivalent about the appeal of the instinctual and the bor- derline between an embodied humanity and the animal, particularly as manifested in the love affair of the teenage protagonists. For Marcuse, the surplus-repression of the proximity senses smell, taste enforces the isolation of individuals in civilisation.

Stiefvater continually emphasises the sense of smell both as a trigger to sexual attrac- tion and as an aspect of the pack sociality and sense of belonging of the wolves.

Through such devices, she concretely renders the nearness of Grace and Sam her young lovers to wolfhood. The narrative refuses to endorse simplistic oppositions between the animal and the human, recognising and celebrating the embodied consciousness that is being human, and aware of the complex affinity of romance and instinct. Stiefvater points towards a transcendence of such antinomies though, ultimately, she asserts the distinctively hu- man powers of language, of individual identity, and goal-oriented agency as her char- acters find their voice and define their projects.

Faeries These pretty, tiny little creatures that flit through the Victorian imagination are our usual idea of fairies [pic 39]. But the fairies of Celtic myth are more dangerous and unpredictable still, and often not pretty or delicate. Sweet sixteen. It has a magical ring to it.

Sixteen is supposed to be the age when girls become princesses and fall in love and go to dances and proms and such.

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Countless stories, songs, and poems have been written about this wonderful age, when a girl finds true love and the stars shine for her and the handsome prince carries her off into the sunset. Here, the ruling creature is the faery. But they are associated not with death—rather with intensified life, life out of human control, and thus, in general, nature.

In the twenty-first century this inevitably evokes the values and concerns of environmentalism, though the scary na- ture of faeries means that the incorporation of these values is not uncritical.

Kagawa neatly draws on the folkloric motif of faery aversion to iron, which represents a con- temporary questioning of modernity in many dark faery books.

In The Iron King the Romance quest narrative is contiguous with the romantic fiction plot; it follows the episodic quest structure far more closely than does My Love Lies Bleeding, for example.

Meghan, it will appear, is the daughter of Oberon, King of the Summer Fey, by her human mother. The series is complete! Grab the first three books in one convenient bundle.

Maggie must expose Marceline for the sociopath she is before she loses Bruce… or possibly herself. Viking Harbor series, book 2. This book is Free on July 12, site Watching Willow The Gold Coast Retrievers Book 7 by Ann Omasta: Willow thought being told she was getting too old for television was the most frightening thing a celebrity diva could hear — until she and her furry best friend, Buddy, receive a threatening letter.

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Concerned for their safety, the television studio hires Caleb McCreery, a brave, strong, and young bodyguard to protect the famous duo.Bestiality - Sexual relations between humans and real-world animals sex with Big Foot, dinosaurs, shape shifters and other imaginary creatures is not bestiality. It was perfect.

When he offered her a place to stay, he never expected her to steal his heart. I dont understand, she began, still unsure of what he had mentioned earlier. Until last week. Doctor Franklin gave up on love after he fell into a vat of experimental dye and ended up green from head to toe.

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