Stung (Zombie Gentlemen) (m/m erotic romance)
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So much so, I ended up pushing aside some of my other books in my TBR mountain, just to check it out, and before I knew it, I had read the entire book from start to finish without any interruptions.
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Living and trying to survive in the land of the undead is not an easy one. Since the plague, people have become accustomed to being cautious and taking steps to ensure their safety and survival from the undead. This changes when he is forcefully taken away from his easy-going life and placed into a camp where others must do hard labor. For once in his life, Victor must find his inner strength and somehow survive the terrible conditions and the cruelty from the guards.
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As soon as he spots one of the guards, Crunch, he is shocked by the mutual attraction that sizzles between them. This is one of the reasons why I enjoy reading their stories. If you like books that are creative, sexy and a little scary, Stung is a good choice for you. I ended up really loving this book and hated to see it come to an end. Pingback: Stung is out!
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Availability - In Stock Dispatched in working days. Shipping: Free. Learn how your comment data is processed. Highly Recommended! 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 picture is the more recent TV series. 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: when the story begins, Solange will be transformed into a vampire on her sixteenth birthday in three days time. Solange is unique; the only girl in a family of hereditary vampirism for nine hundred years. 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.
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. 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.
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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. 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. 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.