Harvest Hunting (Sisters of the Moon, Book 8) by Yasmine Galenorn

By Yasmine Galenorn

Three sisters ridding the Otherworld of evil-one monster at a time.

We're the D'Artigo sisters: attractive, savvy operatives for the Otherworld Intelligence enterprise. yet being half-human, half-Fae skill our supernatural skills can pass haywire at any time. My sister Camille is a depraved reliable witch whose lifestyles lately took a drastic flip. Menolly's a vampire who's nonetheless getting the cling of being undead. And me? I'm Delilah, a werecat with a really fascinating love lifestyles. yet existence isn't all enjoyable and video games. We're at the path of the demon common who has determined that we've develop into fairly a nuisance...

It's Samhain, and the fall Lord has known as for my education first of all the demise Maidens...and i locate that i love it. yet we've obtained difficulties: werewolves are going lacking and a brand new magical drug, "Wolf Briar," is getting used as a weapon. My expensive Chase and i've come to a fragile crossroads. And most deadly of all: Stacia Bonecrusher has placed a bounty on our heads. Now it's a race to take out the demon basic prior to she realizes the 6th Spirit Seal is inside her reach...

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Additional resources for Harvest Hunting (Sisters of the Moon, Book 8)

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Dracula, by contrast, is a ‘selfish’ being: as Van Helsing says, ‘his action is based on selfishness, he confines himself to one purpose. That purpose is remorseless’ (Stoker, 1988, 342) – in Moretti’s reading, it is to remorselessly accumulate capital. Mina expresses the opposite sense that money must not be hoarded but must be used for the collective good (her inclusion of Morris here, however, would seem to go against Moretti’s view of the American as the ‘future’ of monopoly): it made me think of the wonderful power of money!

The term itself was not coined until 1846: in an article in Athenaeum, William John Thoms introduced the ‘good Saxon compound, Folk-Lore’ to replace the ‘circumlocutions’ in current usage at the time, ‘Popular Antiquities’ and ‘Popular Literature’ (cited in Herzfeld, 1982, 111–12). Certainly, the connections between ‘folklore’ as an emergent discipline of study and representations of the folk – rustic types, rural communities – in popular fiction (as well as ballads, street songs and so on) ought to be noticed.

These two sources, however, stand amongst many others (there is in fact no mention of Bathory in Dracula; and Vlad Tepes is only mentioned incidentally); their more recent historians allow a range of other influences and sources in their account of Stoker’s work (Florescu and McNally, 1973; McNally, 1984). Florescu and McNally’s Dracula: Prince of Many Faces (1990) confirms the multiplicity of origins – as does Brian J. Frost’s The Monster with a Thousand Faces (1989), an inventory of stories featuring the ‘vampire motif’ which concludes at the outset that the vampire, evolving from ‘obscure’ conditions, ‘is a polymorphic phenomenon with a host of disparate guises to its credit’ (Frost, 1989, 1).

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