She glanced up at him, a smile playing at the corner of her lips. Exhausted from the events of the day, she carted her purse, the bottle of pills, bowls, a bag of kibble, her new prescription cards and the cans of wet food the vet seemed to think were must-haves all the way up the stairs to her second-floor apartment. The dog returned to her promptly, tail wagging, and they took off, the scorch marks still steaming from her credit card.
She could do this. Be the person the little guy needed. She willed her internal voice to shut the hell up. Pets were different than men. And dogs were different than a goldfish. They told you when they were hungry. Or at least she thought they did. Finagling her keys, she kicked the door open with her foot and shut it unceremoniously with her mud-covered ass.
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This was going to be weird. Mallory nibbled on her lip and pondered what to do with him while she was in the shower. She knew what to expect from him, but this little, unnamed pup was something else entirely. The vet had also told her to make sure there was nothing that he could run into and hurt himself. After her shower, that was right up there on the list.
She lowered the little dog down on the floor, towel and all, just inside the bathroom and hustled to the bedroom closet to divest herself of her clothes. She felt disgusting. Covered in mud and hair and God only knew what else, it was time to get clean. A yip sounded down the hall, and she hurriedly stripped. Dropping her clothes in the hamper, Mallory streaked back down the hall to the bathroom. The little dog had gotten up and started exploring, bumping into everything in sight. And why did she get the distinct scent of brimstone?
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How you doing? She scooped him up and gave him a kiss on the forehead. The dog nosed her again and gave a snort. The dog made a little whining sound, and his eyes took on a distinct shade of red. That explained a few things. Puppy in the street when Luc had told her to get her hair done. Her bestie had sent her a hellhound. Mallory grinned. Mallory reached over and shut the bathroom door.
The little dog cocked his head and wrinkled his forehead as if he were trying to figure out what she was saying. She reached under the vanity and laid out the towel, bunching it up to be sort of like a dog bed. Then it hit her. Terrence had slept with her every night, and part of her hoped the little guy would be similarly inclined. Inviting the devil into your bed for night nights should have given her nightmares. Peter Watts ' novel Blindsight has explored a scientific basis for vampires, depicting them as an evolutionary offshoot from humanity who were not the dominant species on the planet solely due to an evolutionary glitch making them averse to Euclidean geometry.
In recent years, vampire fiction has been one of many supernatural fiction genres used in the creation of mashups. These works combine either a pre-existing text or a historic figure with elements of genre fiction. One of the best-known of these works is Abraham Lincoln, Vampire Hunter by Seth Grahame-Smith , in which the historic Abraham Lincoln has a fictional secret identity as a hunter of evil vampires.
The traits of the literary vampire have evolved from the often repulsive figures of folklore. Fictional vampires can be romantic figures, often described as elegant and sexy compare demons such as succubi and incubi. This is in stark contrast to the vampire of Eastern European folklore, which was a horrifying animated corpse. However, as in folklore, the literary vampire is sustained by drinking blood. They do not need other food, water, or even oxygen. They are sometimes portrayed as being unable to eat human food at all, forcing them to either avoid public dining or mime chewing and eating to deceive their mortal victims.
The fictional vampire, however, often has a pale appearance rather than the dark or ruddy skin of folkloric vampires and their skin is cool to the touch. As in folklore, literary vampires can usually be warded off with garlic and symbols of Christian faith such as holy water , the crucifix , or a rosary. According to literary scholar Nina Auerbach in Our Vampires Ourselves , the influence of the moon was seen as dominant in the earliest examples of vampire literature:.
For at least fifty years after Planche's Vampire, the moon was the central ingredient of vampire iconography; vampire's solitary and repetitive lives consisted of incessant deaths and — when the moon shone down on them — quivering rebirths. Ruthven, Varney and Raby need marriage and blood to replenish their vitality but they turn for renewed life to the moon Bram Stoker's Dracula was hugely influential in its depiction of vampire traits, some of which are described by the novel's vampire expert Abraham Van Helsing.
Dracula has the ability to change his shape at will, his featured forms in the novel being that of a wolf, bat, dust and fog. He can also crawl up and down the vertical external walls of his castle, in the manner of a lizard. One very famous trait Stoker added is the inability to be seen in mirrors, which is not found in traditional Eastern European folklore. Dracula also had protruding teeth, though was preceded in this by Varney the Vampire and Carmilla.
In the novel, the vampire hunter Van Helsing prescribes that a vampire be destroyed by a wooden stake preferably made of white oak through the heart, decapitation , drowning, or incineration. The vampire's head must be removed from its body, the mouth stuffed with garlic and holy water or relics, the body drawn and quartered, then burned and spread into the four winds, with the head buried on hallowed ground.
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The destruction of the vampire Lucy follows the three-part process enjoined by Van Helsing staking, decapitation, and garlic in the mouth. Traditional vampire folklore, followed by Stoker in Dracula , does not usually hold that sunlight is fatal to vampires, though they are nocturnal. It is also notable in the novel that Dracula can walk about in the daylight, in bright sunshine, though apparently in discomfort and without the ability to use most of his powers, like turning into mist or a bat.
He is still strong and fast enough to struggle with and escape from most of his male pursuers. It is only with the film Nosferatu that daylight is depicted as deadly to vampires. For instance, Anne Rice's vampire Lestat and Chelsea Quinn Yarbro's Count Saint-Germain both avoid the lethal effects of daylight by staying closeted indoors during the day. A well-known set of special powers and weaknesses is commonly associated with vampires in contemporary fiction. There is a tendency, however, for authors to pick and choose the ones they like, or find more realistic ones, and have their characters ridicule the rest as absurd.
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For example, in the movie Blade , the vampire hunter Blade tells Karen Jenson what kills vampires stakes, silver, and sunlight , and dismisses tactics seen in vampire movies namely crosses and running water as ineffective. This power may be supernatural levitation, or it may be connected to the vampire's shapeshifting ability. Some traditions hold that a vampire cannot enter a house unless he or she is invited in. Generally, a vampire needs be invited in only once and can then come and go at will. Stephen King 's novel Salem's Lot explored an unusual direction with this myth in having one of the protagonists revoke a vampire's invitation to a house; the vampire was forced to flee the building immediately.
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This is also featured in the American TV series True Blood , where Sookie withdraws her invitation on a number of occasions, causing vampires to be thrown out by supernatural forces. Also in The Vampire Diaries when a newly turned vampire wakes up in a house he was not invited into, he immediately flees.
Some tales maintain that vampires must return to a coffin or to their "native soil" before sunrise to take their rest safely. Others place native soil in their coffins, especially if they have relocated. Still other vampire stories, such as Le Fanu's Carmilla , maintain that vampires must return to their coffins, but sleep in several inches of blood as opposed to soil. Vampires are generally held to be unable to bear children, though the concept of a "half vampire" and similar creatures does exist in folklore and in some modern fiction. Some fictional vampires are fascinated with counting, an idea derived from folk stories about vampires being compelled to stop and count any spilled grain they find in their path.
The most famous fictional counting vampire is likely the Muppet character Count von Count on television's Sesame Street. Some modern fictional vampires are portrayed as having magical powers beyond those originally assigned by myth, typically also possessing the powers of a witch or seer. Such examples include Drusilla from Buffy the Vampire Slayer Drusilla was a seer before she was a vampire, and carried those powers into her undeath , and Olivia Nightshade from The Nightshade Chronicles.
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Also, vampires from the Vampire Academy books, also known as the moroi, are skilled in elemental magic. Also, in the Twilight series, certain vampires appear to have special gifts like Edward telepathy , Alice visions , Bella shielding , that are either supernatural or evolved from their own personalities like Victoria survival instinct.
The Dhampir , the offspring of a vampire and a human known from Serbian folklore, has been popularized in recent fiction. There are several recent series in vampire fiction, of variable literary quality. They tend to either take the form of direct sequels or prequels to the first book published or detail the ongoing adventures of particular characters. White Wolf , a maker of role playing games , releases novels set in the fantasy world of its Vampire: The Masquerade game.
These series of novels were released in book sets, each corresponding to one of the 13 clans of vampires in their game universe. In addition, many major superheroes have faced vampire supervillains at some point. In the Belgo-French comic Le Bal du rat mort ,  police inspector Jean Lamorgue is a hybrid vampire and he is a king of rats. He is guiding an invasion of rats in Ostend and he sucks the blood of his human victims. The story follows new girl Maddie in a world of ninja nuns and black magic. American Vampire , created by Scott Snyder, was published in It explores the idea of the evolution of vampires, leading to new species throughout American history.
Magazines which feature vampires include Bite me magazine launched Typical features include interviews with vampire actors, features on famous vampire film classics, vampire-related news, forthcoming vampire film and book releases. From Wikipedia, the free encyclopedia. In a world of supernatural threats, they'll need all the help they can get. In the town of Bellasford, Rose is a succubus who can't avoid trouble. She wants little beyond a happy life with her magically-gifted girlfriend Lisa, some steamy poly encounters to keep her nourished, and to find her missing mother.
Ella, an elder succubus, disappeared years before, but Rose's attempts to uncover information led her straight into a trap and a veritable nest of vampire trouble. A daring escape is not without its price, as Rose is forced to strike a deal with one of her captors. As tempted as she is to cast aside the task, innocent lives are at stake, as is her continued well-being if she breaks her word. Relieved to have her girlfriend back safely, Lisa agrees to help fulfil her promise.
Neither knows what dangers lurk in the shadows, especially as secrets are unveiled. Escape into a hot underground club, where statues are more than stone, and secrets can be deadly. Witches are real, and to be blunt, they're all black-hearted, and evil.
These are not wiccans; witches are a different breed that use magic with devastating effect. Charged with stopping the witches, taking whatever measures necessary, there are witch-hunters, all reporting to the Malleus Maleficarum Council MMC. For hundreds of years witches have been persecuted and when the powerful Shadow Witch rises again, they have their opportunity for revenge.
The best the MMC has to offer, the talented seventh-generation witch-hunting Hunter Astley has his own part to play. In his own way. Lucan, a gargoyle shifter, is finally freed from his stone statue and ready to make up for lost time — a plan that includes acting on the inexplicable pull to the mysterious blonde who waltzes into the underground club where he works.