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Wheezy Tweet doesn't have an easy life. She lives in a foster home run by the tyrannical Mrs. Bodely; she suffers from multiple disabilities; and despite her many medications, she still sees monsters everywhere. To make matters worse, Wheezy's new boyfriend is turning into a dangerous were-crab, and her grandfather has been stolen and replaced with an endless nothing-along with much of the United States. Now it's up to Wheezy to stop them from taking the entire earth. Small and powerless she might be, but she has a cockroach named Forn Hall to mentor her, a few alien friends at the Stardust Hotel to assist her, and a boundless sense of optimism to keep her going when everything seems hopeless. Can Wheezy Tweet save the universe ... again? Author Bio Ralph Bourne taught special education for twenty-seven years. He has written several musical plays, including Calliope and Moses Leads the Children. He is also the author of Don't Believe It, Martha and The Unfortunate Crack in the Universe, another Wheezy Tweet adventure.
"The startling contrast between the corpse-like pallor of her complexion and the overpowering life and light, the glittering metallic brightness in her large black eyes, held him literally spell-bound."
The ghost of Lord Montberry haunts the Palace Hotel in Venice --- or does it? Montberry's beautiful-yet-terrifying wife, the Countess Narona, and her erstwhile brother are the center of the terror that fills the Palace Hotel. Are their malefactions at the root of the haunting -- or is there something darker, something much more unknowable at work?
The Countess writes a ghost story in the form of a play which is in effect a confession of a murder by herself and her husband. The story, which might be fiction or may very well be the truth, tells a grisly tale of a body decapitated and disposed of by acid
Wilkie Collins's little known horror-ghost story of 1878 recalls his two prior triumphs 'The Woman in White' and 'The Moonstone' with its use of detective procedures and mystery-genre plot twists that made those two earlier novels so popular with Victorian readers.
From the First Golden Age of SF master Robert A. Heinlein, this is the so-called juvenile (written, Heinlein always claims, just as much for adults) that started them all and made Heinlein a legend for multiple generations of readers-with a new introduction and afterword by popular military science fiction author Michael Z. Williamson. A poor young man seeks his fortune in space and comes of age a ship's officer and hero.
""In this story, as the chief character is internally melodramatic, the story itself ceases to be merely melodramatic, and partakes of true drama."" - T. S. Eliot.Like Poe before him and Conan Doyle after, Wilkie Collins shifted easily from rational domains to the ""superrational."" Like them, he is famed for original contributions to ""ratiocinative"" (detective) literature, but often preferred to indulge his occult predilection - a lifelong indulgence. His first published story, ""The Last Stage Coachmen"" (1843), was a supernatural allegory of trains; perhaps his last lucid effort (before ill health and opium drained his powers) was this short novel, The Haunted Hotel.Collins' methods and themes, developed and elaborated in his earlier, massive novels, are streamlined and concentrated here into a tight novelette. The same relentless pace and narrative power, the same attention to plot and backdrop detail that distinguish The Moonstone and The Woman in White are evident here, as is the obsession with destiny and the willful struggle against it.Collins' much-loved Venice provides the scenery and fatal beauty, the grim waterways and palaces the author will haunt with mysterious women, grotesques, and bloody conspiracies. The Countess Narona is one of Collins' cosmopolitan enchantresses; she acts, but as the tool of her doom. T. S. Eliot wrote, ""The principal character, the fatal woman, is herself obsessed by the idea of fatality; her motives are melodramatic; she therefore compels the coincidences to occur, feeling that she is compelled to compel them."" Collins relieves the tension with some wry characterizations and ironies; the theatrics are sustained. Indeed, theatrical motifs figure heavily, Collins himself being much involved with the stage at that period.The Haunted Hotel appears to be loosely based on a case from the annals of French crime; the scene, scenery, players and conflicts, and especially the horror, come straight from Collins' overstimulated, no doubt overwrought, most certainly haunted imagination.
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