Bøger af Renee Fox

He comes in peace... amongst other things When college kid Jude Adler wishes for a new life on a shooting star, he never imagined it would come in the form of a shapeshifting alien who nearly crash-lands his spaceship on top of him, let alone one who chooses to disguise himself as a man inspired by Jude's wildest fantasies. Al's ship is damaged and unable to make the flight home, and when he earnestly asks Jude for a safe place to stay until help arrives, how can Jude say no? Keeping his hands to himself until then shouldn't be difficult... but Jude is only human, and there's only so long anyone can resist a roommate disguised as the hottest person imaginable. A roommate whose insatiable curiosity is piqued by Jude's human body... And who shares Jude's only bed. Crash-Landed in Love is a hilarious paranormal romance set on modern-day Earth with an HEA and no cliffhangers. It contains a clueless alien who is quite good at pretending to be a human, a love that's written in the stars, shapeshifting body parts, and enough steam you'll start to worry that your spaceship is on fire. Please note that while there are no ABO dynamics in this series... life finds a way.

The Necromantics dwells on the literal afterlives of history. Reading the reanimated corpses-monstrous, metaphorical, and occasionally electrified-that Mary Shelley, Robert Browning, Charles Dickens, W. B. Yeats, Bram Stoker, and others bring to life, Renée Fox argues that these undead figures embody the present's desire to remake the past in its own image. Fox positions "necromantic literature" at a nineteenth-century intersection between sentimental historiography, medical electricity, imperial gothic monsters, and the Irish Literary Revival, contending that these unghostly bodies resist critical assumptions about the always-haunting power of history.By considering Irish Revival texts within the broader scope of nineteenth-century necromantic works, The Necromantics challenges Victorian studies' tendency to merge Irish and English national traditions into a single British whole, as well as Irish studies' postcolonial efforts to cordon off a distinct Irish canon. Fox thus forges new connections between conflicting political, formal, and historical traditions. In doing so, she proposes necromantic literature as a model for a contemporary reparative reading practice that can reanimate nineteenth-century texts with new aesthetic affinities, demonstrating that any effective act of reading will always be an effort of reanimation.