By Dana Fredsti
Within the small city of Redwood Grove, individuals are succumbing to a deadly pressure of flu. they're dying--but now not for lengthy. Ashley Parker and her boyfriend are attacked through those shambling, rotting creatures that crave human flesh. Their lives seriously isn't a similar back. whilst she awakes Ashley discovers that she is a "wild card"--Immune to the virus--and is recruited by way of a shadowy paramilitary association that gives her the opportunity to struggle again. Fatally drawn to her attractive teacher, and bonding along with her fellow wild playing cards, Ashley starts to find abilities she by no means knew she had. because the city falls to ever-growing numbers of the contaminated, Ashley and her crew struggle to comprise the outbreak--but will they be sufficient?
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Additional info for Plague Town: An Ashley Parker Novel (Ashley Parker, Book 1)
Nevertheless, she is pure, and she is frequently dressed in white as though to emphasize this purity. Her principle attribute, constantly reiterated, is sweetness. Sitting in the Whitby churchyard Lucy is 舠sweetly pretty in her white lawn frock舡 (p. 72); asleep in her room she 舠looks, oh, so sweet舡 (p. 100); meeting Van Helsing and Dr. Seward, she is 舠very sweet to the Professor (as she always is)舡 (p. 126). But it is a girlish sweetness rather than a womanly one, and in her pliability she displays 舠the obedience of a child舡 (p.
It was quite evident that he feared, or was jealous of, some interference. When he had got through his disgusting task, he said cheerfully: 舖Let the lady come in,舗 and sat down on the edge of his bed with his head down, but with his eyelids raised so that he could see her as she entered (p. 248). 舗 (p. 260)舒makes the madman舗s odd condition funnier and, in a stroke of true originality, more poignant as well. But Stoker舗s descriptive gifts are not limited to the grotesque and the macabre; in Dracula he also paints prose landscapes of exquisite and fearsome beauty.
Rider Haggard舗s She (1887) juxtaposes, like Dracula, images of death and sex; H. G. Wells舗s popular scientific fantasies The Time Machine ( 1895) and The Invisible Man (1897) play with contemporary nightmares of atavism and the dual nature of man; James M. Barrie舗s Peter Pan (1904) vividly fictionalizes the male mother-fixation and unwillingness to grow up. While Stoker, in Dracula, does not seem to be working within a particular psychological scheme, neither does he seem unconscious of the psychological implications of his story, as Barrie does.