New York Times bestselling author Kerrelyn Sparks delivers the exciting conclusion in the Love at Stake series, where a Marine-turned-vampire finds love with the shifter princess forbidden to him . . . Russell wakes from a coma to find he's become a vampire. Now he has a thirst for revenge. Determined to hunt down the master vampire who turned him, he's used to working alone . . . until he meets Jia. She is after the same vampire for murdering her parents and insists she can help Russell on this mission. Reluctantly, he agrees, and sets up some ground rules: Rule #1: Their partnership is strictly business. If he holds her a little too close . . . if she looks at him with those exotic eyes . . . well, that has to stop. Rule #2: He's in charge. Jia isn't used to taking orders and questions every move he makes. So he stops her the only way he knows how. Rule #3: Don't fall in love. But the kiss that was supposed to quiet her awakens something else in him . . . something forbidden. Because Jia is engaged. To someone else.
B. Ruby Rich designated a brand new genre, the New Queer Cinema (NQC), in her groundbreaking article in the Village Voice in 1992. This movement in film and video was intensely political and aesthetically innovative, made possible by the debut of the camcorder, and driven initially by outrage over the unchecked spread of AIDS. The genre has grown to include an entire generation of queer artists, filmmakers, and activists. As a critic, curator, journalist, and scholar, Rich has been inextricably linked to the New Queer Cinema from its inception. This volume presents her new thoughts on the topic, as well as bringing together the best of her writing on the NQC. She follows this cinematic movement from its origins in the mid-1980s all the way to the present in essays and articles directed at a range of audiences, from readers of academic journals to popular glossies and weekly newspapers. She presents her insights into such NQC pioneers as Derek Jarman and Isaac Julien and investigates such celebrated films as Go Fish, Brokeback Mountain, Itty Bitty Titty Committee, and Milk. In addition to exploring less-known films and international cinemas (including Latin American and French films and videos), she documents the more recent incarnations of the NQC on screen, on the web, and in art galleries.