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A game that puts all others to shame. Magic that has been banned from the world. A man willing to learn no matter the cost. The decision to start a new life is never an easy one, but for Joe the transition was far from figurative. Becoming a permanent addition to a game world, it doesn't take long to learn that people with his abilities are actively hunted. In fact, if the wrong people gained knowledge of what he was capable of, assassins would appear in droves. In his pursuit of power, Joe fights alongside his team, completes quests, and delves into the mysteries of his class, which he quickly discovers can only be practiced in secret. Ultimately, his goal is to complete every mission, master every ability, and learn all of the world's secrets. All he has to do is survive long enough to make that happen.
Reprint of the original, first published in 1875.
First Published in 2002. Routledge is an imprint of Taylor & Francis, an informa company.
Every month, a ragtag group of Londoners gather in the site known as Crossbones Graveyard to commemorate the souls of medieval prostitutes believed to be buried there—the "Winchester Geese," women who were under the protection of the Church but denied Christian burial. In the Borough of Southwark, not far from Shakespeare's Globe, is a pilgrimage site for self-identified misfits, nonconformists, and contemporary sex workers who leave memorials to the outcast dead. Ceremonies combining raucous humor and eclectic spirituality are led by a local playwright, John Constable, also known as John Crow. His interpretation of the history of the site has struck a chord with many who feel alienated in present-day London. Sondra L. Hausner offers a nuanced ethnography of Crossbones that tacks between past and present to look at the historical practices of sex work, the relation of the Church to these professions, and their representation in the present. She draws on anthropological approaches to ritual and time to understand the forms of spiritual healing conveyed by the Crossbones rites. She shows that ritual is a way of creating the present by mobilizing the stories of the past for contemporary purposes.