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Bored with the Social world of London and the constant demands of the lovelorn Prince of Wales, the Marquis of Aldridge takes refuge at his remote country estate, Ridge Castle, deep in the 'Witch Country' of Essex. Riding through a village close to The Castle he comes upon a mob of villagers dragging the unconscious body of a young woman to the duck pond. Convinced she is a witch, they are bent on putting her to the ultimate test. If she drowns she is innocent. If she floats she is evil and must die! Rescuing the young waif and installing her at his castle, the Marquis is convinced that this raven-haired, blue-eyed beauty, whose name is Idylla, is far too lovely - too innocent - to be a witch. Nevertheless, he falls helplessly under her spell - and as he uncovers the murderous plot that brought her to him, he also discovers a love beyond anything he imagined possible.
Bored with the Social world of London and the constant demands of the lovelorn Prince of Wales, the Marquis of Aldridge takes refuge at his remote country estate, Ridge Castle, deep in the 'Witch Country' of Essex. Riding through a village close to The Castle he comes upon a mob of villagers dragging the unconscious body of a young woman to the duck pond. Convinced she is a witch, they are bent on putting her to the ultimate test. If she drowns she is innocent. If she floats she is evil and must die! Rescuing the young waif and installing her at his castle, the Marquis is convinced that this raven-haired, blue-eyed beauty, whose name is Idylla, is far too lovely - too innocent - to be a witch. Nevertheless, he falls helplessly under her spell - and as he uncovers the murderous plot that brought her to him, he also discovers a love beyond anything he imagined possible.
Unediting the Renaissance is a path-breaking and timely look at the issues of the textual editing of Renaissance works. Both erudite and accessible, it will be a fascinating and provocative read for any Renaissance student or scholar. Leah Marcus argues that `bad' versions of Renaissance texts such as Shakespeare's First Folio should not be viewed as mutilated copies of originals, but rather reputable alternatives encoding differences in ideology, cultural meaning and other elements of performance. Marcus focuses on key Renaissance works- Dr Faustus, The Merry Wives of Windsor, The Taming of the Shrew, Hamlet and poems by Milton, Donne and Herrick - to re-exmaine how editorial intervention shapes the texts which are widely accepted as `definitive'. Examining the cultural attitudes, fears and influences which influence textual editors, from the seveteenth century to the present day, Marcus sheds new light on a previously unexamined aspect of Renaissance studies. A lively critique of current theoretical practices, Unediting the Renaissance will shift the ways in which Shakespeare and his contemporaries are edited and read.
Shakespeare's The Tempest has long been claimed by colonials and postcolonial thinkers alike as the dramatic work that most enables them to confront their entangled history, recognized as early modernity's most extensive engagement with the vexing issues of colonialism--race, dispossession, language, European displacement and occupation, disregard for native culture. Tempest in the Caribbean reads some of the "classic" anticolonial texts--by Aime Cesaire, Roberto Fernandez Retamar, George Lamming, and Frantz Fanon, for instance--through the lens of feminist and queer analysis exemplified by the theoretical essays of Sylvia Wynter and the work of Michelle Cliff. Extending the Tempest plot, Goldberg considers recent works by Caribbean authors and social theorists, among them Patricia Powell, Jamaica Kincaid, and Hilton Als. These rewritings, he suggests, and the lived conditions to which they testify, present alternatives to the masculinist and heterosexual bias of the legacy that has been derived from The Tempest. By placing gender and sexuality at the center of the debate about the uses of Shakespeare for anticolonial purposes, Goldberg's work points to new possibilities that might be articulated through the nexus of race and sexuality. Place sexuality at the center of Caribbean responses to Shakespeare's play.
2020 IPPY Awards Bronze Winner in Cover Design, Fiction 2019 American Fiction Awards: Best Cover Design: Children's Books—Finalist 2019 American Fiction Awards: Juvenile Fiction—Winner 2019 Readers' Favorite Awards Gold Medal Winner in Children's Mythology/Fairy Tale 2019 Moonbeam: Gold Medal Winner in Pre-Teen Fiction/Fantasy “An enchanting new book full of magical mischief and adventure, Alane Adams’s The Blue Witch is guaranteed to please” —Foreword Clarion Reviews Before Sam Baron broke Odin's curse on the witches to become the first son born to a witch and the hero of the Legends of Orkney series, his mother was a young witchling growing up in the Tarkana Witch Academy. In this first book of the prequel series, the Witches of Orkney, nine-year-old Abigail Tarkana is determined to grow up to be the greatest witch of all, even greater than her evil ancestor Catriona. Unfortunately, she is about to fail Spectacular Spells class because her witch magic hasn't come in yet. Even worse, her nemesis, Endera, is making life miserable by trying to get her kicked out. When her new friend Hugo's life is put in danger by a stampeding sneevil, a desperate Abigail manages to call up her magic―only to find out it's unlike any other witchling's at the Tarkana Witch Academy! As mysteries deepen around her magic and just who her true parents are, Abigail becomes trapped in a race against time to undo one of her spells before she is kicked out of the coven forever! Rich in Norse mythology, The Blue Witch is the first of a fast-paced young reader series filled with magical spells, mysterious beasts, and witch-hungry spiders!
"No other study of the American novel has such fascinating and on the whole right things to say." Washington Post
"Bewitched meets Practical Magic in this bubbly, quirky romantic comedy with an enchanted twist from acclaimed author Elizabeth Bass. When romance problems cause their powers to go berserk, a trio of witches whose family was banned from practicing magic risk getting in serious trouble with the Grand Council of Witches. Can they get their magic--and their love lives--in order before it's too late?"--