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With The Devil's Muse, Bill Loehfelm returns with another gripping installment in his “edgy, dangerous, but pulsing with life” (Booklist) Maureen Coughlin series. New Orleans’s toughest female cop tackles her very first Mardi Gras Now that she’s back on the force and her work with the FBI is over, Maureen Coughlin should have a quieter life. Until Mardi Gras rolls around, that is. New Orleans’s biggest and most infamous party, Mardi Gras may be fun for the revelers but it’s hell for the NOPD, who try to keep the peace on streets jam-packed with drunken paradegoers and the thousands of tourists pouring into the city to join the action. With all that chaos, the city becomes a breeding ground for crimes of all shapes and sizes. Maureen’s Mardi Gras night starts with a bang when a man in pink zebra-print tights—and nothing else—runs past and throws himself onto the hood of a moving car. It only gets worse when she hears gunshots over the noise of the crowd. In the midst of the revelry, Maureen and her fellow cops must stabilize the shooting victims and hunt down the shooter, all while grappling with massive crowds, a camera crew intent on capturing the investigation for their YouTube channel, an incompetent on-duty detective, and race relations in a city more likely to mistrust cops than ever. It’s going to be one very long night for Maureen.
I always imagined Death's final kiss would be cold. It wasn't. Four years later, I can still remember the exact shade of his skin: a blue so pale it looked like moonlight. I dream of his touch. Mostly, I paint the man under the heavy cowl, including those perfect lips which ruined mine for anyone else. I'm obsessed with him. The doctors say he's nothing more than a hallucination caused by a mixture of head trauma and emergency pain medications. I think he's a really sexy figment of my imagination. I mean, who besides an artist would dream up the Grim Reaper for their hero?Now, something's changed and my drawings are taking on a life of their own. As if college wasn't hard enough, trying to keep this a secret is going to be impossible. Keeping my sanity might be worse. And that's not the worst of my problems.Death is back. He wants another kiss.And he's not alone.The Kiss of Death is a 156,000 word, full-length novel with NO cliffhanger ending. This is a Reverse Harem series which includes multiple love interests, some m/m themes, and graphic scenes of sex, violence, and language. Be warned: everything you thought you knew about the world, religion, and death will be pulled apart, twisted around, and put back together in ways you will not expect.
Contemporary misogyny and antisemitism have their roots in the demonization of women and Jews in medieval Christendom. In church art and mass preaching, the construct of the devil as an outcast from heaven and the source of all evil was linked both to the conception of women as sensual and malicious figures betraying man's soul on its arduous journey to salvation and to the notion of Jews as treacherous dissidents in the Christian landscape. These stereotypes, widely disseminated for over three hundred years, persist today. The exemplum, or cautionary story incorporated into preachers' manuals and popular homilies, was an important mode of religious teaching for clerical and lay folk alike. Sermon narratives drawn from Hindu mythology, Arab storytelling, and secular folktales entertained all classes of medieval society while dispensing theological and cultural instruction. In Devils, Women, and Jews, the vital genre of the medieval sermon story is, for the first time, made accessible to specialists and nonspecialists alike. Rendered in modern English, the tales provide an invaluable primary resource for medievalists, anthropologists, psychologists, folklorists, and students of women's studies and Judaica. Critical introductions and explanatory headnotes contextualize the tales, and comprehensive endnotes and a bibliography allow readers to follow up analogue and subject studies in their own areas of interest.
Supernatural phenomena and causalities played an important role in medieval society. Religious practice was relying upon a set of cult images and the sacral status of these depictions of divine or supernatural persons became the object of heated debates and provoked iconoclastic reactions.The miraculous intervention of saints or other divine agents, the wondrous realities beyond understanding, or the manifestations of magic attributed to diabolic forces, were contained by a variety of discourses, described and discussed in religion, philosophy, chronicles, literature and fiction, and also in a large number of pictures and material objects. The nine essays in this collection discusses how supernatural phenomena – especially angels and devils – found visual manifestation in Latin and Eastern Christianity as well as Judaism in the late medieval, early renaissance period.
Finalist, 2021 Bram Stoker Awards (Superior Achievement in Non-Fiction) The first collection of essays to address Satan’s ubiquitous and popular appearances in film Lucifer and cinema have been intertwined since the origins of the medium. As humankind’s greatest antagonist and the incarnation of pure evil, the cinematic devil embodies our own culturally specific anxieties and desires, reflecting moviegoers’ collective conceptions of good and evil, right and wrong, sin and salvation. Giving the Devil His Due is the first book of its kind to examine the history and significance of Satan onscreen. This collection explores how the devil is not just one monster among many, nor is he the “prince of darkness” merely because he has repeatedly flickered across cinema screens in darkened rooms since the origins of the medium. Satan is instead a force active in our lives. Films featuring the devil, therefore, are not just flights of fancy but narratives, sometimes reinforcing, sometimes calling into question, a familiar belief system. From the inception of motion pictures in the 1890s and continuing into the twenty-first century, these essays examine what cinematic representations tell us about the art of filmmaking, the desires of the film-going public, what the cultural moments of the films reflect, and the reciprocal influence they exert. Loosely organized chronologically by film, though some chapters address more than one film, this collection studies such classic movies as Faust, Rosemary’s Baby, The Omen, Angel Heart, The Witch, and The Last Temptation of Christ, as well as the appearance of the Devil in Disney animation. Guiding the contributions to this volume is the overarching idea that cinematic representations of Satan reflect not only the hypnotic powers of cinema to explore and depict the fantastic but also shifting social anxieties and desires that concern human morality and our place in the universe. Contributors: Simon Bacon, Katherine A. Fowkes, Regina Hansen, David Hauka, Russ Hunter, Barry C. Knowlton, Eloise R. Knowlton, Murray Leeder, Catherine O’Brien, R. Barton Palmer, Carl H. Sederholm, David Sterritt, J. P. Telotte, Jeffrey Andrew Weinstock
With The Devil She Knows, Bill Loehfelm has written a pitch-black thriller in a fresh, compulsively readable voice, with pages that turn themselves. This is the real deal: a breakout novel by a writer whom Publishers Weekly has praised for his "superb prose and psychological insights." Life isn't panning out for Maureen Coughlin. At twenty-nine, the tough-skinned Staten Island native's only excitement comes from . . . well, not much. A fresh pack of American Spirits, maybe, or a discreet dash of coke before work. If something doesn't change soon, she'll end up a "lifer" at the Narrows, the faux-swank bar where she works one long night after another. But just like the island, the Narrows has its seamy side. After work one night, Maureen walks in on a tryst between her co-worker Dennis and Frank Sebastian, a silver-haired politico. When Sebastian demands her silence, Maureen is more than happy to forget what she's seen—until Dennis turns up dead on the train tracks the next morning. The murder sends Maureen careening out of her stultifying routine and into fast-deepening trouble. Soon she's on the run through the seedy underbelly of the borough, desperate to stop Sebastian before Dennis's fate becomes her own.
INSTANT NEW YORK TIMES BESTSELLER “It’s never quite the book you think it is. It’s better.” —Dwight Garner, The New York Times From John Darnielle, the New York Times bestselling author and the singer-songwriter of the Mountain Goats, comes an epic, gripping novel about murder, truth, and the dangers of storytelling. Gage Chandler is descended from kings. That’s what his mother always told him. Years later, he is a true crime writer, with one grisly success—and a movie adaptation—to his name, along with a series of subsequent less notable efforts. But now he is being offered the chance for the big break: to move into the house where a pair of briefly notorious murders occurred, apparently the work of disaffected teens during the Satanic Panic of the 1980s. Chandler finds himself in Milpitas, California, a small town whose name rings a bell––his closest childhood friend lived there, once upon a time. He begins his research with diligence and enthusiasm, but soon the story leads him into a puzzle he never expected—back into his own work and what it means, back to the very core of what he does and who he is. Devil House is John Darnielle’s most ambitious work yet, a book that blurs the line between fact and fiction, that combines daring formal experimentation with a spellbinding tale of crime, writing, memory, and artistic obsession.
The Man Who Would Be Satan Parry was a gifted musician and an apprentice in the arts of White Magic. But his life of sweet promise went disastrously awry following the sudden, violent death of his beloved Jolie. Led down the twisted path of wickedness and depravity by Lilah the harlot demoness, Parry thrived -- first as a sorceror, then as a monk, and finally as a feared inquisitor. But it wasn't until his mortal flame was extinguished that Parry found his true calling -- as the Incarnation of Evil. And, at the gates of Hell, he prepared to wage war on the master himself -- Lucifer, the dark lord -- with dominion over the infernal realms the ultimate prize!
The Devil's Historians offers a passionate corrective to common - and very dangerous - myths about the medieval world.
It is August 18, 1634. Father Urbain Grandier, convicted of sorcery that led to the demonic possession of the Ursuline nuns of provincial Loudun in France, confesses his sins on the porch of the church of Saint-Pierre, then perishes in flames lit by his own exorcists. A dramatic tale that has inspired many artistic retellings, including a novel by Aldous Huxley and an incendiary film by Ken Russell, the story of the possession at Loudun here receives a compelling analysis from the renowned Jesuit historian Michel de Certeau. Interweaving substantial excerpts from primary historical documents with fascinating commentary, de Certeau shows how the plague of sorceries and possessions in France that climaxed in the events at Loudun both revealed the deepest fears of a society in traumatic flux and accelerated its transformation. In this tour de force of psychological history, de Certeau brings to vivid life a people torn between the decline of centralized religious authority and the rise of science and reason, wracked by violent anxiety over what or whom to believe. At the time of his death in 1986, Michel de Certeau was a director of studies at the école des hautes études en sciences sociales, Paris. He was author of eighteen books in French, three of which have appeared in English translation as The Practice of Everyday Life,The Writing of History, and The Mystic Fable, Volume 1, the last of which is published by The University of Chicago Press. "Brilliant and innovative. . . . The Possession at Loudun is [de Certeau's] most accessible book and one of his most wonderful."—Stephen Greenblatt (from the Foreword)