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1891. London is simmering in the oppressive summer heat, the air thick with sexual repression. But a wave of morality is about to rock the capital as the puritans of the London Vigilance Committee seek out perversion and aberrant behaviour in all its forms. Charles Webster, an impoverished photographer working at the Lyceum Theatre, has been sucked into a shadowy demi-monde which exists beneath the surface of civilized society. It is a world of pornographers and prostitutes, orchestrated by master manipulator Marlow, for whom Webster illicitly provides theatrical costumes for pornographic shoots. But knowledge of this enterprise has somehow reached the Lyceum's upright theatre manager, Bram Stoker, who suspects Webster's involvement. As the net tightens around Marlow and his cohorts and public outrage sweeps the city, a member of the aristocracy is accused of killing a child prostitute...
'We must prise opinion from fact, belief from supposition and guesswork from whatever evidence must exist...' It is surely a simple case of hysteria. Four young women allegedly witness a terrifying apparition while walking in the woods. Has the devil really revealed himself to them? Are they genuine victims of demonic possession? Or, as most suspect, is their purpose in claiming all of this considerably more prosaic? The eyes of the country turn to a small Nottinghamshire town, where an inquiry is to be held. Everyone there is living through hard, uncertain times. The king is recently dead. It is a new century - a new world looking to the future. But here, in the ancient heart of England, an old beast stirs... Four men must examine the substance of the girls' tales and decide their fate: a minister, a doctor, a magistrate, and Merritt, an investigator - a seemingly perfect blend of the rational, the sacred and the judicial. And yet, as the feverish excitement all around them grows ever more widespread and infectious, there is both doubt and conflict among the members of this panel. The Devil's Beat explores the unforeseeable and unstoppable outcome of this inquiry during an alarming and unsettling time, when the whole of that small world seems in turmoil as, one after another, hitherto dependable natural checks and balances, beliefs and superstitions are challenged and then shattered.
"It was the straying that found the path direct." - Austin Osman Spare In the final throes of the Blitz, Austin Osman Spare is the only salvation for Marlene, an artist escaping a traumatic past. Wandering Southwark's ruins she encounters Paddy Hughes, a fugitive of another kind. Falling under Marlene's spell Hughes agrees to seek out her lost mentor, the man she calls The Satyr. Yet Marlene's past will not rest as the mysterious Doctor Charnock pursues them, trying to capture the patient she'd once caged. The Satyr is a tale inspired by the life and ethos of sorcerer and artist Austin Osman Spare. Another three novellas of occult enchantment follow: a bookseller discovers that his late wife knew the Devil, in the Carpathian Mountains refugees shelter in a museum devoted to a forgotten author, and in Prague a portraitist must paint a countess whose appearance is never the same twice. This omnibus is comprised of The Satyr (2010) and The Bestiary of Communion (2011); newly illustrated, expanded, and revised.
A classic romance in the tradition of Georgette Heyer Winner of the $10,000 Woman's Day/Random House Romantic Fiction Prize Romantic Book of the Year Finalist - Romance Writers Australia It's 1745, the age of hedonism and enlightenment. A young girl is abandoned at the court of Versailles. The predatory Comte de Salvan plots her seduction. An all-powerful adversary snatches her to safety. But is he noble savior or a satyr most despicable?
Reflecting the myriad options available to London audiences at the turn of the eighteenth century, this volume offers readers a portrait of the interrelated music, drama and dance productions that characterized this rich period. By bringing together work by scholars in different fields, this cross-disciplinary collection illuminates the interconnecting strands that shaped a vibrant theatrical world.
A Cinderella romance from 1786, between the son of a duke and a penniless orphan. Set in the glittering aristocratic world of the Roxton family.
With a new introduction and some revisions, these essays on Classical Greek satyr plays, originally published in various venues between 2002 and 2010, suggest new critical approaches to this important dramatic genre and identify previously neglected dimensions and dynamics within their original Athenian context. Griffith shows that satyr plays, alongside the ludicrous and irresponsible, but harmless, antics of their chorus, presented their audiences with culturally sophisticated narratives of romance, escapist adventure, and musical-choreographic exuberance, amounting to a zparallel universey to that of the accompanying tragedies in the City Dionysia festival. The class oppositions between heroic/divine characters and the rest (choruses, messengers, servants, etc.) that are so integral to Athenian tragedy are shown to be present also, in exaggerated form, in satyr drama, with the satyr chorus occupying a role that also inevitably recalled for the Athenian audiences their own (often foreign-born) slaves. Meanwhile the familiar main characters of tragedy (Heracles, Danae and Perseus, Hermes and Apollo, Achilles, Odysseus, etc.) are re-deployed in an engaging milieu of erotic encounters, miraculous discoveries, guaranteed happy endings, marriages, and painless release from suffering for all, both for the well-behaved heroes and also for the low-life, playful satyrs (the slaves of Dionysus). In their fusion of adventure and romance, fantasy and naïvete, Aphrodite and Dionysus, Athenian satyr plays thus anticipate in many respects, Griffith suggests, the later developments of Greek pastoral and prose romance.
Desire can be addicting... Shaken by the death of a close friend, Evander takes it upon himself to track down the rest of the Arcadians to face off against Dionysus and the Boeotians. It seems like a good plan-until the vampire who disrupted his life returns to tempt the beast only she seems to awaken within him. Vander hates her, blames her for the tragedy that befell The Aegean Inn months before, but he craves her in his bed. He can't resist her bite...or her kiss. Free after being imprisoned and double-crossed by Dionysus, Bremusa only wants to be left alone. Born an Amazon and made into a monster by Lamia, she is prepared to handle any threat. So why can't she help herself when trouble finds her in the form of a sexy satyr prince she once tasted and didn't have the time to savor? Just one night with him would alleviate her curiosity, but could never be enough to sate her hunger for him. Elsewhere, enemies make strategic plays with apocalyptic intentions. Apollo has gone missing, Dionysus has used the syrinx, and Lamia won't rest until she breaks Bremusa's spirit-and her heart. Will Vander and Bremusa be able to stand their ground, or will their time together come to an abrupt halt? Not like anyone could survive the end of the world, or could they?