Majgull Axelson is the author of four works of non-fiction as well as one previous novel, Far from Nitetheim, for which she was awarded the 1994 Moa Stipend. The 1997 publication of April Witch in Sweden earned her the prestigious August Prize. She is married, has two children and lives in Stockholm.

The first book-length study of witchcraft and adolescence in American popular culture. Will provide readers with a comprehensive overview of teenage witches in literature/media. Uses a novel theoretical framework (Foucauldian and Deleuzian theory, new materialism, theories of embodiment). Adds a new perspective to a topic (female monstrosity) dominated by psychoanalytical theory. Studies a diverse range of texts (film, television, literary and popular fiction, comics, YA fiction). Will appeal to scholars of feminism, media history, girlhood studies, horror, the Gothic, etc.

In this haunting and provocative collection, some of the best-known authors of the fantastic and the mysterious explore the legends and lore of witches and witchcraft. From Dean Koontz’s tale of a witch’s revenge on a purse-snatcher to Jane Yolen’s story of sorcery in old Scotland, from S.P. Somtow’s eerie look at Magic in modern-day Hollywood to Tanith Lee’s story of enchantment in an exotic land—here are spectacular stories transcending time and place. Stories by Various Authors Introduction by Philip José Farmer Cover art by Bruce Jensen Illustrations by Lars Hokanson

This is a textual, bibliographical and cultural study of 60 years of Bradbury's fiction. The authors draw upon correspondence with his publishers, agents and friends, as well as archival manuscripts, to examine the story of Bradbury's authorship over more than half a century.

Detailing the adventures of a supernatural clan of vampires, witches, and assorted monstrosities, Ray Bradbury’s Elliott family stories are a unique component of his extensive literary output. Written between 1946 and 1994, Bradbury eventually quilted the stories together into a novel, From the Dust Returned (2001), making it a creative project that spanned his adult life. Not only do the stories focus on a single familial unit, engaging with overlapping twentieth-century themes of family, identity and belonging, they were also unique in their time, interrogating post-war American ideologies of domestic unity while reinventing and softening gothic horror for the Baby Boomer generation. Centred around diverse interpretations of the Elliott Family stories, this collection of critical essays recovers the Elliotts for academic purposes by exploring how they form a collective gothic mythos while ranging across distinct themes. Essays included discuss the diverse ways in which the Elliott stories pose questions about difference and Otherness in America; engage with issues of gender, sexuality, and adolescence; and interrogate complex discourses surrounding history, identity, community, and the fantasy of family.

Although many opera dictionaries and encyclopedias are available, very few are devoted exclusively to operas in a single language. In this revised and expanded edition of Operas in English: A Dictionary, Margaret Ross Griffel brings up to date her original work on operas written specifically to an English text (including works both originally prepared in English, as well as English translations). Since its original publication in 1999, Griffel has added nearly 800 entries to the 4,300 from the original volume, covering the world of opera in the English language from 1634 through 2011. Listed alphabetically by letter, each opera entry includes alternative titles, if any; a full, descriptive title; the number of acts; the composer’s name; the librettist’s name, the original language of the libretto, and the original source of the text, with the source title; the date, place, and cast of the first performance; the date of composition, if it occurred substantially earlier than the premiere date; similar information for the first U.S. (including colonial) and British (i.e., in England, Scotland, or Wales) performances, where applicable; a brief plot summary; the main characters (names and vocal ranges, where known); some of the especially noteworthy numbers cited by name; comments on special musical problems, techniques, or other significant aspects; and other settings of the text, including non-English ones, and/or other operas involving the same story or characters (cross references are indicated by asterisks). Entries also include such information as first and critical editions of the score and libretto; a bibliography, ranging from scholarly studies to more informal journal articles and reviews; a discography; and information on video recordings. Griffel also includes four appendixes, a selective bibliography, and two indexes. The first appendix lists composers, their places and years of birth and death, and their operas included in the text as entries; the second does the same for librettists; the third records authors whose works inspired or were adapted for the librettos; and the fourth comprises a chronological listing of the A–Z entries, including as well as the date of first performance, the city of the premiere, the short title of the opera, and the composer. Griffel also include a main character index and an index of singers, conductors, producers, and other key figures.

Fever Devilin was raised amongst the hill-country people of the deep Georgia Appalachians and their seemingly simple folk ways are in his blood and his soul. His own family, however, was another matter and at sixteen he left home for college, returning only rarely and always under protest. In the years to come, Fever became a noted folklorist of the Appalachian region and a college professor. He never quite adjusted to the realities of city life and academic politics, and has now returned to the deceptively quiet life amongst his people. But below the surface, nothing is ever as quiet and simple as it appears. When Truevine Deveroe, a local girl reputed to be a witch, goes missing and the local mortician, acknowledged as an unpleasant character, turns up dead near Devilin's home, Able Carter, fiancé of the missing girl, is suspected of killing them both. Tied by friendship and long-term enmity to all of the principals, Fever finds himself in the midst of a very difficult situation. To make matters even worse, the brothers of the missing girl are determined to find Carter - who has taken it on the lam - and administer their own brand of justice. With precious little time, lives at stake, and a missing girl to be found, Devilin must unravel the mystery behind this perplexing series of events. A series of events somehow related to the hidden history of the area and the old folk legend of the witch's grave.