An exploration of the thirteenth-century law code known as Siete Partidas Conceived and promulgated by Alfonso X, King of Castile and León (r. 1252-1282), and created by a workshop of lawyers, legal scholars, and others, the set of books known as the Siete Partidas is both a work of legal theory and a legislative document designed to offer practical guidelines for the rendering of legal decisions and the management of good governance. Yet for all its practical reach, which extended over centuries and as far as the Spanish New World, it is an unusual text, argues Jesús R. Velasco, one that introduces canon and ecclesiastical law in the vernacular for explicitly secular purposes, that embraces intellectual disciplines and fictional techniques that normally lie outside legal science, and that cultivates rather than shuns perplexity. In Dead Voice, Velasco analyzes the process of the Siete Partidas's codification and the ways in which different cultural, religious, and legal traditions that existed on the Iberian Peninsula during the Middle Ages were combined in its innovative construction. In particular, he pays special attention to the concept of "dead voice," the art of writing the law in the vernacular of its clients as well as in the language of legal professionals. He offers an integrated reading of the Siete Partidas, exploring such matters as the production, transmission, and control of the material text; the collaboration between sovereignty and jurisdiction to define the environment where law applies; a rare legislation of friendship; and the use of legislation to characterize the people as "the soul of the kingdom," endowed with the responsibility of judging the stability of the political space. Presenting case studies beyond the Siete Partidas that demonstrate the incorporation of philosophical and fictional elements in the construction of law, Velasco reveals the legal processes that configured novel definitions of a subject and a people.

New York Times bestselling author Katherine Arden returns with another creepy, spine-tingling adventure in the critically acclaimed Small Spaces Quartet. Now in paperback. Having survived sinister scarecrows and the malevolent smiling man in Small Spaces, newly minted best friends Ollie, Coco, and Brian are ready to spend a relaxing winter break skiing together with their parents at Mount Hemlock Resort. But when a snowstorm sets in, causing the power to flicker out and the cold to creep closer and closer, the three are forced to settle for hot chocolate and board games by the fire. Ollie, Coco, and Brian are determined to make the best of being snowed in, but odd things keep happening. Coco is convinced she has seen a ghost, and Ollie is having nightmares about frostbitten girls pleading for help. Then Mr. Voland, a mysterious ghost hunter, arrives in the midst of the storm to investigate the hauntings at Hemlock Lodge. Ollie, Coco, and Brian want to trust him, but Ollie's watch, which once saved them from the smiling man, has a new cautionary message: BEWARE. With Mr. Voland's help, Ollie, Coco, and Brian reach out to the dead voices at Mount Hemlock. Maybe the ghosts need their help--or maybe not all ghosts can or should be trusted. Dead Voices is a terrifying follow-up to Small Spaces with thrills and chills galore and the captive foreboding of a classic ghost story.

Follows the law professor and forensic scientist author's efforts to solve unsolved cases by applying new technologies to exhumed bodies, in a collection of case stories that includes those of Jesse James, the Boston Strangler, and a Cold War scientist. Reprint.

New York Times bestselling adult author of The Bear and the Nightingale makes her middle grade debut with a creepy, spellbinding ghost story destined to become a classic. Now in paperback. After suffering a tragic loss, eleven-year-old Ollie who only finds solace in books discovers a chilling ghost story about a girl named Beth, the two brothers who loved her, and a peculiar deal made with "the smiling man"—a sinister specter who grants your most tightly held wish, but only for the ultimate price. Captivated by the tale, Ollie begins to wonder if the smiling man might be real when she stumbles upon the graves of the very people she's been reading about on a school trip to a nearby farm. Then, later, when her school bus breaks down on the ride home, the strange bus driver tells Ollie and her classmates: "Best get moving. At nightfall they'll come for the rest of you." Nightfall is, indeed, fast descending when Ollie's previously broken digital wristwatch begins a startling countdown and delivers a terrifying message: RUN. Only Ollie and two of her classmates heed these warnings. As the trio head out into the woods—bordered by a field of scarecrows that seem to be watching them—the bus driver has just one final piece of advice for Ollie and her friends: "Avoid large places. Keep to small." And with that, a deliciously creepy and hair-raising adventure begins.

Gerald Vizenor gives life to traditional tribal stories by presenting them in a new perspective: he challenges the idyllic perception of rural life, offering in its stead an unusual vision of survival in the cities-the sanctuaries for humans and animals. It is a tribal vision, a quest for liberation from forces that would deny the full realization of human possibilities. In this modern world his characters insist upon survival through an imaginative affirmation of the self. In Dead Voices Vizenor, using tales drawn from traditional tribal stories, illuminates the centuries of conflict between American Indians and Europeans, or "wordies." Bagese, a tribal woman transformed into a bear, has discovered a new urban world, and in a cycle of tales she describes this world from the perspective of animals-fleas, squirrels, mantis, crows, beavers, and finally Trickster, Vizenor’s central and unifying figure. The stories reveal unpleasant aspects of the dominate culture and American Indian culture such as the fur trade, the educational system, tribal gambling, reservation life, and in each the animals, who represent crossbloods, connect with their tribal traditions, often in comic fashion. As in his other fiction, Vizenor upsets our ideas of what fiction should be. His plot is fantastic; his story line is a roller-coaster ride requiring that we accept the idea of transformation, a key element in all his work. Unlike other Indian novelists, who use the novel as a means of cultural recovery, Vizenor finds the crossblood a cause for celebration.

Detroit, 1971. Harry Levin, scrap metal dealer and holocaust survivor, learns that his daughter has been killed in a car accident. Travelling to Washington DC, he's told by Detective Taggart that the German diplomat, who was drunk, has been released and afforded immunity; he will never face charges. So Harry is left with only one option - to discover the identity of this man, follow him back to Munich and hunt him down. The first of a two-hander, Peter Leonard's new novel is a classic cat-and-mouse thriller. Told with swagger, brutal humour and not a little violence, it follows a good man who is forced to return to the horrors of his past.