WELCOME TO THE LAND OF CAERN, where the gods - the Children of Az -can choose to be born into the world as mortals to directly affect events... and often do. And where the conflict between religious faith and arcane magic has reached a breaking point. Gretta Platt, Housemistress of Avedon Manor, has been murdered. Only a handful of people live in Avedon Hill, and most are suspects. Arames Kragen, retired Aarronic Advisor and scholar of prophecy, must gain access to Avedon Hill's mountain pass. But Lord Avedon is not in a giving mood... To earn his passage, Arames Kragen must discover who killed Gretta Platt. He must also uncover the truth about a town that seems to have more secrets than inhabitants.

First published in 1997. Routledge is an imprint of Taylor & Francis, an informa company.

The Bible has always enjoyed notoriety within the genres of crime fiction and drama; numerous authors have explicitly drawn on biblical traditions as thematic foci to explore social anxieties about violence, religion, and the search for justice and truth. The Bible in Crime Fiction and Drama brings together a multi-disciplinary scholarship from the fields of biblical interpretation, literary criticism, criminology, and studies in film and television to discuss international texts and media spanning the beginning of the 20th century to the present day. The volume concludes with an afterword by crime writer and academic, Liam McIvanney. These essays explore both explicit and implicit engagements between biblical texts and crime narratives, analysing the multiple layers of meaning that such engagements can produce – cross-referencing Sherlock Holmes with the murder mystery in the Book of Tobit, observing biblical violence through the eyes of Christian fundamentalists in Henning Mankell's Before the Frost, catching the thread of homily in the serial murders of Se7en, or analysing biblical sexual violence in light of television crime procedurals. The contributors also raise intriguing questions about the significance of the Bible as a religious and cultural text – its association with the culturally pervasive themes of violence, (im)morality, and redemption, and its relevance as a symbol of the (often fraught) location that religion occupies within contemporary secular culture.

Hegemony and Fantasy in Irish Drama, 1899-1949 offers a theoretically innovative reconsideration of drama produced in the Irish Renaissance, as well as an engagement with non-canonical drama in the under-researched period 1926-1949.

This book examines the theories and practices of narrative and drama in England between 1650 and 1700, a period that, in bridging the Renaissance and the Enlightenment, has been comparatively neglected, and on which, at the time of writing, there is a dearth of new approaches. Critical consensus over these two genres has failed to account for its main features and evolution throughout the period in at least two ways. First, most approaches omit the manifold contradictions between the practice and the theory of a genre. Writers were generally aware of working within a tradition of representation which they nevertheless often challenged, even while the theory was being drafted (e.g., by John Dryden). The ideal and the real were in unacknowledged conflict. Second, critical readings of these late Stuart texts have fitted them proactively into a neat evolutionary pattern that reached eighteenth-century genres without detours or disjunctions, or else they have oversimplified the wealth of generic conventions deployed in the period, so that to the present-day reader, for instance, Restoration drama consists only of either city comedies or Dryden's tragedies. A cursory survey of the critical history of seventeenth-century drama and fiction confirms these views. Although the 1970s and 1980s brought about a crop of interesting reassessments of the field, fiction continues to be seen as a genre that emerged in the eighteenth century. Most critics still treat earlier manifestations as marginal or as prenovelistic experiments; and in most instances it is even possible to discern a sexist bias to justify this treatment, as these works were written by women, unlike much of the canonical fiction of the eighteenth century. A revision of the critical foundations hitherto held and a re-evaluation of the works of fiction written in the seventeenth century is therefore in order. This study adopts, as a basic and essential methodological tenet, the need to decenter the analysis of Restoration fiction and drama from the traditional canon, too limited and conservative and featuring works that are not always suitable as paradigmatic instances of the literary production of the period. These studies have thus been based on a larger than usual--if not on a full--corpus of works produced within the period, and have sought to ascertain the role played in the development of each of the genres under consideration by works, topics, or even by authors hitherto somewhat outside mainstream literary criticism. This opens the field of English literature further through the framing of new questions or revising of old ones, as well as to beginning a dialogue, yet again, as to the meanings of these literary works and also to their circulation from their inception up to the present time. In addition, the rare attention given to works by women makes this all the more an important book for collections in English literature of the period.

This is the first ever compilation on Internet television and provides details of 405 programs from 1998 to 2013. Each entry contains the storyline, descriptive episode listings, cast and crew lists, the official website and comments. An index of personnel and programs concludes the book. From Barry the Demon Hunter to Time Traveling Lesbian to Hamilton Carver, Zombie P.I., it is a previously undocumented entertainment medium that is just now coming into focus. Forty-eight photos accompany the text.