The third and final installment in Mario Puzo's epic chronicle of the Corleone crime family—one of the most enduring lineages in American literature and cinema—achieves a stunning crescendo with a story that imagines the role of the Mafia in the assassination of a young, charismatic president. In The Godfather's Revenge—authorized by the Puzo Estate—Mark Winegardner moves the Corleone family onto the biggest stage of all: the intersection of organized crime and national politics. A subordinate to Michael Corleone, New Orleans underboss Carlo Tramonti is publicly humiliated when the US Attorney General—President Danny Shea's brother—has him arrested and deported to Colombia. Tramonti eventually returns, hell-bent on settling scores, and triggers a series of events destined to change the course of American history. Corleone, though haunted by the death of his brother Fredo, knows that this is no time for weakness—and so, with fearless consigliere Tom Hagen leading the way, a new path for the future is forged. As the dramatic twists of The Godfather's Revenge take the reader from Las Vegas to Miami to New Orleans, from the power alleys of Washington, DC, to the remote jungles of Colombia, the puppet master behind the curtain remains Michael Corleone, the tortured prodigal son who is determined to redefine his family's legacy and make his father—the original Godfather—proud.

A little girl is taken underground by vegetables, where they plant her in a garden and eat the results.

Lemony Snicket meets Roald Dahl in this “wickedly funny” (Kirkus Reviews), deliciously macabre, and highly illustrated sequel to The Beast and the Bethany in which Bethany and Ebenezer try to turn over a new leaf, only to have someone—or something—thwart them at every turn. Once upon a very badly behaved time, 511-year-old Ebenezer kept a beast in his attic. He would feed the beast all manner of objects and creatures and in return the beast would vomit him up expensive presents. But then the Bethany arrived. Now notorious prankster Bethany, along with her new feathery friend Claudette, is determined that she and Ebenezer are going to de-beast their lives and Do Good. But Bethany finds that being a former prankster makes it hard to get taken on for voluntary work. And Ebenezer secretly misses the beast’s vomity gifts. And neither of them is all that sure what “good people” do anyway. Then there’s Claudette, who’s not been feeling herself recently. Has she eaten something that has disagreed with her?

This book discovers within early modern revenge tragedy the surprising shaping presence of a wide array of classical philosophies not commonly affiliated with the genre.

In this book, McMahon considers Early Modern revenge plays from a political science perspective, paying particular attention to the construction of family and state institutions. Plays set for close study are The Spanish Tragedy, Hamlet, The Revenger’s Tragedy, The Malcontent and The Duchess of Malfi. The plays are read as unique events occupying positions in historical process concerning the privatisation of the family (by means of symbolism and concrete household strategies such as budgeting and surveillance) and the subsequent appropriation of the family and its methods by the state. The effect is that family becomes an unofficial organ of the state. This process, however, also involves the reform of the state along lines demanded by the private family. McMahon’s critical method, derived from the theory of Bourdieu, Bataille, and Girard, maps capital transactions to reveal emotionally charged, often idiosyncratic responses to issues of shared concern. Such issues include state corruption, the management of women, the performance of roles according to gender, the uses of surveillance, and the ethics of sacrifice.

American Revenge Narratives critically examines the nation’s vengeful storytelling tradition. With essays on late twentieth and twenty-first century fiction, film, and television, it maps the coordinates of the revenge genre’s contemporary reinvention across American culture. By surveying American revenge narratives, this book measures how contemporary payback plots appraise the nation’s political, social, and economic inequities. The volume’s essays collectively make the case that retribution is a defining theme of post-war American culture and an artistic vehicle for critique. In another sense, this book presents a scholarly coming to terms with the nation’s love for vengeance. By investigating recent iterations of an ancient genre, contributors explore how the revenge narrative evolves and thrives within American literary and filmic imagination. Taken together, the book’s diverse chapters attempt to understand American culture’s seemingly inexhaustible production of vengeful tales.

This book, the first to trace revenge tragedy's evolving dialogue with early modern law, draws on changing laws of evidence, food riots, piracy, and debates over royal prerogative. By taking the genre's legal potential seriously, it opens up the radical critique embedded in the revenge tragedies of Kyd, Shakespeare, Marston, Chettle and Middleton.