In this brilliant sequel to The Rise and Fall of D.O.D.O.—an enthralling, history-bending adventure traversing time and space, fact and fiction, magic and science co-written with #1 New York Times bestselling author Neal Stephenson—a daring young time traveler must return to Jacobean England to save the modern world. This fast-paced sequel to the New York Times bestselling near-future adventure The Rise and Fall of D.O.D.O. picks up where the original left off, as Tristan Lyons, Mel Stokes, and their fellow outcasts from the Department of Diachronic Operations (D.O.D.O.) fight to stop the powerful Irish witch Gráinne from using time travel to reverse the evolution of all modern technology. Chief amongst Gráinne’s plots: to encrypt cataclysmic spells into Shakespeare’s “cursed” play, Macbeth. When her fellow rogue agents fall victim to Gráinne’s schemes, Melisande Stokes is forced to send Tristan’s untested, wayward sister Robin back in time to 1606 London, where Edmund Tilney, the king’s Master of Revels, controls all staged performances in London. And now Gráinne controls Tilney. While Robin poses as an apprentice in Shakespeare’s Globe Theatre, Mel travels to the ancient Roman Empire and, with the help of double-agent Chira in Renaissance Florence, untangles the knotted threads of history while the diabolical Gráinne jumps from timeline to timeline, always staying frustratingly one stop ahead—or is it behind? Historical objects disappear, cities literally rise and fall, and nothing less than the fate of humanity is at stake. As Gráinne sows chaos across time and space, the ragtag team of ex-D.O.D.O. agents must fix the past—in order to save the future. Critically acclaimed author Nicole Galland brings her deep knowledge of history and signature wit to this gripping romantic adventure.

The Masters of the Revels and Elizabeth I's Court Theatre places the Revels Office and Elizabeth I's court theatre in a pre-modern, patronage and gift-exchange driven-world of centralized power in which hospitality, liberality, and conspicuous display were fundamental aspects of social life. W.R. Streitberger reconsiders the relationship between the biographies of the Masters and the conduct of their duties, rethinking the organization and development of the Office, re-examining its productions, and exploring its impact on the development of the commercial theatre. The nascent capitalist economy that developed alongside and interpenetrated the gift-driven system that was in place during Elizabeth's reign became the vehicle through which the Revels Office along with the commercial theatre was transformed. Beginning in the early 1570s and stretching over a period of twenty years, this change was brought about by a small group of influential Privy Councillors. When this project began in the early 1570s the Queen's revels were principally in-house productions, devised by the Master of the Revels and funded by the Crown. When the project was completed in the late 1590s, the Revels Office had been made responsible for plays only and put on a budget so small that it was incapable of producing them. That job was left to the companies performing at court. Between 1594 and 1600, the revels consisted almost entirely of plays brought in by professional companies in the commercial theatres in London. These companies were patronized by the queen's relatives and friends and their theatres were protected by the Privy Council. Between 1594 and 1600, for example, all the plays in the revels were supplied by the Admiral's and Chamberlain's Players which included writers such as Shakespeare, and legendary actors such as Edward Alleyn, Richard Burbage, and Will Kempe. The queen's revels essentially became a commercial enterprise, paid for by the ordinary Londoners who came to see these companies perform in selected London theatres which were protected by the Council.

Tom Carter, mourning the death of his partner of 10 years, is persuaded by his best friend to attend the monthly revels at an infamous leather bar. He unintentionally overthrows the reigning Master of Revels, and to his dismay, must now take his place. He meets Bill, a hot leatherman, who helps him adjust to his new role, and they fall in love. But the notoriety of his role as Master of the Revels throws hurdles in their way - and the only way for Tom to pass it on is to submit to the next Master ...

Originally published in 1985, and available for the first time in paperback, Bondmen & Rebels provides a pioneering study of slave resistance in the Americas. Using the large-scale Antigua slave conspiracy of 1736 as a window into that society, David Barry Gaspar explores the deeper interactive character of the relation between slave resistance and white control.

Shakespeare made his money from writing for public theatres like the Globe, but the companies he served only survived because the royal courts had their own uses for drama, to fill the long winter nights of their Revels seasons. Shakepeare's plays were performed there more often than those by anyone else and he revised them--making them fuller, richer, and more sophisticated for his royal patrons. Shakespeare, Court Dramatist outlines the symbioticrelationship between Shakespeare and the court and shows how it affected his writing, forging plays like Romeo and Juliet and Hamlet in the versions we know best today.

After returning to Fairyland, September discovers that her stolen shadow has become the Hollow Queen, the new ruler of Fairyland Below, who is stealing the magic and shadows from Fairyland folk and refusing to give them back.

“Nicole Galland is exceptionally well versed in the fine nuances of storytelling.” —St. Petersburg Times “Galland has an exceptional gift.” —Neal Stephenson The critically acclaimed author of The Fool's Tale, Nicole Galland now approaches William Shakespeare's classic drama of jealousy, betrayal, and murder from the opposite side. I, Iago is an ingenious, brilliantly crafted novel that allows one of literature's greatest villains--the deceitful schemer Iago, from the Bard's immortal tragedy, Othello--to take center stage in order to reveal his "true" motivations. This is Iago as you've never known him, his past and influences breathtakingly illuminated, in a fictional reexamination that explores the eternal question: is true evil the result of nature versus nurture...or something even more complicated?