A dark epic fantasy inspired by The Prince and the Pauper and the fairy tale The False Prince, from bestselling author C. J. Redwine. Perfect for fans of the Court of Thorns and Roses series and the Wrath and the Dawn duology, The Traitor Prince is a thrilling new standalone novel in the Ravenspire series. Javan Najafai, crown prince of Akram, has spent the last ten years at an elite boarding school, far away from his kingdom. But his eagerly awaited return home is cut short when a mysterious impostor takes his place—and no one believes Javan is the true prince. After barely escaping the impostor’s assassins, Javan is thrown into Maqbara, the kingdom’s most dangerous prison. The only way to gain an audience with the king—and reveal Javan’s identity—is to fight in Maqbara’s yearly tournament. But winning is much harder than acing competitions at school, and soon Javan finds himself beset not just by the terrifying creatures in the arena but also by a band of prisoners allied against him, and even by the warden herself. The only person who can help him is Sajda, who has been enslaved by Maqbara’s warden since she was a child, and whose guarded demeanor and powerful right hook keep the prisoners in check. Working with Sajda might be the only way Javan can escape alive—but she has dangerous secrets. Together, Javan and Sajda have to outwit the vicious warden, outfight deadly creatures, and outlast the murderous prisoners intent on killing Javan. If they fail, they’ll be trapped in Maqbara for good—and the secret Sajda’s been hiding will bury them both.

Desire can be addicting... Shaken by the death of a close friend, Evander takes it upon himself to track down the rest of the Arcadians to face off against Dionysus and the Boeotians. It seems like a good plan-until the vampire who disrupted his life returns to tempt the beast only she seems to awaken within him. Vander hates her, blames her for the tragedy that befell The Aegean Inn months before, but he craves her in his bed. He can't resist her bite...or her kiss. Free after being imprisoned and double-crossed by Dionysus, Bremusa only wants to be left alone. Born an Amazon and made into a monster by Lamia, she is prepared to handle any threat. So why can't she help herself when trouble finds her in the form of a sexy satyr prince she once tasted and didn't have the time to savor? Just one night with him would alleviate her curiosity, but could never be enough to sate her hunger for him. Elsewhere, enemies make strategic plays with apocalyptic intentions. Apollo has gone missing, Dionysus has used the syrinx, and Lamia won't rest until she breaks Bremusa's spirit-and her heart. Will Vander and Bremusa be able to stand their ground, or will their time together come to an abrupt halt? Not like anyone could survive the end of the world, or could they?

Simbi and the Satyr of the Dark Jungle is the fabulous tale of Simbi, a rich and beautiful girl with a wonderful singing voice. She tires of her comfortable lifestyle, and decides that she must come to know poverty and punishment. The story tells, with terrifying imagination and comic invention, of how she achieves this experience and how, in the end, she escapes from it. Amos Tutuola was born in Abeokuta, Nigeria, in 1920. His first novel, The Palm-Wine Drinkard, was acquired by T. S. Eliot and published by Faber in 1952.

The #1 bestselling series that started with Stalking Jack the Ripper and Hunting Prince Dracula continues its streak in this third bloody installment . . . Audrey Rose and Thomas Cresswell find themselves aboard a luxurious ocean liner that becomes a floating prison of horror when passengers are murdered one by one, with nowhere to run from the killer. Embarking on a week-long voyage across the Atlantic on the opulent RMS Etruria , Audrey Rose Wadsworth and her partner-in-crime-investigation, Thomas Cresswell, are delighted to discover a traveling troupe of circus performers, fortune tellers, and a certain charismatic young escape artist entertaining the first-class passengers nightly. But privileged young women begin to go missing without explanation, and a series of brutal slayings shocks the entire ship. The strange and disturbing influence of the Moonlight Carnival pervades the decks as the murders grow more and more bizarre. It's up to Audrey Rose and Thomas to piece together the gruesome investigation before more passengers die before reaching their destination. But with clues to the next victim pointing to someone she loves, can Audrey Rose unravel the mystery before the killer's horrifying finale?

The first book in a witty, suspenseful new series about a brilliant new crime-solving duo: the teen descendants of Sherlock Holmes and John Watson. This clever page-turner will appeal to fans of Maureen Johnson and Ally Carter. Jamie Watson has always been intrigued by Charlotte Holmes; after all, their great-great-great-grandfathers are one of the most infamous pairs in history. But the Holmes family has always been odd, and Charlotte is no exception. She’s inherited Sherlock’s volatility and some of his vices—and when Jamie and Charlotte end up at the same Connecticut boarding school, Charlotte makes it clear she’s not looking for friends. But when a student they both have a history with dies under suspicious circumstances, ripped straight from the most terrifying of the Sherlock Holmes stories, Jamie can no longer afford to keep his distance. Danger is mounting and nowhere is safe—and the only people they can trust are each other.

Ceremony and Text in the Renaissance is a contribution to the history of cultural semiotics in Early Modern Europe. Prof. Thomas M. Greene's theoretical exposition introduces a series of articles that consider the interaction between literary production and ceremonial performance in the larger cultural text of the Renaissance. The Renaissance engaged in a greater number of ceremonial performances than the preceding era, but the Reformation had irrevocably altered the language of ceremony, reducing its magical efficacity and diminishing its ability to inspire community. According to Professor Greene, the essays address one large but limited area of semiotic practice, the social role of ceremonial performance during the early modern period, examining the interplay between ceremonial and the narrative, dramatic, or poetic text.

Volume 3 covers the years 1590-1597 and sees the start of Shakespeare's career as a dramatist.