Full of romance, intrigue, magic, and passion, the first book of The Five Crowns of Okrith—the thrilling TikTok sensation from A.K. Mulford—The High Mountain Court begins the journey of the fugitive red witch Remy as she fights to reclaim her kingdom and discover what’s inside her heart. For thirteen years, nineteen-year-old Remy has known she is possibly the last red witch alive, and she is determined to stay that way. But the Northern Court King, who has slaughtered her family and placed a bounty on red witch heads, is intent on destroying her kind once and for all. When four fae warriors enter her tavern refuge, Remy tries to flee, but her magic isn’t strong enough to stop the determined—and handsome—Prince Hale of the Eastern Kingdom. He claims he wants to stop a war with the Northern Court before his kingdom succumbs to the same fate as Remy’s. In order to do that, he needs a red witch…and Remy may be the only person alive who can help him. Yet even as she’s drawn to him, can she really trust Prince Hale? Can her fallen court truly be rescued from the evil clutches of the Northern Court King? Does she even have a choice? For the chance to save herself, her people, and help rid the world of a murderous tyrant, Remy must put her faith in Hale and his companions on a dangerous quest to find lost relics…and discover if she is ready to secure her legacy.

C. S. Lewis was a British author, lay theologian, and contemporary of J.R.R. Tolkien. The Lion, the Witch, and the Wardrobe is the first book in The Chronicles of Narnia.

This is a short sapphic fantasy novella with witches, fae, and a magic traveling carnival.

The second powerful novel in the Five Crowns of Okrith fantasy series brings us into a new part of the world as the fae princess Rua joins forces with a truly unlikely ally—all with the same romance and adventure readers have come to expect from A.K. Mulford’s viral sensation! A magic sword. A powerful curse. An untested fae princess. And a continent on fire... Eighteen-year-old Ruadora Dammacus now possesses the Immortal Blade, a powerful artifact that might be enough to overthrow the cruel oppression threatening the land. Yet when Rua discovers the Northern Court King’s uncle is not only alive but has cast a spell on the blue witch army, she realizes that the battle is just beginning. Venturing into the Northern Court, Rua finds herself working closely with the young Northern King. Her problems are mounting, and the handsome—and perhaps evil—king is only one of them. With the eyes of her newfound family on her, can Rua prove herself worthy of the Immortal Blade and break the curse over the blue witches, or will its magic be too difficult to control? And, perhaps even more dangerous, is her growing connection to the Northern King and what that means for her people…and her heart.

It is a historical phenomenon that while thousands of women were being burnt as witches in early modern Europe, the English - although there were a few celebrated trials and executions, one of which the play dramatises - were not widely infected by the witch-craze. The stage seems to have provided an outlet for anxieties about witchcraft, as well as an opportunity for public analysis. The Witch of Edmonton (1621) manifests this fundamentally reasonable attitude, with Dekker insisting on justice for the poor and oppressed, Ford providing psychological character studies, and Rowley the clowning. The village community of Edmonton feels threatened by two misfits, Old Mother Sawyer, who has turned to the devil to aid her against her unfeeling neighbours, and Frank, who refuses to marry the woman of his father's choice and ends up murdering her. This edition shows how the play generates sympathy for both and how contemporaries would have responded to its presentation of village life and witchcraft.