By spring 1645, two years of civil war had exacted a dreadful toll upon England. People lived in terror as disease and poverty spread, and the nation grew ever more politically divided. In a remote corner of Essex, two obscure gentlemen, Matthew Hopkins and John Stearne, exploited the anxiety and lawlessness of the time and initiated a brutal campaign to drive out the presumed evil in their midst. Touring Suffolk and East Anglia on horseback, they detected demons and idolators everywhere. Through torture, they extracted from terrified prisoners confessions of consorting with Satan and demonic spirits. Acclaimed historian Malcolm Gaskill retells the chilling story of the most savage witch-hunt in English history. By the autumn of 1647 at least 250 people--mostly women--had been captured, interrogated, and hauled before the courts. More than a hundred were hanged, causing Hopkins to be dubbed "Witchfinder General" by critics and admirers alike. Though their campaign was never legally sanctioned, they garnered the popular support of local gentry, clergy, and villagers. While Witchfinders tells of a unique and tragic historical moment fueled by religious fervor, today it serves as a reminder of the power of fear and fanaticism to fuel ordinary people's willingness to demonize others.

‘I am an expert on witchcraft, Doctor, but I wish to learn more. Before you die, I want answers.’ The TARDIS lands in the Lancashire village of Bilehurst Cragg in the 17th century, and the Doctor, Ryan, Graham and Yaz soon become embroiled in a witch trial run by the local landowner. Fear stalks the land, and the arrival of King James I only serves to intensify the witch hunt. But the Doctor soon realises there is something more sinister than paranoia and superstition at work. Tendrils of living mud stir in the ground and the dead lurch back to horrifying life as an evil alien presence begins to revive. The Doctor and her friends must save not only the people of Bilehurst Cragg from the wakening forces, but the entire world

‘We must get to the bottom of this dark and queer business, no matter what the cost!’ Something ghastly is afoot in Victorian Yorkshire. Something that kills. Bodies are washing up in the canal, their skin a waxy, glowing red... But just what is this crimson horror? Madam Vastra, Jenny and Strax are despatched to investigate the mystery. Strangely reluctant to assist their enquiries is Mrs Winifred Gillyflower, matriarch of ‘Sweetville’, a seemingly utopian workers’ community. Why do all roads lead to the team's old friends Clara and the Doctor? Who is Mrs Gillyflower's mysterious silent partner Mr Sweet? And will the motley gang be in time to defeat the mysterious power that threatens all the world with its poison?

An action-packed drama full of urban gangs, witches, and a modern day Inquisition.

This work explores the social foundation of evidence law in a specific historical social and cultural context - the debate concerning the proof of the crime of witchcraft in early modern England. In this period the question of how to prove the crime of witchcraft was the centre of a public debate and even those who strongly believed in the reality of witchcraft had considerable concerns regarding its proof. In a typical witchcraft crime there were no eyewitnesses, and since torture was not a standard measure in English criminal trials, confessions could not be easily obtained. The scarcity of evidence left the fact-finders with a pressing dilemma. On the one hand, using the standard evidentiary methods might have jeopardized any chance of prosecuting and convicting extremely dangerous criminals. On the other hand, lowering the evidentiary standards might have led to the conviction of innocent people. Based on the analysis of 157 primary sources, the book presents a picture of a diverse society whose members tried to influence evidentiary techniques to achieve their distinct goals and to bolster their social standing. In so doing this book further uncovers the interplay between the struggle with the evidentiary dilemma and social characteristics (such as class, position along the centre/periphery axis and the professional affiliation) of the participants in the debate. In particular, attention is focused on the professions of law, clergy and medicine. This book finds clear affinity between the professional affiliation and the evidentiary positions of the participants in the debate, demonstrating how the diverse social players and groups employed evidentiary strategies as a resource, to mobilize their interests. The witchcraft debate took place within the formative era of modern evidence law, and the book highlights the mutual influences between the witch trials and major legal developments.

'The number of women my brother Matthew killed, so far as I can reckon it, is one hundred and six...' THE PAGE-TURNING RICHARD AND JUDY BOOK CLUB BESTSELLER 'A compelling debut from a gifted storyteller' Sarah Perry, author of The Essex Serpent When Alice Hopkins' husband dies in a tragic accident, she returns to the small Essex town of Manningtree, where her brother Matthew still lives. But home is no longer a place of safety. Matthew has changed, and there are rumours spreading through the town: whispers of witchcraft, and of a great book, in which he is gathering women's names. To what lengths will Matthew's obsession drive him? And what choice will Alice make, when she finds herself at the very heart of his plan? Winner of the HWA Debut Crown Award 2017, and a Spring 2018 Richard and Judy Book Club pick, this beautiful and haunting historical thriller is perfect for fans of Sarah Waters, The Miniaturist and Burial Rites. 'Vivid and terrifying' Paula Hawkins, author of The Girl on the Train 'Thumpingly good' Lucy Mangan 'A clever, pacey read that blends truth and fiction...what elevates this book above other historical thrillers are the questions that Underdown asks about the nature of power, fear and how easy it is to become complicit in terrible acts' The Times 'A chilling, creeping novel with very obvious parallels to more modern forms of witch-hints and misogyny, but is still firmly rooted in an England torn apart by civil war and gripped by religious fervour' Red 'A haunting, brooding debut' Psychologies 'At once a feminist parable and an old-fashioned, check-twice-under-the-bed thriller' Patrick Gale 'A richly told and utterly compelling tale, with shades of Hilary Mantel' Kate Hamer, author of The Girl in the Red Coat 'Anyone who liked Cecilia Ekback's Wolf Winter is going to love this' Natasha Pulley, author of The Watchmaker of Filigree Street 'Beth Underdown grips us from the outset and won't let go...at once a feminist parable and an old-fashioned, check-twice-under-the-bed thriller' Patrick Gale, author of Notes from an Exhibition 'A tense, surprising and elegantly-crafted novel' Ian McGuire, author of The North Water 'Beth Underdown cleverly creates a compelling atmosphere of dread and claustrophobia... Even from the distance of nearly four hundred years, her Matthew Hopkins is a genuinely frightening monster' Kate Riordan 'Superb: dark, terrifying and utterly compelling' Tracy Borman 'A novel for our times. Beth Underdown's The Witchfinder's Sister explores another time and another place to lay bare the visceral horror of what a witch hunt truly is' New York Times Book Review 'Entertaining and thought-provoking, with a valuable message for our own times' Washington Post

Jennet Stearne's father hangs witches for a living in Restoration England. But when she witnesses the unjust and horrifying execution of her beloved aunt Isobel, the precocious child decides to make it her life's mission to bring down the Parliamentary Witchcraft Act. Armed with little save the power of reason, and determined to see justice prevail, Jennet hurls herself into a series of picaresque adventures—traveling from King William's Britain to the fledgling American Colonies to an uncharted island in the Caribbean, braving West Indies pirates, Algonquin Indian captors, the machinations of the Salem Witch Court, and the sensuous love of a young Ben Franklin. For Jennet cannot and must not rest until she has put the last witchfinder out of business.