Wrath - strong vengeful anger or indignation; retributory punishment for an offense or a crime. They say love makes you do crazy things. In Bennett Reeve's case that is the understatement of a century. Reunited with the love of his life, he will stop at nothing to ensure all of Leander's dreams come true. There's just one little problem - Dr. Lorelei Clayton. Until she's gone, Leander will never truly be his. Having lost Leander once already, Bennett will be damned if he stands by and lets it happen again. Exonerated from the four murders in his hometown, Leander Welles returns to Easton to pick up the pieces of his life. Before he can rest easy, there are few loose ends that need to be tied up. But as everyone knows, for every action there is a reaction and Leander unknowingly sets off a chain of events that even he cannot control. With each new death, he learns a painful lesson - when you're the villain, there is no such thing as happily ever after. Content warning: This book contains references to alcohol/drug use, various mental health issues, self-harm, suicide, and torture. Reader discretion is advised.

Doctor Faustus is a classic; its imaginative boldness and vertiginous ironies have fascinated readers and playgoers alike. But the fact that this play exists in two early versions, printed in 1604 and 1616, has posed formidable problems for critics. How much of either version was written by Marlowe, and which is the more authentic? Is the play orthodox or radically interrogative? Michael Keefer’s early work helped to establish the current consensus that the 1604 text was censored and revised; the Keefer edition, praised for its lucid introduction and scholarship, was the first to restore two displaced scenes to their correct place. Most competing editions presume that the 1604 text was printed from authorial manuscript, and that the 1616 text is of little substantive value. But in 2006 Keefer’s fresh analysis of the evidence showed that the 1604 quarto’s Marlovian scenes were printed from a corrupted manuscript, and that the 1616 quarto (though indeed censored and revised) preserves some readings earlier than those of the 1604 text. This edition has been updated and revised. Keefer’s critical introduction reconstructs the ideological contexts that shaped and deformed the play, and the text is accompanied by textual and explanatory notes and excerpts from sources.

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"Originally commenced as a pastime, and to please a circle of friends alone, success, in any degree, can only be hoped for, because of my vantage ground as an intimate and close friend of Mr. Lincoln, and because, by reason of such intimacy, of the novelty of some of the facts and deductions, and not, in any sense, by reason, but in spite of, its literary style or, rather, the lack thereof."--Preface.

As the author writes in the introduction, "As we read the poems, the play, and yes, as we 'read' the paintings, we discover subversive explorations of these much-read and well-loved tales of divine love and divine wrath that challenge both the established literary conventions and the social hierarchy of the period".