The acclaimed author of "Veil of Lies" and "Serpent in the Thorns" delivers her third novel of medieval noir, featuring disgraced knight Crispin Guest.

The Tracker pursues mystical documents said to conjure demons while hunting for a monstrous killer in this medieval mystery with “an appealing noirish air” (Booklist). Since losing his knighthood, Crispin Guest has reinvented himself as an investigator for hire known as the Tracker. But his reputation will once again be put to the test with his latest case. Jacob of Provençal, a Jewish physician at the king’s court, is missing a set of documents that he claims contain the power to bring forth a dangerous demon. Meanwhile, it seems a monster has already been unleashed on the city. Vulnerable street children are being abducted and murdered, their mutilated bodies the only clues left behind. With the help of his orphaned servant, Jack, it is up to Crispin to unravel the grim tangle of mystery and murder. This third installment of the Crispin Guest Medieval mysteries was nominated for a Romantic Times Award and was a finalist for the Macavity Award.

The first major scholarly investigation into the rich history of the marked body in the early modern period, this interdisciplinary study examines multiple forms, uses, and meanings of corporeal inscription and impression in France and the French Atlantic from the late sixteenth through early eighteenth centuries. Placing into dialogue a broad range of textual and visual sources drawn from areas as diverse as demonology, jurisprudence, mysticism, medicine, pilgrimage, commerce, travel, and colonial conquest that have formerly been examined largely in isolation, Katherine Dauge-Roth demonstrates that emerging theories and practices of signing the body must be understood in relationship to each other and to the development of other material marking practices that rose to prominence in the early modern period. While each chapter brings to light the particular histories and meanings of a distinct set of cutaneous marks—devil’s marks on witches, demon’s marks upon the possessed, devotional wounds, Amerindian and Holy Land pilgrim tattoos, and criminal brands—each also reveals connections between these various types of stigmata, links that were obvious to the early modern thinkers who theorized and deployed them. Moreover, the five chapters bring to the fore ways in which corporeal marking of all kinds interacted dynamically with practices of writing on, imprinting, and engraving paper, parchment, fabric, and metal that flourished in the period, together signaling important changes taking place in early modern society. Examining the marked body as a material object replete with varied meanings and uses, Signing the Body: Marks on Skin in Early Modern France shows how the skin itself became the register of the profound cultural and social transformations that characterized this era.

Previous ed.: New York: Barricade Books, c1996.

After the death of a neighbour in a house fire, Jake aquires the old woman's box of ancient tarot cards. He and his five friends use them with devistating consequences.They soon realise that they have released a demon, that brings the cards to life with visions of the future. Then it mirrors their future actions back to them. Unfortunately for them, they haven't been exactly honest with each other.They try to destroy the cards without success, then leave them in the capable hands of a priest, which causes mayhem.The cards get passed around in a world full of deceit and murder-Perfect for a demon seeking karmic justice!When the not so good friends get reunited with the cards, they realise they have to finish their readings to break the spell. If they don't, then the demon will be free to pass judgement on anyone it sees fit, including the remaining six. If they do,then they will discover a whole lot more about each other than they bargained for, ending in blood sweat and tears.

What if a book existed that gave answers to everything you've ever wondered about? What would you do to learn its secrets? Tales of such books have abounded for millennia and are legend in occult history. One of the most pervasive modern iterations is that of the Necronomicon, said to be a genuine occult text from the 8th century. The Necronomicon really is the creation of science fiction writer H.P. Lovecraft (1891-1937), in whose books the magic volume first appears in print. In The Necronomicon Files two occult authorities explore all aspects of The Necronomicon, from its first appearance in Lovecraft's fiction to its ongoing pervasive appearance in cult and occult circles. The Necronomicon Files, revised and expanded further, reveals the hoax of the Necronomicon. Harms and Gonce show that the apocryphal history of the Necronomicon was concocted by Lovecraft to lend it verisimilitude in his fiction. The magical text was transformed into an icon among Lovecraft's literary circle, who added to the book's legend by referring to it in their own writing. People became convinced that it was a real book and its references in literature and film continue to grow. The book also examines what people have undergone to find the Necronomicon and the cottage industry that has arisen over the past three decades to supply the continuing demand for a book that does not exist. Scholarly yet accessible, humorous and intriguing, The Necronomicon Files illuminates the depth of the creative process and the transformations of modern myth, while still managing to preserve much of the romance and fascination that surrounds the Necronomicon in our culture.

The Medieval Devil is a unique collection of primary sources that examines the development of medieval society through the lens of how people perceived the devil. In exploring where and how Europeans discerned his presence, detected his machinations, and sought to counter his actions, readers will be afforded a new and important point of entry into medieval history. Each chapter begins with an introduction to familiarize readers with critical issues and to contextualize the primary sources against broader developments of the period. Questions for discussion and reflection, twelve black-and-white illustrations, and a short bibliography are included.