First English translation of both a novel and two play excerpts based on tales of the goddess Chen Jinggu, an eighth-century shaman and present-day cult deity. This book offers the first translation into English of the Chinese novel Haiyouji, as well as excerpts of a marionette play based on the cult lore of the goddess Chen Jinggu (766–790), a historical shaman priestess who became one of Fujian’s most important goddesses and the Lüshan Sect’s chief deity. The novel, a 1753 reprint of what is possibly a Ming dynasty novel, was both a popular fiction and a religious tract. It offers a lively mythological tale depicting combat between the shaman goddess and a snake demon goddess. Replete with the beliefs and practices of the cult of this warrior goddess, the novel asserts the importance of Shamanism (i.e., local religious beliefs) as one of the four religions of China, along with Confucianism, Buddhism, and Daoism. To further develop the links between literature and local religion, Fan Pen Li Chen includes translations of two acts from a Fujian marionette play, Biography of the Lady, featuring the goddess.

Spice trader Cinnamon’s quiet life is turned upside down when she ends up on a quest with a fiery demon, in this irreverently quirky rom-com fantasy that is sweet, steamy, and funny as hell. All she wanted to do was live her life in peace—maybe get a cat, expand the family spice farm. Really, anything that didn’t involve going on an adventure where an orc might rip her face off. But they say the goddess has favorites, and if so, Cin is clearly not one of them. After Cin saves the demon Fallon in a wine-drunk stupor, Fallon reveals that all he really wants to do is kill an evil witch enslaving his people. And who can blame him? But now he’s dragging Cinnamon along for the ride whether she likes it or not. On the bright side, at least he keeps burning off his shirt.…

The Lady of Linshui—the goddess of women, childbirth, and childhood—is still venerated in south China, Taiwan, and Southeast Asia. Her story evolved from the life of Chen Jinggu in the eighth century and blossomed in the Ming dynasty (1368–1644) into vernacular short fiction, legends, plays, sutras, and stele inscriptions at temples where she is worshipped. The full-length novel The Lady of Linshui Pacifies Demons narrates Chen Jinggu’s lifelong struggle with and eventual triumph over her spirit double and rival, the White Snake demon. Among accounts of goddesses in late imperial China, this work is unique in its focus on the physical aspects of womanhood, especially the dangers of childbirth, and in its dramatization of the contradictory nature of Chinese divinities. This unabridged, annotated translation provides insights into late imperial Chinese religion, the lives of women, and the structure of families and local society.

Nature's greatest feat is the smile of a pretty woman, but gentlemen, beware of the potential havoc a beautiful woman can bring to your life, and once the damage is done to your psyche, make a plan to fight back and rebuild yourself. One man's story, and a presentation of counter-measures to a bad marriage. Includes discussion of female archetypes, divine couple archetypes, Film Noir and the Good Girl Illusion, Subtle Christian Satanism, reality vs. illusion regarding other females in a male's life, including mothers, daughters, sisters. Commentary on "Christian" literature titles Boundaries, Jesus Calling, God Winks. A discussion of what to do after the devastation is done includes keeping your own confidence, personal care, exercise, and psychological redress including denial, repression, projection, rationalization, intellectualization, displacement and sublimation. Also: professional help, temporary or permanent separation, divorce, self-compassion, self-esteem, and a choice to "love anyway" and/or carrying the burden from day to day in hopes of a greater reward.

Presents brief entries describing the gods and goddesses from the mythology and religion of a wide variety of cultures throughout history.

Among the most ancient deities of South Asia, the yaksha straddle the boundaries between popular and textual traditions in both Hinduism and Buddhism and both benevolent and malevolent facets. As a figure of material plenty, the yaksis epitomized as Kubera, god of wealth and king of the yaks In demonic guise, the yaksis related to a large family of demonic and quasi-demonic beings, such as nagas, gandharvas, raks, and the man-eating pisaacas. Translating and interpreting texts and passages from the Vedic literature, the Hindu epics, the Puranas, Kālidāsa's Meghadūta, and the Buddhist Jātaka Tales, Sutherland traces the development and transformation of the elusive yaksfrom an early identification with the impersonal absolute itself to a progressively more demonic and diminished terrestrial characterization. Her investigation is set within the framework of a larger inquiry into the nature of evil, misfortune, and causation in Indian myth and religion.