From the world of the Lost Souls ParaAgency series comes a bad witch with good intentions. My name is Lola, and I'm a bad witch. At least, that's what they tell me. I can't remember anything past the recent Winter Solstice. Focusing on the past never did anyone any favors, so I'm taking my fresh start and helping others. Okay, I’ll admit, at first it’s reluctantly. But, I’m out to prove that people and witches can change for the better. And other bad witches? They'd better watch out. I'm coming for them.

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From popular author and clairvoyant Gillian Kemp comes a wonderfully wicked set of charmed cards and a booklet--a perfect gift for showers, birthdays, and more. 64-page book with 52 full-color, individually designed cards.

For fans of Lovecraft Country and Candyman comes a witchy story full of Black girl magic! One girl′s dark ability to summon the dead offers her a chance at a new life, while revealing to her an even darker future. “Practical Magic meets Black Girl Magic in this powerful addition to the YA canon. I couldn′t put it down.” —#1 New York Times Bestselling Author Victoria Schwab Katrell can talk to the dead. And she wishes it made more money. She’s been able to support her unemployed mother—and Mom’s deadbeat-boyfriend-of-the-week—so far, but it isn’t enough. Money’s still tight, and to complicate things, Katrell has started to draw attention. Not from this world—from beyond. And it comes with a warning: STOP, or there will be consequences. Katrell is willing to call the ghosts on their bluff; she has no choice. What do ghosts know of having sleep for dinner? But when her next summoning accidentally raises someone from the dead, Katrell realizes that a live body is worth a lot more than a dead apparition. And, warning or not, she has no intention of letting this lucrative new business go. Only, magic isn’t free, and dark forces are coming to collect. Now Katrell faces a choice: resign herself to poverty, or confront the darkness before it’s too late.

An in-depth view of the way popular female stereotypes were reflected in—and were shaped by—the portrayal of women in Disney’s animated features. In Good Girls and Wicked Witches, Amy M. Davis re-examines the notion that Disney heroines are rewarded for passivity. Davis proceeds from the assumption that, in their representations of femininity, Disney films both reflected and helped shape the attitudes of the wider society, both at the time of their first release and subsequently. Analyzing the construction of (mainly human) female characters in the animated films of the Walt Disney Studio between 1937 and 2001, she attempts to establish the extent to which these characterizations were shaped by wider popular stereotypes. Davis argues that it is within the most constructed of all moving images of the female form—the heroine of the animated film—that the most telling aspects of Woman as the subject of Hollywood iconography and cultural ideas of American womanhood are to be found. “A fascinating compilation of essays in which [Davis] examined the way Disney has treated female characters throughout its history.” —PopMatters