Like a combination of Cold Comfort Farm and Psycho, Gillian White's brilliant new novel begins very quietly, almost romantically, then builds inexorably to nearly unbearable suspense.It's about an attractive, fortyish widow, very lively but deeply wounded in her psyche, who inherits her brother's cottage in a remote part of rural Devon. Georgie is a London social worker in flight from unwanted tabloid celebrity when a child who is part of her caseload is killed. The little girl's father has been under suspicion of abusing the child, and Georgie is accused by the press of having ignored all the warning signs and abandoned the little girl to her father's cruel, and finally fatal, beating. An inquiry exonerates Georgie, but the press doesn't forgive her, and she can't forgive herself, so when she inherits her brother's cottage, she is happy to go there and sort things out.Georgie settles in and takes stock of her neighbors. Chad Cramer, a small-time thief and poacher, has appropriated most of her brother's belongings and lives with Donna, a witless but somehow disturbing waif, who is clearly in terror of Chad; the Buckpits, dairy farmers, a ferocious, brooding gorgon of a mother and two hulking, brutish sons; and Nancy and George Horsefield, a well-to-do married couple whose brightly expensive lifestyle seems to conceal some hidden tragedy, for Mrs. H. is clearly crazy, and Mr. H., though he cares for her, is strangely on edge....For a while, Georgie gets by restoring the cottage to something approaching livability and cleaning up the garden shed, in which something strange has clearly been going on, and her life seems almost idyllic.Then a darker note is heard. Georgie sees a mysterious and threatening stranger, who runs away when Georgie approaches; Chad Cramer turns nasty; Donna begins to cling to Georgie; Mrs. Buckpit is openly hostile; and Georgie continues to be haunted by the child who was under her care and died, and by the thought of the child's father in prison now. As the summer ends, the countryside begins to turn savage and threatening, and now real terror creeps in. Georgie's beloved dog is stolen, her attempt at painting is livened up with splashes of blood, an intruder stares into her cottage at night with a baleful eye...Finally, step by step, the horror increases to Psycho level as a snowstorm isolates the village and cuts Georgie off from the world -- leaving her at the mercy of a killer whose identity she can't even guess as the ax descends on her...

It seems an unlikely coincidence - two women hung from the same tree, five centuries apart. DI Wesley Peterson is forced to consider that the killer also knows the tree's history. Has Pauline been executed rather than murdered and, if so, for what crime?

The canon of Edgar Allan Poe, one of the foremost writers of dark and atmospheric fiction and poetry, offers readers haunted shores teeming with various erudite men brooding in the waning light over their feelings for unobtainable women. Yet, whether the tales or verses are grotesque or sinister, Poe's narrators are Outsiders, dealing with emotions that so many LGBT individuals feel: isolation and abandonment as well as loneliness and lost love. In the Shirley Jackson Award nominated Where Thy Dark Eye Glances, editor Steve Berman has assembled a range of tales that queer the prose and poetry of the Poe, the man himself, as well as dark and eerie stories about reading Poe's work.

In this journal Boatswain’s Mate James Morrison recounts the Royal Navy ship HMS Bounty’s 1787 voyage and the ensuing mutiny, providing an invaluable resource for naval historians and an enthralling tale for the general reader.

Pre-Conquest attitudes towards the dying and the dead have major implications for every aspect of culture, society and religion of the Anglo-Saxon period; but death-bed and funerary practices have been comparatively and unjustly neglected by historical scholarship. In her wide-ranging analysis, Dr Thompson examines such practices in the context of confessional and penitential literature, wills, poetry, chronicles and homilies, to show that complex and ambiguous ideas about death were current at all levels of Anglo-Saxon society. Her study also takes in grave monuments, showing in particular how the Anglo-Scandinavian sculpture of the ninth to the eleventh centuries may indicate not only the status, but also the religious and cultural alignment of those who commissioned and made them. Victoria Thompson is Lecturer in the Centre for Nordic Studies at the University of the Highlands and Islands. .