Marie Levant begins her medical residency in New Orleans's Charity Hospital in the wake of culture shock and increasingly violent dreams, which give way to an awareness of her ancestral heritage as an African and a voodoo queen.

"Previously published as Voodoo season."

The story of Marie Laveau, a legendary nineteenth-century New Orleans voodoo queen.

Season In Season (formerly titled Voodoo Season), Jewell Parker Rhodes revisits the sensual, magical landscape of her highly acclaimed debut novel, Voodoo Dreams. Moon In the second part of the New Orleans trilogy that began with Voodoo Season, Rhodes takes on an ancient African vampire in today’s Big Easy, where thrilling chills await. Hurricane In the stunning conclusion to award-winning author Jewell Parker Rhodes’s mystery trilogy, Dr. Marie Lavant, descendent of Voodoo queen Marie Laveau, must confront a murderous evil in New Orleans.

Winner of the National Book Critics Circle Award for Autobiography, this is a brilliant writer’s account of a long, painful, ecstatic—and unreciprocated—affair with a country that has long fascinated the world. A foreign correspondent on a simple story becomes, over time and in the pages of this book, a lover of Haiti, pursuing the heart of this beautiful and confounding land into its darkest corners and brightest clearings. Farewell, Fred Voodoo is a journey into the depths of the human soul as well as a vivid portrayal of the nation’s extraordinary people and their uncanny resilience. Haiti has found in Amy Wilentz an author of astonishing wit, sympathy, and eloquence.

“A finely crafted tale of the enigmatic world of big-wave surfers.”—Kirkus Reviews The Maverick’s surf point near Half Moon Bay, California, has long been one of the most dangerous places in the world to catch a ride. It is also the site of the Super Bowl of big-wave surfing: the Maverick’s Surf Contest. Mark Kreidler takes readers inside the waves, inside the lives of the competitors, and introduces them to Jeff Clark, the man who first dared to ride Maverick’s. Kreidler’s riveting account of the 2010 season captures the jaw-dropping performance of South Africa’s Chris Bertish as well as Clark’s clashes with the contest’s newly corporatized management. The Voodoo Wave is a thrilling account of a culture of high-risk, high-adrenaline athletes.

In the twenty-first century, American popular culture increasingly makes visible the performance of African spirituality by black women. Disney’s Princess and the Frog and Pirates of the Caribbean franchise are two notable examples. The reliance on the black priestess of African-derived religion as an archetype, however, has a much longer history steeped in the colonial othering of Haitian Vodou and American imperialist fantasies about so-called ‘black magic’. Within this cinematic study, Martin unravels how religious autonomy impacts the identity, function, and perception of Africana women in the American popular imagination. Martin interrogates seventy-five years of American film representations of black women engaged in conjure, hoodoo, obeah, or Voodoo to discern what happens when race, gender, and African spirituality collide. She develops the framework of Voodoo aesthetics, or the inscription of African cosmologies on the black female body, as the theoretical lens through which to scrutinize black female religious performance in film. Martin places the genre of film in conversation with black feminist/womanist criticism, offering an interdisciplinary approach to film analysis. Positioning the black priestess as another iteration of Patricia Hill Collins’ notion of controlling images, Martin theorizes whether film functions as a safe space for a racial and gendered embodiment in the performance of African diasporic religion. Approaching the close reading of eight signature films from a black female spectatorship, Martin works chronologically to express the trajectory of the black priestess as cinematic motif over the last century of filmmaking. Conceptually, Martin recalibrates the scholarship on black women and representation by distinctly centering black women as ritual specialists and Black Atlantic spirituality on the silver screen.