THE STORY: Gillian Holroyd is one of the few modern people who can actually cast spells and perform feats of supernaturalism. She casts a spell over an unattached publisher, Shepherd Henderson, partly to keep him away from a rival and partly becaus

One of Alasdair Gray's most brilliant creations, Poor Things is a postmodern revision of Frankenstein that replaces the traditional monster with Bella Baxter--a beautiful young erotomaniac brought back to life with the brain of an infant. Godwin Baxter's scientific ambition to create the perfect companion is realized when he finds the drowned body of Bella, but his dream is thwarted by Dr. Archibald McCandless's jealous love for Baxter's creation.The hilarious tale of love and scandal that ensues would be "the whole story" in the hands of a lesser author (which in fact it is, for this account is actually written by Dr. McCandless). For Gray, though, this is only half the story, after which Bella (a.k.a. Victoria McCandless) has her own say in the matter.Satirizing the classic Victorian novel, Poor Things is a hilarious political allegory and a thought-provoking duel between the desires of men and the independence of women, from one of Scotland's most accomplished authors.

The witch as a cultural archetype has existed in some form since the beginning of recorded history. Her nature has changed through technological developments and sociocultural shifts--a transformation most evident in her depictions on screen. This book traces the figure of the witch through American screen history with an analysis of the entertainment industry's shifting boundaries concerning expressions of femininity. Focusing on films and television series from The Wizard of Oz to The Craft, the author looks at how the witch reflects alterations of gender roles, religion, the modern practice of witchcraft, and female agency.

For fans of We Were Liars, How I Live Now, and The Ocean at the End of the Lane comes a haunting, sexy debut of magical realism. And look for Moïra Fowley-Doyle's newest book, Spellbook of the Lost and Found. Every October Cara and her family become inexplicably and unavoidably accident-prone. Some years it's bad, like the season when her father died, and some years it's just a lot of cuts and scrapes. This accident season—when Cara, her ex-stepbrother, Sam, and her best friend, Bea, are 17—is going to be a bad one. But not for the reasons they think. Cara is about to learn that not all the scars left by the accident season are physical: There's a long-hidden family secret underneath the bumps and bruises. This is the year Cara will finally fall desperately in love, when she'll start discovering the painful truth about the adults in her life, and when she'll uncover the dark origins of the accident season—whether she's ready or not.

Rosemary Edghill cast a keenly observant, friendly, yet faintly amused eye on an intriguing American micro-culture. The Bast novels offer a very new view of the practitioners of a very old faith. Edghill allows that there's still magic in the air. Rosemary Edghill's Bast novels are a real treat. Bell, Book, and Murder contains all three Bast novels, Speak Daggers to Her, Book of Moons, and The Bowl of Night (excerpted in USA Today). At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.

The highly anticipated new book from the acclaimed author of The Accident Season is a gorgeous, twisty story about things gone missing, things returned from the past, and a group of teenagers, connected in ways they could never have imagined. One stormy Irish summer night, Olive and her best friend, Rose, begin to lose things. It starts with simple items like hairclips and jewelry, but soon it's clear that Rose has lost something much bigger, something she won't talk about, and Olive thinks her best friend is slipping away. Then seductive diary pages written by a girl named Laurel begin to appear all over town. And Olive meets three mysterious strangers: Ivy, Hazel, and her twin brother, Rowan, secretly squatting in an abandoned housing estate. The trio are wild and alluring, but they seem lost too—and like Rose, they're holding tight to painful secrets. When they discover the spellbook, it changes everything. Damp, tattered and ancient, it's full of hand-inked charms to conjure back things that have been lost. And it just might be their chance to find what they each need to set everything back to rights. Unless it's leading them toward things that were never meant to be found...

This is the budget version of CATS ON FILM, with black and white photos instead of colour ones. What is a Catguffin? Why should you be wary of a Catzilla? What is the difference between a Catagonist and a Heropuss? Who or what is a Modesty Cat, and why does The Third Man have such problems with kitten continuity? All these questions and many others are answered in CATS ON FILM, the definitive work of feline film scholarship, in which critic and novelist Anne Billson explores the many and varied narrative functions of cats by examining their appearances in one hundred films, from blockbusters to art films, foreign films to cult oddities, rom-coms to horror movies. Meet Clovis, Ulysses, Jezebel, Pyewacket, Pumpkin and a clowder of other celebrated film felines, learn how the White Cat of Evil launched his career as Blofeld's lapcat in the James Bond franchise, and thrill to My Day By Jones, in which the cat's eye view of Alien is finally revealed. CATS ON FILM. No cat-loving film fan can afford to be without it.

They say that the moonlit hours are the realm of the sorrowful poet. These well traveled moments lit by candle and starlight are the road that poets and warriors tread unseen. We depart from the sea and from the war drenched sands of a desert as to home we return. This is the journey of many and the road of a healer-poet that alludes to the present lain over the construct of the seas, oceans, and ancient desert sands. A voyage through years and of lands far away is where you now shall find yourself drawn into. It is the span of decades to which we now turn for illumination of an informal history transcribed within these pages. Prepare yourself for the journey ahead as it is not for the faint of heart. I welcome you to light a candle by which to read with the moon and stars of night as your companion on this journey just as they were once mine. Come now with me into the pages of time lost to the annals of history.I bid you welcome to a Voyage of Light.

The witch as a cultural archetype has existed in some form since the beginning of recorded history. Her nature has changed through technological developments and sociocultural shifts--a transformation most evident in her depictions on screen. This book traces the figure of the witch through American screen history with an analysis of the entertainment industry's shifting boundaries concerning expressions of femininity. Focusing on films and television series from The Wizard of Oz to The Craft, the author looks at how the witch reflects alterations of gender roles, religion, the modern practice of witchcraft, and female agency.