Just as fake medium Eleanor Wilde begins falling for Nicholas Hartford III and his endearing family, she’s summoned to a remote Scottish castle where an unusual assignment to locate a haunted trove of treasure threatens Eleanor’s budding romance, her livelihood . . . and her life! As Sussex’s resident witch and pseudo psychic, Eleanor has grown accustomed to somewhat strange requests for supernatural aid. So when Nicholas‘s university pal, Sid Stewart, writes from the family’s remote castle in Scotland, begging for Ellie’s services as a medium, Ellie is only delighted to help. Apparently, the recently deceased patriarch of Sid’s family, Glenn Stewart, died before divulging the whereabouts of an important cache of family heirlooms. The Stewart clan hopes a clairvoyant can contact him from beyond the grave. Of course, Ellie can’t actually commune with the dead. But faking it is the name of her game. She’s not worried, until . . . Aboard the train for Oban, Ellie discovers that fellow medium Birdie White is also heading to the Outer Hebrides to assist the Stewarts. Birdie is a master in the art, serving as a spiritual consultant to royalty and even assisting Scotland Yard on occasion. Ellie might not trust the woman’s motivations, but Birdie’s skills are unquestionable. But while Birdie is busy speaking with the dead, Ellie plans to talk to living suspects—namely, the other residents and employees of the spooky Stewart estate, who know a lot more than they’re letting on. Amid swirling rumors of cursed treasure, whispered tales of ghostly pirates, and a recent spate of preternatural murders, in order to catch the killer Ellie must confront the most terrifying possibility of all—her gift may be real . . .

Eleanor Wilde has traded a career as a sham medium for a (relatively) respectable life in a small English town, providing the locals with herbal remedies and elixirs. But on a trip to the seaside town of Brighton, her past comes calling—and so does a killer . . . Though Eleanor is delighted that her brother, Liam, is visiting her in England, she must reluctantly agree that her quiet village lacks something when it comes to sightseeing—namely: sights. True, there’s nearby Castle Hartford, belonging to the family of Ellie’s boyfriend, Nicholas. But even Nicholas’s mother is eager to ditch sleepy, sweltering Sussex for a vacation in Brighton, taking Ellie and a relieved Liam with her. Yet hopes of a breezy seaside holiday quickly turn stormy, in every sense . . . The ominous change in weather is accompanied by the reappearance of Ellie’s former partner-in-crime, Armand Lamont. Back when Ellie earned a living as a phony medium, Armand’s hypnosis skills helped the pair persuade many gullible marks to hand over their savings. Ellie assumes that Armand has resurfaced with blackmail in mind, but before she can figure out his angle, she and Liam witness a man being pushed from a boat by two shadowy figures who then vanish into midair. Phantoms? Demons? Though Ellie doesn’t believe in either, the recovered body is real enough, as is a string of thefts plaguing their luxury hotel. Ellie has a theory, and it requires inviting Nicholas to join them under a fake identity. Their evolving relationship is as complex as this case, and Ellie’s authentic supernatural abilities too are developing in surprising ways. But as for whether the outcome will be good or bad, not even her witchy powers can say . . .

The occurrence of treaties throughout the Ancient Near East has been investigated on a number of occasions, generally in order to resolve certain questions arising in the biblical field. As a result of that focus, the existence of a similar institution in a number of different cultures has not been treated as a problem in itself. Generally the existence of treaties throughout the area has been taken for granted, or a simple borrowing model has been used to explain how similar forms came to be used in different cultures. Why forms were similar across the area has not been probed. This work investigates treaty occurrences in different cultures and finds that the forms used correlate with ways of maintaining political control both internally and over vassals. Related concepts are projected in official accounts of history. Thus one can roughly distinguish threats based on power from persuasion based on benevolence and historical precedent, though various combinations of these two occur. There is a likely further connection of the means chosen to the degree of centralisation of power within the society. Underlying the local traditions is a common tradition which has to be dated to the pre-literate period. Biblical covenants fit within this pattern. The cultures treated are Mesopotamia, the Hittites, Egypt, Syrian centres and Israel.

When something goes bump in the night . . . it’s most likely a plumbing problem, or something equally mundane. But fake medium Eleanor Wilde is happy to investigate and cleanse your home of spectral presences—for a fee. Hey, it’s a living . . . Ellie has an ailing sister to care for, and working as a ghost hunter who doesn’t believe in ghosts helps cover the bills for both of them. When she’s lucky, it also pays for the occasional tropical vacation. Her brother doesn’t exactly approve, but Ellie figures she’s providing a service. On her latest job, though, she may be in for some genuine scares. The skeptical, reserved, and very rich Nicholas Hartford III has flown her all the way to his family’s ancestral estate in England—supposedly haunted by a phantom named Xavier. Nicholas thinks it’s all just as much a crock as Ellie’s business is, but the fact remains that something is causing the flashes of light, mysterious accidents, and other apparent pranks in the chilly, eerie castle. His mother is sure that Xavier is real, and he’s willing to employ Ellie if she can get to the bottom of it and put a stop to the nonsense. While the food and accommodations are somewhat disappointing (dorm-room furniture? Really?), Ellie is finding it an adventure to get to know this eccentric family and their houseguests, and to poke around in the nearby village for clues. But when an actual dead body appears—and subsequently disappears—at Castle Hartford, she’ll have to apply her talent for trickery and psychological insight to solve a flesh-and-blood murder.

2023 EDGAR AWARD WINNER: LILIAN JACKSON BRAUN MEMORIAL PRIZE "A slapstick comedy of murder." —Library Journal "This first in series is truly original, funny, and well written. A real standout." —Mystery Scene Bestselling thriller writer Tess Harrow is almost at the end of her rope when she arrives with her teenage daughter at her grandfather's rustic cabin in the woods. She hopes this will be a time for them to heal and bond after Tess's recent divorce, but they've barely made it through the door when an explosion shakes the cabin. Suddenly it's raining fish guts and...is that a human arm? Tess was hardly convincing Gertie that a summer without Wi-Fi and running water would be an adventure. Now she's thrust into a murder investigation, neighbors are saying they've spotted Bigfoot in the woods near her cabin, and the local sheriff is the spitting image of her character Detective Gabriel Gonzales—something he's less than thrilled about. With so much more than her daughter's summer plans at stake, it's up to Tess to solve this case before anyone else gets hurt. Put your sleuthing hat on—Buried in a Good Book features: A thriller writer who knows way more than anyone should about death and dismemberment Her young daughter who's more intrigued by dead bodies than she probably should be An isolated cabin in the woods that's probably—definitely—hiding something The tiny mountain town that seems less than troubled by a sudden abundance of murders

"At Campathon, an annual eco-friendly festival held on a farm outside of Portland ... Sage has scored a coveted place for her Ground Rules coffee cart thanks to her new-ish boyfriend, Bax, who's friendly with Maya, one of the musicians performing ... When Sage stumbles upon [a] dead body in the nearby woods--his hand still clutching one of her coffee mugs--it's clear that someone's grudge boiled over into murder"--

"Dickens," Mr. G. K. Chesterton has written, "is as individual as the sea and as English as Nelson." The author of this biography has found no better excuse than this for writing another book about him. Dickens was a writer apart and the novelist of the lettered and of the unlettered. The man at the street corner who has hardly heard of Thackeray knows all about Sam Weller and Mrs. Gamp. This is the glory of Dickens In the pages of this book the author has retold, briefly and simply, the events of his life, summarised his " cheery, gladsome message," and endeavoured to suggest the particular value and significance of each of his principal books.

Hailed by the New York Times as a role model for Africa and beyond, barrier-breaking Olympian Simidele Adeagbo debuts a powerful, vibrantly-illustrated picture book about overcoming obstacles and discovering the boldness within.When Damilola tries sleighing down an icy slope for the first time, she thinks she knows exactly what it'll take to reach sledding success. With a snazzy new snowsuit and a lightning-fast sled, she comes to realize, however, that true victory lies not in what is seen but in unlocking her bravest, boldest, and best self. With whimsical and inspiring text, Olympian Simidele Adeagbo bring readers an uplifting, universal story about new experiences, never giving up, and finding your power.

This book traces the developments in African films that were made from the 1990s to the present within the evolving frame of what came to be called ‘World Cinema’ and, eventually, ‘Global Cinema.’ Kenneth W. Harrow explores how, from the time video and then digital technologies were introduced in the 1990s, and then again, when streaming platforms assumed major roles in producing and distributing film between the 2010s and 2020s, African cinema underwent enormous changes. He highlights how the introduction of the continent’s first successful commercial cinema, Nollywood, shifted the focus from engagé films, with social or political messages, to entertainment movies, but also auteur cinema. Harrow explores how this transformation liberated African filmmakers and resulted in an incredible, enduring flow of creative, inventive, and thoughtful filmmaking. This book presents a number of those critical films that mark that trajectory, projecting a new sense of African film spaces and temporalities, while also highlighting how African films continue to find independent pathways. This book will be of interest to students and scholars of African cinema and world cinema, as well as researchers specifically examining African cinemas and their relationship to globalization.

This book is the first definitive publication on Tunde Kelani, and represents a mine of divergent scholarly approaches to understanding his authorial power. A collection of articles on the cinematic oeuvre of one of the important and finest filmmakers in Africa, it addresses diverse areas that are crucial to Kelani’s filmic corpus and African cinema. Contributors articulate Kelani’s visual crafts in detail, while providing explications on significant markers. The book offers an understanding of how Kelani’s works represent the African worldview, science, demonstrative law, politics, gender, popular culture, canonized culture and history.