Volume 3 of 5 - 1690 Port Royal starts with a bang and a new change in government. Dr. Strangewayes witnesses pirating and pillaging aboard Captain Kidd’s ship, Blessed William, which leads to a drug-fueled night at the White Rabbit Inn. While Capitaine la Roche is heartbroken by the loss of his comrade and his true love, Atia. Series Description: Ye be warned - this series contains sexual situations, drug usage, foul language, crude humor, and beaky parrots. In 1689, Atia Crisp finds herself imprisoned in the wickedest city on earth, Port Royal, Jamaica, while the refugees from Strangewayes’s plantation in the Blue Mountains are on the run and seeking a new home, deep in the Caribbean. Captain Jean-Paul la Roche must get them to safety and find a way to liberate the woman he loves while waging a war against the English with the pirate Laurens de Graaf. While besieged people suffer and starve, a group of women form a secret and illegal society deep from within the bowels of the city called: WENCH. A network that deals with smugglers, merchants, cutthroats and thieves. Dragged into the struggle for supremacy of the Caribbean, the women are divided and find themselves engulfed in bloodshed. The pirates of Port Royal and former enemies may be their only hope of escape. Hell hath no fury like a cross wench!

Aphra Behn (1640-1689) is renowned as the first professional woman of literature and drama in English. Her career in the Restoration theatre extended over two decades, encompassing remarkable generic range and diversity. Her last five plays, written and performed between 1682 and 1696, include city comedies (The City-Heiress, The Luckey Chance), a farce (The Emperor of the Moon), a tragicomedy (The Widdow Ranter), and a comedy of family inheritance (The Younger Brother). These plays exemplify Behn's skills in writing for individual performers, and exhibit the topical political engagement for which she is renowned. They witness to Behn's popularity with theatre audiences during the politically and financially difficult years of the 1680s and even after her death. Informed by the most up-to-date research in computational attribution, this fully annotated edition draws on recent scholarship to provide a comprehensive guide to Behn's work, and the literary, theatrical and political history of the Restoration.

The material presented in this six-volume set moves away from courtly etiquette, adopting a more middle-class, domestic focus, and includes facsimile reproductions of sermons, poems, narratives and cookery books.

There is a time for rhetorical qualifications. That time was not No Quarter November. During November 2018, Douglas Wilson hoisted the Jolly Roger and went merrily swashbuckling his way through the culture and the church. Where he might usually make careful qualifications and check all the "on the other hand" boxes, he instead wrote a series of blog posts that slashed right to the heart of various matters. From the worst of the worldly (sexual chaos and atheistic evolution) to the frailties of the faithful (lame church music and foppish liturgical garb), both foes and friends got skewered. This book is the resultant shish-kebab.

This book is the first to explore the history of a powerful category of illicit sex in America’s past: liaisons between Southern white women and black men. Martha Hodes tells a series of stories about such liaisons in the years before the Civil War, explores the complex ways in which white Southerners tolerated them in the slave South, and shows how and why these responses changed with emancipation. Hodes provides details of the wedding of a white servant-woman and a slave man in 1681, an antebellum rape accusation that uncovered a relationship between an unmarried white woman and a slave, and a divorce plea from a white farmer based on an adulterous affair between his wife and a neighborhood slave. Drawing on sources that include courtroom testimony, legislative petitions, pardon pleas, and congressional testimony, she presents the voices of the authorities, eyewitnesses, and the transgressors themselves—and these voices seem to say that in the slave South, whites were not overwhelmingly concerned about such liaisons, beyond the racial and legal status of the children that were produced. Only with the advent of black freedom did the issue move beyond neighborhood dramas and into the arena of politics, becoming a much more serious taboo than it had ever been before. Hodes gives vivid examples of the violence that followed the upheaval of war, when black men and white women were targeted by the Ku Klux Klan and unprecedented white rage and terrorism against such liaisons began to erupt. An era of terror and lynchings was inaugurated, and the legacy of these sexual politics lingered well into the twentieth century.

When reports of an ambush upon a diplomatic party led by his son reach the barbarian king, news of his son's death cuts Conan deeper than any blade. Conan's melancholy threatens to tear his kingdom apart at a time when his mighty hand is needed most. Collects King Conan #16#20.

This is the fourth and final volume of the Cambridge edition of the works of John Webster. It contains four plays Webster wrote in collaboration, one - Sir Thomas Wyatt, a historical tragedy based around Lady Jane Grey - as part of a team of five led by Thomas Dekker, two - Westward Ho and Northward Ho, city comedies that prompted Chapman, Jonson, and Marston's Eastward Ho - with Thomas Dekker alone, and one - The Fair Maid of the Inn, an Italianate tragicomedy of which Webster wrote the largest share - with John Fletcher, Philip Massinger and John Ford. With the inclusion of these four plays, this Cambridge edition becomes the first complete works of John Webster. The edition preserves the original spelling of the plays, poetry, and prose, and incorporates the most recent editorial scholarship, including information on Webster's share in the collaborative plays, and new critical methods, textual theory, and theatrical analysis.