The townfolk of Fortune were getting damn tired of the gang of killers that was terrorizing the South Park country of Colorado, and when Scott Wheeler got backshot in a dark alley one night, they wanted blood. Someone had to hang, and the evidence pointed to Civil War veteran Tom Shannon who was homesteading just outside town. But Tom had other plans.

When a boy called Bairn is rescued from his dangerous job as an Edinburgh chimney sweep, he appears to have landed on his feet. But his new job proves just as dangerous and he soon becomes caught up in a plot to kill Queen Victoria. Has he been saved from slavery only to end up swinging from the gallows?

From Puritan Execution Day rituals to gangsta rap, the black criminal has been an enduring presence in American culture. To understand why, Jeannine Marie DeLombard insists, we must set aside the lenses of pathology and persecution and instead view the African American felon from the far more revealing perspectives of publicity and personhood. When the Supreme Court declared in Dred Scott that African Americans have "no rights which the white man was bound to respect," it overlooked the right to due process, which ensured that black offenders—even slaves—appeared as persons in the eyes of the law. In the familiar account of African Americans' historical shift "from plantation to prison," we have forgotten how, for a century before the Civil War, state punishment affirmed black political membership in the breach, while a thriving popular crime literature provided early America's best-known models of individual black selfhood. Before there was the slave narrative, there was the criminal confession. Placing the black condemned at the forefront of the African American canon allows us to see how a later generation of enslaved activists—most notably, Frederick Douglass—could marshal the public presence and civic authority necessary to fashion themselves as eligible citizens. At the same time, in an era when abolitionists were charging Americans with the national crime of "manstealing," a racialized sense of culpability became equally central to white civic identity. What, for African Americans, is the legacy of a citizenship grounded in culpable personhood? For white Americans, must membership in a nation built on race slavery always betoken guilt? In the Shadow of the Gallows reads classics by J. Hector St. John de Crèvecoeur, Edgar Allan Poe, Frederick Douglass, Herman Melville, George Lippard, and Edward Everett Hale alongside execution sermons, criminal confessions, trial transcripts, philosophical treatises, and political polemics to address fundamental questions about race, responsibility, and American civic belonging.

Dan Newland arrives in Arizona Territory to start a new life and finds that his past has followed him in the person of Ben Draper, a Texas gun-fighter whose brother Dan was forced to kill. Dan leaves Yuma and heads northeast across the desert towards the high country. On the way, he meets Ash Quigley and his pretty, strong-willed granddaughter, Tony. The Quigley's enemies become Dan's own, and he must defend his new friends against a cattle baron who covets wealth and power, and will take it any way he can. All the while, Dan knows he will have to face Draper in a final showdown. The stakes are high. Dan will have to risk everything to win the new life he so desperately wants.

1210 and a black force is sweeping England. For a vengeful King John has seized control of the Church, leaving corpses to lie in unconsecrated ground, babies unbaptized in their cradles and the people terrified of dying in sin. And in the village of Gastmere, the consequences grow darker still when Elena, a servant girl, is dragged into a conspiracy to absolve the sins of the lord of the manor. As the terrors that soon begin to plague Elena's sleep grow darker, in desperation she visits the cunning woman, who has been waiting for just such an opportunity to fulfil an ancient curse conjured at the gallows. Elena, haunted by this curse and threatened with death for a crime she didn't commit, flees the village ... only to find her nightmare has barely begun. For treachery lurks in every shadow as King John's brutal reign makes enemies of brothers, murderers of virgins and sinners of us all.

"A pleasingly original contribution to the paranormal-romance genre.” —Kirkus Reviews A simple but forgotten truth: Where harbingers of death appear, the morgues will soon be full. Angie Dovage can tell there’s more to Reece Fernandez than just the tall, brooding athlete who has her classmates swooning, but she can’t imagine his presence signals a tragedy that will devastate her small town. When something supernatural tries to attack her, Angie is thrown into a battle between good and evil she never saw coming. Right in the center of it is Reece—and he’s not human. What's more, she knows something most don't. That the secrets her town holds could kill them all. But that’s only half as dangerous as falling in love with a harbinger of death. Each book in the Black Bird of the Gallows series is STANDALONE: * Cleaner of Bones (Prequel) * Black Bird of the Gallows * Keeper of the Bees

"He who tells the truth is not well liked" -- Bambara of Mali proverb

On 24 April 1942, Czechoslovak journalist and active CPC member Julius Fucik was detained in Pankrác Prison in Prague, where he was subsequently interrogated and tortured, before being sent to Germany to stand trial for high treason. It was during this time that Fucik’s Notes from the Gallows (Czech: Reportáž psaná na oprátce, literally Reports Written Under the Noose) arose—written on pieces of cigarette paper and smuggled out by two sympathetic prison warders named Kolinsky and Hora. The notes were treated as great literary works after his death in 1943 and translated into many languages worldwide, resulting in this book, which was first published in English in 1948. It describes events in the prison since Fucik’s arrest and is filled with hope for a better, Communist future.

Journalist Peter Godwin has covered wars. As a soldier, he's fought them. But nothing prepared him for the surreal mix of desperation and hope he encountered when he returned to Zimbabwe, his broken homeland. Godwin arrived as Robert Mugabe, the country's dictator for 30 years, has finally lost an election. Mugabe's tenure has left Zimbabwe with the world's highest rate of inflation and the shortest life span. Instead of conceding power, Mugabe launched a brutal campaign of terror against his own citizens. With foreign correspondents banned, and he himself there illegally, Godwin was one of the few observers to bear witness to this period the locals call The Fear. He saw torture bases and the burning villages but was most awed as an observer of not only simple acts of kindness but also churchmen and diplomats putting their own lives on the line to try to stop the carnage. The Fear is a book about the astonishing courage and resilience of a people, armed with nothing but a desire to be free, who challenged a violent dictatorship. It is also the deeply personal and ultimately uplifting story of a man trying to make sense of the country he can't recognize as home.

Shortlisted for the James Cropper Wainwright Prize 2022 for Nature Writing - Highly Commended Winner for the Richard Jefferies Award 2021 for Best Nature Writing `Evocative and inspiring.environmental protest, family, motherhood and.nature.' Claire Fuller, author of Unsettled Ground, Costa Novel Award Winner 2021 `It's ever so good. Political, passionate and personal.' Robert Macfarlane `I couldn't put it down! A must read!' Dara McAnulty, author of Diary of a Young Naturalist Nature is everything. It is the place I come from and the place I got to. It is family. Wherever I am, it is home and away, an escape, a bolt hole, a reason, a place to fight for, a consolation, and a way home. As a child growing up in rural England, Guardian Country Diarist Nicola Chester was inexorably drawn to the natural landscape surrounding her. Walking, listening and breathing in the nature around her, she followed the call of the cuckoo, the song of the nightingale and watched as red kites, fieldfares and skylarks soared through the endless skies over the chalk hills of the North Wessex Downs: the ancient land of Greenham Common which she called home. Nicola bears witness to, and fights against, the stark political and environmental changes imposed on the land she loves, whilst raising her family to appreciate nature and to feel like they belong - core parts of who Nicola is. From protesting the loss of ancient trees to the rewilding of Greenham Common, to the gibbet on Gallows Down and living in the shadow of Highclere Castle (made famous in Downton Abbey), On Gallows Down shows how one woman made sense of her world - and found her place in it.