Henry Wolfe has a penchant for finding trouble. Or more precisely trouble usually finds him. It is the late 1920's and Wolfe, a traveling reporter/ self-proclaimed adventurer, is hired to go on a mission deep into the dubious jungles of Venezuela. Several months earlier, the son of a wealthy family disappeared during his search for a lost tribe who reportedly had found the key to eternal life. Wolfe is a last-minute replacement on the team to go find and extricate the son, no matter what. No white man has ever gone down this Venezuelan river path and returned alive. Local tribesmen and predators lurk in the leafy shadows as Henry and his team fight for their lives.

A companion to Taylor's bestselling modern classic "The Cay," this prequel-sequel tells the rest of the story of Phillip, a young white boy, and Timothy, an old black man, who become stranded on a small sandy cay in the Caribbean.

Welcome to a world where blood, lust, power, loyalty, and desires to kill are taken to their limits. Out of the darkness where that mans lust for power is allowed to exist, the unimaginable emerged. From the forgotten legends of ancient times, they have been called forth into the world once againdevils. From within the shadows, rogue hunters arise, operating for their own reasons but aim for the same goals. The devils do not walk unchallenged. Terror doesnt flourish without resistance, and a battle for survival erupts. An age that changed from peace to violence and sin, trading blood for blood, humanity may be lost. But from the ashes of destroyed hope, a new legend emerges, a figure harbored by death, respectfully feared by devils, and distrusted by humanity. A stolen child who became a devil slayer and who became a devil, his name is Heartnik. Try to kill me if you can, but ready or not, Im coming for you.

For fans of Hatchet and Island of the Blue Dolphins comes Theodore Taylor’s classic bestseller and Lewis Carroll Shelf Award winner, The Cay. Phillip is excited when the Germans invade the small island of Curaçao. War has always been a game to him, and he’s eager to glimpse it firsthand–until the freighter he and his mother are traveling to the United States on is torpedoed. When Phillip comes to, he is on a small raft in the middle of the sea. Besides Stew Cat, his only companion is an old West Indian, Timothy. Phillip remembers his mother’s warning about black people: “They are different, and they live differently.” But by the time the castaways arrive on a small island, Phillip’s head injury has made him blind and dependent on Timothy. “Mr. Taylor has provided an exciting story…The idea that all humanity would benefit from this special form of color blindness permeates the whole book…The result is a story with a high ethical purpose but no sermon.”—New York Times Book Review “A taut tightly compressed story of endurance and revelation…At once barbed and tender, tense and fragile—as Timothy would say, ‘outrageous good.’”—Kirkus Reviews * “Fully realized setting…artful, unobtrusive use of dialect…the representation of a hauntingly deep love, the poignancy of which is rarely achieved in children’s literature.”—School Library Journal, Starred “Starkly dramatic, believable and compelling.”—Saturday Review “A tense and moving experience in reading.”—Publishers Weekly “Eloquently underscores the intrinsic brotherhood of man.”—Booklist "This is one of the best survival stories since Robinson Crusoe."—The Washington Star · A New York Times Best Book of the Year · A School Library Journal Best Book of the Year · A Horn Book Honor Book · An American Library Association Notable Book · A Publishers Weekly Children’s Book to Remember · A Child Study Association’s Pick of Children’s Books of the Year · Jane Addams Book Award · Lewis Carroll Shelf Award · Commonwealth Club of California: Literature Award · Southern California Council on Literature for Children and Young People Award · Woodward School Annual Book Award · Friends of the Library Award, University of California at Irvine

“The evil that men do” has been chronicled for thousands of years on the European stage, and perhaps nowhere else is human fear of our own evil more detailed than in its personifications in theater. Early writers used theater to communicate human experiences and to display reverence for the gods governing daily life. Playwrights from Euripides onward sought inspiration from this interplay between the worldly and the occult, using human belief in the divine to govern characters’ actions within a dramatic arena. The constant adherence to the supernatural, despite changing religious ideologies over the centuries, testifies to a deep and continuing belief in the ability of a higher power to interfere in human life. Stages of Evil is the first book to examine the representation and relationship of evil and the occult from the prehistoric origins of drama through to the present day. Drawing on examples of magic, astronomy, demonology, possession, exorcism, fairies, vampires, witchcraft, hauntings, and voodoo, author Robert Lima explores how theater shaped American and European perceptions of the occult and how the dramatic works studied here reflect society back upon itself at different points in history. From representations of Dionysian rites in ancient Greece, to the Mouth of Hell in the Middle Ages, to the mystical cabalistic life of the Hasidic Jews, to the witchcraft and magic of the Elizabethan and Jacobean stage, Lima traces the recurrence of supernatural motifs in pivotal plays and performance works of the Western tradition. Considering numerous myths and cultural artifacts, such as the “wild man,” he describes the evolution and continual representation of supernatural archetypes on the modern stage. He also discusses the sociohistorical implications of Christian and pagan representations of evil and the theatrical creativity that occultism has engendered. Delving into his own theatrical, literary, folkloric, and travel experiences to enhance his observations, Lima assays the complex world of occultism and examines diverse works of Western theater and drama. A unique and comprehensive bibliography of European and American plays concludes the study and facilitates further research into the realm of the social and literary impact of the occult.

Neglected upon its initial release in 1995, John Carpenter's In the Mouth of Madness has since developed a healthy cult reputation. It now appears as one of his most thematically complex and stylistically audacious pieces of work, prescient and more essential than ever. This book seeks to position this overlooked masterpiece as essential Carpenter.

It's been four years since seventeen-year-old Mitchell Johnson was hit by a bus and inexplicably ended up in the Underworld. Hell is miserable, but Mitchell knows things could be worse. After all, he has the coveted job of The Devil's intern--plus three close friends who keep him from dwelling too much on his untimely demise. Still, he'd rather be living. So when Mitchell discovers that his boss is in possession of a legendary time-travel mechanism called a Viciseometer, he starts forming a plan. With a device like that, Mitchell realizes, he could escape Hell, revisit his death, and prevent it altogether. Getting his hands on the device turns out to be easy. But preventing his friends from accompanying him--and protecting them from whatever it is that's stalking them through time--is going to be impossible.

Reading innumerable treatises on demonology written during the Renaissance, including Thesaurus exorcismorum, the most important record of early modern exorcisms, Maggi finds repeated attempts to define the language exchanged between the fallen progeny of Adam, and the most notorious fallen angel of them all, Satan. Using points of departure taken from de Certeau and Lacan, Maggi shows that Satan articulates his language first and foremost in the mind. More than speaking, the devil tries to make human beings understand his language and speak it themselves.