Outcast due to their ability to manipulate time, shunned by the mortal and immortal worlds alike, a Traveller’s life is anything but easy. Traveller Peter Faa is a member of the Otherworld’s Watch tracking down a murderer, and unfortunately, the clues all seem to point toward his own estranged family. Any of his cousins could be guilty, but finding which one is tricky when they’re all experts in the art of stealing time. After surviving a lightning strike, Kiya Mortenson is determined to get just one thing in her life right. And if that means taking a job as nanny to five pugs who live in a campsite in the Oregon wilderness, then so be it. It doesn’t hurt that the job comes with some pretty spectacular male eye candy, including her new boss’s gorgeous black sheep grandson. If only she didn’t keep having this strange sense of deja vu… When Peter discovers that his own family is stealing time from Kiya, all bets are off. While she may drive him crazy at times, it’s clear to him that it’s not just lightning that’s creating some serious sparks between them. And he’s not going to let secrets, lies, or a devious murderer keep Kiya from where she belongs: at his side.

Experts in the art of stealing time, Travellers live on the edge of both mortal and immortal realms. But a few fight their outlaw instincts.… Gwenhwyfar Byron Owens learned everything she knows about potions and spells from her two Wiccan moms, who are forbidden by Otherworld laws to teach magic to mortals. But when their latest transgression results in the kidnapping of a mortal woman, Gwen figures the only place to hide them all is in Summerland, the Wiccan afterlife.… But Gregory Faa—a member of the Watch—is hot on their heels. A Traveller who has stolen time, he’s eager to prove himself worthy of the Watch, only he has a past with the dark-eyed Welsh beauty he’s been charged with bringing to justice. He’s tempted to just let Gwen disappear into Summerland until he realizes that she’s being pursued by a squad of goons and death’s minions. Gwen is used to taking care of her moms and herself, so she can’t give in to her heart’s demand to trust Gregory, despite the fact that he’s as handsome as the day is long—and the days in Summerland last centuries.…

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What happens when a seventeenth-century bad guy has twenty-first-century technology? An accident with an antigravity machine catapulted Peter Schock and Kate Dyer back to 1763. A bungled rescue attempt leaves Peter stranded in the eighteenth century while a terrifying villain, the Tar Man, takes his place and explodes onto twenty-first-century London. Concerned about the potentially catastrophic effects of time travel, the NASA scientists responsible for the situation question whether it is right to rescue Peter. Kate decides to take matters into her own hands, but things don't go as planned. Soon the physical effects of time travel begin to have a disturbing effect on her. Meanwhile, in our century, the Tar Man wreaks havoc in a city whose police force is powerless to stop him.Set against a backdrop of contemporary London and revolutionary France, The Time Thief is the sequel to the acclaimed The Time Travelers.

Christ's Crucifixion is one of the most recognized images in Western culture, and it has come to stand as a universal symbol of both suffering and salvation. But often overlooked is the fact that ultimately the Crucifixion is a scene of capital punishment. Mitchell Merback reconstructs the religious, legal, and historical context of the Crucifixion and of other images of public torture. The result is a fascinating account of a time when criminal justice and religion were entirely interrelated and punishment was a visual spectacle devoured by a popular audience. Merback compares the images of Christ's Crucifixion with those of the two thieves who met their fate beside Jesus. In paintings by well-known Northern European masters and provincial painters alike, Merback finds the two thieves subjected to incredible cruelty, cruelty that artists could not depict in their scenes of Christ's Crucifixion because of theological requirements. Through these representations Merback explores the ways audiences in early modern Europe understood images of physical suffering and execution. The frequently shocking works also provide a perspective from which Merback examines the live spectacle of public torture and execution and how audiences were encouraged by the Church and the State to react to the experience. Throughout, Merback traces the intricate and extraordinary connections among religious art, devotional practice, bodily pain, punishment, and judicial spectatorship. Keenly aware of the difficulties involved in discussing images of atrocious violence but determined to make them historically comprehensible, Merback has written an informed and provocative study that reveals the rituals of medieval criminal justice and the visual experiences they engendered.