101 Curses is an incredible collection of spells, and whether you intend to curse anyone or not, this book would make a marvelous addition to any Magic or occult book collector's library. This book is a rare treasure trove of hard to find curses, suitable for almost anyone, whether they are new to the Magickal Arts, or are a seasoned practitioner. Some of these curses are so rotten, I'm ashamed to list them, so you will just have to buy it to find out the evil you could do with this diabolical collection! I feel for the person who angers you after you get this book! It contains an eclectic blend of curses from around the world, and is sure to have a curse for everyone on your naughty list. Spells 1-45 are traditional type spells which require components, most of which are easy to find household items. They include easy to-follow, precise instructions on how to perform the spells from start to finish. Some of the spells even have reversal methods included in case you want to back out and stop what you have unleashed. Spells 45-101 are a fun collection of time honored Irish Curses, which are easy to perform and need no preparation whatsoever. Just spout them out to your intended victim, and your Magick is done. This Huge compilation of over 100 spells covers a wide variety of subjects including curses used for breaking up relationships, love affairs, friendships, marriages, courtships, curses to cause bad luck in gambling, cause someone to lose their home, lose their job, decrease someone's stock, cause someone to become ugly, develop boils, catch the measles, mumps, shingles, break a limb, cause insanity, personal injury, depression, nightmares, headaches, and much more. There are also curses included especially for lawyers, teachers, judges, police officers, politicians, and others. There are also binding spells for when you want to take preventative measures against someone. This is a great book for the aggressive Magician.

Gas prices, traffic. “Fresh” produce, “wholesome” food. Your boss. Your former boss. Your coworkers. Your crush. Doctors. Customer service. Who can you call to get that monkey off your back? You can’t call anyone because they won’t return your calls. Isn’t it time to have a little ammo of your own? Here you go: fifty custom maledictions for situations you run into every day, and for people you know and wish you didn’t. In step-by-step, user-friendly detail, The Little Book of Curses puts the power back in your hands. Learn how to place spells, incantations, hexes, and more. Authentic, ancient curses from around the world are tweaked for easy, contemporary use. The book covers the four essentials to practicing any kind of magic: what to do and say, what materials to use, what frame of mind to be in, and what limits to set. In some cases it even matters where you are when you set your curse, what time of day it is, and who’s around. All that is here, too. It’s foolproof!

Ancient Christians and their non-Christian contemporaries lived in a world of 'magic.' Sometimes, they used curses as ritual objects to seek justice from gods and other beings; sometimes, they argued against them. Curses, and the writings of those who polemicized against curses, reveal the complexity of ancient Mediterranean religions, in which materiality, poetics, song, incantation, and glossolalia were used as technologies of power. Laura Nasrallah's study reframes the field of religion, the study of the Roman imperial period, and the investigation of the New Testament and ancient Christianity. Her approach eschews disciplinary aesthetics that privilege the literature and archaeological remains of elites, and that defines curses as magical materials, separable from religious ritual. Moreover, Nasrallah's imaginative use of art and 'research creations' of contemporary Black painters, sculptors, and poets offer insights for understanding how ancient ritual materials embedded into art work intervene into the present moment and critique injustice.

Public reading of the psalms facilitates corporate worship, but it can also create a degree of awkwardness as a number of passages in the Psalter contain curses, asking God to avenge enemies. The presence of vengeful speech seems antithetical to Jesus' Sermon on the Mount. What are these psalms really about? This book recovers the value of imprecatory speech in Scripture, arguing that such passages continue to be relevant today, both in preaching and therapy. The interpretive model Nehrbass suggests is that of dependence: these psalms transfer the burden of one's enemies to God and affirm that it is God's prerogative alone to avenge. The authors of the imprecatory psalms were victims of violence, so this book looks to contemporary victims of violence for their interpretation and application of these psalms. This study is decidedly practical. Nehrbass examines the nature of anger and hatred and highlights some of the redemptive aspects of these emotions. He concludes that the imprecatory psalms offer several positive aspects for dealing with hatred. Use of these passages fosters in believers a passion for God's reputation and can also aid us in surrendering our problems to God's control.

This is a book about curses. It is not about curses as insults or offensive language but curses as petitions to the divine world to render judgment and execute harm on identified, hostile forces. In the ancient world, curses functioned in a way markedly different from our own, and it is into the world of the ancient Near East that we must go in order to appreciate the scope of their influence. For the ancient Near Easterners, curses had authentic meaning. Curses were part of their life and religion. They were not inherently magic or features of superstitions, nor were they mere curiosities or trifling antidotes. They were real and effective. They were employed proactively and reactively to manage life’s many vicissitudes and maintain social harmony. They were principally protective, but they were also the cause of misfortune, illness, depression, and anything else that undermined a comfortable, well-balanced life. Every member of society used them, from slave to king, from young to old, from men and women to the deities themselves. They crossed cultural lines and required little or no explanation, for curses were the source of great evil. In other words, curses were universal. Because curses were woven into the very fabric of every known ancient Near Eastern society, they emerge frequently and in a wide variety of venues. They appear on public and private display objects, on tomb stelae, tomb lintels, and sarcophagi, on ancient kudurrus and narûs. They are used in political, administrative, social, religious, and familial contexts. They are the subject of incantations. They are tools that exorcise demons and dispel disease; they ban, protect, and heal. This is the phenomenology of cursing in the ancient Near East, and this is what the present work explores.

In the ancient Greco-Roman world, it was common practice to curse or bind an enemy or rival by writing an incantation on a tablet and dedicating it to a god or spirit. These curses or binding spells, commonly called defixiones were intended to bring other people under the power and control of those who commissioned them. More than a thousand such texts, written between the 5th Century B.C.E. and the 5th Century C.E., have been discovered from North Africa to England, and from Syria to Spain. Extending into every aspect of ancient life--athletic and theatrical competitions, judicial proceedings, love affairs, business rivalries, and the recovery of stolen property--they shed light on a new dimension of classical study previously inaccessible. Here, for the first time, these texts have been translated into English with a substantial translator's introduction revealing the cultural, social, and historical context for the texts. This book will interest historians, classicists, scholars of religion, and those concerned with ancient magic.

Presents descriptions of hundreds of urban legends and their variations, themes, and scholarly approaches to the genre, including such tales as disappearing hitchhikers and hypodermic needles left in the coin slots of pay telephones.

It is becoming clearer and clearer that Groundhog Day (1993), directed by Harold Ramis, is one of the masterpieces of 1990s Hollywood cinema. One of the first films to use a science-fiction premise as the basis for romantic comedy, it tells the story of a splenetic TV weatherman, Phil Connors (Bill Murray at his disreputable best), who finds himself repeating indefinitely one drab day in the milk-and-cookies town of Punxsutawney, Pennsylvania. At first glance it seems like a feel-good parable in the tradition of Frank Capra's It's a Wonderful Life (1943). But on closer inspection it is a deeply ambivalent fable, with strong echoes of Samuel Beckett: before he finds redemption Phil must plumb the depths of suicidal despair - and even after he has survived this, the film offers no guarantees that he will live happily ever after. Ryan Gilbey begins his account of Groundhog Day with the long and unlucky gestation of the script by Danny Rubin (who was interviewed specially for this book) which formed the basis of the finished film. Gilbey celebrates the inspired casting of Murray, alongside Andie MacDowell and less well-known actors such as Stephen Tobolowsky (who plays the reptilian sa