The fourth installment in Jasper Fforde’s New York Times bestselling series follows literary detective Thursday Next on another adventure in her alternate reality of literature-obsessed England—from the author of The Constant Rabbit The popularity of Jasper Fforde’s one-of-a-kind series of genre-bending blend of crime fiction, fantasy, and top-drawer literary entertainment builds with each new book. Now in the fourth installment, the resourceful literary detective Thursday Next returns to Swindon from the BookWorld accompanied by her son Friday and none other than the dithering Hamlet. But returning to SpecOps is no snap—as outlaw fictioner Yorrick Kaine plots for absolute power, the return of Swindon’s patron saint foretells doom, and, if that isn’t bad enough, The Merry Wives of Windsor is becoming entangled with Hamlet. Can Thursday find a Shakespeare clone to stop this hostile takeover? Can she vanquish Kaine and prevent the world from plunging into war? And will she ever find reliable child care? Find out in this totally original, action-packed romp, sure to be another escapist thrill for Jasper Fforde’s legions of fans.

Denmark, Tennessee, stinks. The smell hits Horatio Wilkes the moment he pulls into town to visit his best friend, Hamilton Prince. And it's not just the paper plant and the polluted river that's stinking up Denmark: Hamilton's father has been poisoned and the killer is still at large. Why? Because nobody believes that Rex Prince was murdered. Nobody except Horatio and Hamilton. Now they need to find the killer, but it won't be easy. It seems like everyone in Denmark is a suspect. Motive, means, opportunity--they all have them. But who among them has committed murder most foul?

There is no more urgent theological task than to provide an account of hope in Africa, given its endless cycles of violence, war, poverty, and displacement. So claims Emmanuel Katongole, an innovative theological voice from Africa. In the midst of suffering, Katongole says, hope takes the form of "arguing" and "wrestling" with God. Such lament is not merely a cry of pain--it is a way of mourning, protesting, and appealing to God. As he unpacks the rich theological and social dimensions of the practice of lament in Africa, Katongole tells the stories of courageous Christian activists working for change in East Africa and invites readers to enter into lament along with them.

A fun-filled fantasy romp through Elizabethan England . . . It has been said that one man could not possibly have created all the works attributed to William Shakespeare. However, what if Shakespeare was not a man? What if Shakespeare was an immortal vampire? What if the Dark Lady of his sonnets was a zombie hunter? What if they met, fell in love, thwarted evil together . . .

Mormonism is one of the few homegrown religions in the United States, one that emerged out of the religious fervor of the early nineteenth century. Yet, members of the Church of Jesus Christ of Latter-day Saints have struggled for status and recognition. In this book, W. Paul Reeve explores the ways in which nineteenth century Protestant white America made outsiders out of an inside religious group. Much of what has been written on Mormon otherness centers upon economic, cultural, doctrinal, marital, and political differences that set Mormons apart from mainstream America. Reeve instead looks at how Protestants racialized Mormons, using physical differences in order to define Mormons as non-White to help justify their expulsion from Ohio, Missouri, and Illinois. He analyzes and contextualizes the rhetoric on Mormons as a race with period discussions of the Native American, African American, Oriental, Turk/Islam, and European immigrant races. He also examines how Mormon male, female, and child bodies were characterized in these racialized debates. For instance, while Mormons argued that polygamy was ordained by God, and so created angelic, celestial, and elevated offspring, their opponents suggested that the children were degenerate and deformed. The Protestant white majority was convinced that Mormonism represented a racial-not merely religious-departure from the mainstream and spent considerable effort attempting to deny Mormon whiteness. Being white brought access to political, social, and economic power, all aspects of citizenship in which outsiders sought to limit or prevent Mormon participation. At least a part of those efforts came through persistent attacks on the collective Mormon body, ways in which outsiders suggested that Mormons were physically different, racially more similar to marginalized groups than they were white. Medical doctors went so far as to suggest that Mormon polygamy was spawning a new race. Mormons responded with aspirations toward whiteness. It was a back and forth struggle between what outsiders imagined and what Mormons believed. Mormons ultimately emerged triumphant, but not unscathed. Mormon leaders moved away from universalistic ideals toward segregated priesthood and temples, policies firmly in place by the early twentieth century. So successful were Mormons at claiming whiteness for themselves that by the time Mormon Mitt Romney sought the White House in 2012, he was labeled "the whitest white man to run for office in recent memory." Ending with reflections on ongoing views of the Mormon body, this groundbreaking book brings together literatures on religion, whiteness studies, and nineteenth century racial history with the history of politics and migration.

To tweet, or not to tweet . . . what a deadly question. When Jenna loses out on a starring role in the school's production of Hamlet, she reluctantly agrees to be the drama department's "social media director" and starts tweeting half-hearted updates. She barely has any followers, so when someone hacks her twitter account, Jenna can't muster the energy to stop it. After all, tweets like "Something's rotten in the state of Denmark . . . and a body's rotting in the theater" are obviously a joke. But then a body IS discovered in the theater: Jenna's rival. Suddenly, what seemed like a prank turns deadly serious. To everyone's horror, the grisly tweets continue . . . and the body count starts to rise. There's no other explanation; someone is live-tweeting murders on campus.With the school in chaos and the police unable to find the culprit, it's up to Jenna to unmask the psycho-tweeter before the carnage reaches Shakespearian proportions . . . or she becomes the next victim.

From Robert Fagles’s acclaimed translation, An Iliad telescopes Homer’s Trojan War epic into a gripping monologue that captures both the heroism and horror of war. Crafted around the stories of Achilles and Hector, in language that is by turns poetic and conversational, An Iliad brilliantly refreshes this world classic. What emerges is a powerful piece of theatrical storytelling that vividly drives home the timelessness of mankind’s compulsion toward violence.