In our language, in our stories (many written by men), we underline the idea that women who step out of bounds--who are angry or greedy or ambitious, who are overtly sexual or not sexy enough--aren't just outside the norm. They're unnatural. Monstrous. But maybe, the traits we've been told make us dangerous and undesirable are actually our greatest strengths.Through fresh analysis of 11 female monsters, including Medusa, the Harpies, the Furies, and the Sphinx, Jess Zimmerman takes us on an illuminating feminist journey through mythology. She guides women (and others) to reexamine their relationships with traits like hunger, anger, ugliness, and ambition, teaching readers to embrace a new image of the female hero: one that looks a lot like a monster, with the agency and power to match.Often, women try to avoid the feeling of monstrousness, of being grotesquely alien, by tamping down those qualities that we're told fall outside the bounds of natural femininity. But monsters also get to do what other female characters--damsels, love interests, and even most heroines--do not. Monsters get to be complete, unrestrained, and larger than life. Today, women are becoming increasingly aware of the ways rules and socially constructed expectations have diminished us. After seeing where compliance gets us--harassed, shut out, and ruled by predators--women have never been more ready to become repellent, fearsome, and ravenous.

    Moundshroud. As Pipkin scrambles to join them, he is swept away by a dark Something, and Moundshroud leads the boys on the tail of a kite through time and space to search the past for their friend and the meaning of Halloween.

    With comprehensive entries that outline each character’s name, roles, related symbols, and foundational myths, you can get to know the roots of these personas and better understand the stories they inspire today. With this character-focused, handy reference, you will never be confused about Ancient Greece!

    She takes us from the Paleolithic period and the myths of the hunters right up to the “Great Western Transformation” of the last five hundred years and the discrediting of myth by science. The history of myth is the history of humanity, our stories and beliefs, our curiosity and attempts to understand the world, which link us to our ancestors and each other. Heralding a major series of retellings of international myths by authors from around the world, Armstrong’s characteristically insightful and eloquent book serves as a brilliant and thought-provoking introduction to myth in the broadest sense—and explains why if we dismiss it, we do so at our peril.

    These fascinating entries identify particular deities and giants, as well as the places where they dwell and the varied and wily means by which they forge their existence and battle one another. We meet Thor, one of the most powerful gods, who specializes in killing giants using a hammer made for him by dwarfs, not to mention myriad trolls, ogres, humans and strange animals. We learn of the ongoing struggle between the gods, who create the cosmos, and the jotnar, or giants, who aim to destroy it. In the enchanted world where this mythology takes place, we encounter turbulent rivers, majestic mountains, dense forests, storms, fierce winters, eagles, ravens, salmon and snakes in a landscape closely resembling Scandinavia. Beings travel on ships and on horseback; they eat slaughtered meat and drink mead.Spanning from the inception of the universe and the birth of human beings to the universe's destruction and the mythic future, these sparkling tales of creation and destruction, death and rebirth, gods and heroes will entertain readers and offer insight into the relationship between Scandinavian myth, history, and culture.

    Horrifyingly violent Indian attacks had all but emptied the northern frontier of settlers, and many traumatized refugees—including the main accusers of witches—had fled to communities like Salem. Meanwhile the colony’s leaders, defensive about their own failure to protect the frontier, pondered how God’s people could be suffering at the hands of savages. Struck by the similarities between what the refugees had witnessed and what the witchcraft “victims” described, many were quick to see a vast conspiracy of the Devil (in league with the French and the Indians) threatening New England on all sides. By providing this essential context to the famous events, and by casting her net well beyond the borders of Salem itself, Norton sheds new light on one of the most perplexing and fascinating periods in our history.

    From Gothic ghost stories to psychological horror to science fiction, women have been primary architects of speculative literature of all sorts. And their own life stories are as intriguing as their fiction. Everyone knows about Mary Shelley, creator of Frankenstein, who was rumored to keep her late husband’s heart in her desk drawer. But have you heard of Margaret “Mad Madge” Cavendish, who wrote a science-fiction epic 150 years earlier (and liked to wear topless gowns to the theater)? If you know the astounding work of Shirley Jackson, whose novel The Haunting of Hill House was reinvented as a Netflix series, then try the psychological hauntings of Violet Paget, who was openly involved in long-term romantic relationships with women in the Victorian era. You’ll meet celebrated icons (Ann Radcliffe, V. C. Andrews), forgotten wordsmiths (Eli Colter, Ruby Jean Jensen), and today’s vanguard (Helen Oyeyemi). Curated reading lists point you to their most spine-chilling tales.Part biography, part reader’s guide, the engaging write-ups and detailed reading lists will introduce you to more than a hundred authors and over two hundred of their mysterious and spooky novels, novellas, and stories.

    These men and women regarded themselves as professional anti-witches, who (in dream-like states) apparently fought ritual battles against witches and wizards, to protect their villages and harvests. If they won, the harvest would be good, if they lost, there would be famine. The inquisitors tried to fit them into their pre-existing images of the witchesâ�� sabbat. The result of this cultural clash which lasted over a century, was the slow metamorphosis of the benandanti into their enemies â�� the witches. Carlo Ginzburg shows clearly how this transformation of the popular notion of witchcraft was manipulated by the Inquisitors, and disseminated all over Europe and even to the New World. The peasantsâ�� fragmented and confused testimony reaches us with great immediacy, enabling us to identify a level of popular belief which constitutes a valuable witness for the reconstruction of the peasant way of thinking of this age.

    This early-20th-century battle centers on one man: Tom Anderson, the undisputed czar of the city's Storyville vice district, who fights desperately to keep his empire intact as it faces onslaughts from all sides. Surrounding him are the stories of flamboyant prostitutes, crusading moral reformers, dissolute jazzmen, ruthless Mafiosi, venal politicians, and one extremely violent serial killer, all battling for primacy in a wild and wicked city unlike any other in the world.

    The Arnold Estate, located just beyond the village of Harrisville, Rhode Island seemed the idyllic setting in which to raise a family. The couple unwittingly moved their five young daughters into the ancient and mysterious farmhouse. Secrets were kept and then revealed within a space shared by mortal and immortal alike. Time suddenly became irrelevant; fractured by spirits making their presence known then dispersing into the ether. The house is a portal to the past and a passage to the future. This is a sacred story of spiritual enlightenment, told some thirty years hence. The family is now somewhat less reticent to divulge a closely-guarded experience. Their odyssey is chronicled by the eldest sibling and is an unabridged account of a supernatural excursion. Ed and Lorraine Warren investigated this haunting in a futile attempt to intervene on their behalf. They consider the Perron family saga to be one of the most compelling and significant of a famously ghost-storied career as paranormal researchers. During a s�ance gone horribly wrong, they unleashed an unholy hostess; the spirit called Bathsheba...a God-forsaken soul. Perceiving herself to be mistress of the house, she did not appreciate the competition. Carolyn had long been under siege; overt threats issued in the form of fire...a mother's greatest fear. It transformed the woman in unimaginable ways. After nearly a decade the family left a once beloved home behind though it will never leave them, as each remains haunted by a memory. This tale is an inspiring testament to the resilience of the human spirit on a pathway of discovery: an eternal journey for the living and the dead.

    We meet the Greek gods on Olympus and Norse gods in Valhalla. We follow the drama of the Trojan War and the wanderings of Odysseus. We hear the tales of Jason and the Golden Fleece, Cupid and Psyche, and mighty King Midas. We discover the origins of the names of the constellations. And we recognize reference points for countless works of art, literature, and cultural inquiry--from Freud's Oedipus complex to Wagner's Ring Cycle of operas to Eugene O'Neill's Mourning Becomes Electra. Praised throughout the world for its authority and lucidity, Mythology is Edith Hamilton's masterpiece--the standard by which all other books on mythology are measured.

    With a wealth of detail, "A Journal of the Plague Year" seems almost a firsthand account, taking readers through the neighborhoods, houses, and streets that have drastically changed with the rising death toll. The bustle of business and errands gives way to doors marked with the cross to signify a house of death, as well as the dead-carts transporting those struck down to the mass graves as the dead rise in number to nearly 100,000. As the epidemic progresses and the narrator encounters more stories of isolation and horror, Defoe reveals his masterful balance as both a historical and imaginative writer.

    This work accords first place to the true nature of feminine power and to the ancestral lore of the ninefold sisterhoods who have acted as priestesses in Celtic tradition.

    The forms they take, and the means by which they appear in the physical world, are cataloged. How they correspond to actual phenomena, such as death and pestilence, is likewise noted. Conway draws upon various writings within the Biblical scriptures, together with later works published in the Middle Ages and subsequent centuries, to arrive at his own comprehensive treatment of the subject. The second volume of the work concerns devils. Various figures such as Ahriman and Viswámitra receive chapters, in which the writings about them are quoted to form a complete image of their behavior and meanings. Appearances of devils in later works, such as the diabolical Mephistopheles in Goethe's Faust, are also cataloged. The overarching aim of Conway's thesis is to draw parallels between the various demonic and devilish phenomena, while noting their overall influence across the history of Christianity. The text is informative in tone and does not stray to dogmatism; Conway instead provides sourced information in a factual, studied tone. For his part, Conway was not a believer in the lore of demons. Although he served variously as a Methodist, Unitarian and Freethought minister in life, he had little time for the supernatural elements of Christianity. It is thus that Demonology and Devil-lore is an effort toward debunking and discounting what Conway viewed as the fantastical elements of a faith he otherwise identified with spiritually and morally. Today, Demonology and Devil-lore is somewhat archaic in terms of tone owing to its age. However, it still counts among the most thorough, in-depth and wide-ranging treatments of a subject which has fascinated religious and non-religious persons alike for centuries.

    There, a bore is "a person who talks when you wish him to listen," and happiness is "an agreeable sensation arising from contemplating the misery of another." This is the most comprehensive, authoritative edition ever of Ambrose Bierce’s satiric masterpiece. It renders obsolete all other versions that have appeared in the book’s ninety-year history.A virtual onslaught of acerbic, confrontational wordplay, The Unabridged Devil’s Dictionary offers some 1,600 wickedly clever definitions to the vocabulary of everyday life. Little is sacred and few are safe, for Bierce targets just about any pursuit, from matrimony to immortality, that allows our willful failings and excesses to shine forth.This new edition is based on David E. Schultz and S. T. Joshi’s exhaustive investigation into the book’s writing and publishing history. All of Bierce’s known satiric definitions are here, including previously uncollected, unpublished, and alternative entries. Definitions dropped from previous editions have been restored while nearly two hundred wrongly attributed to Bierce have been excised. For dedicated Bierce readers, an introduction and notes are also included.Ambrose Bierce’s Devil’s Dictionary is a classic that stands alongside the best work of satirists such as Twain, Mencken, and Thurber. This unabridged edition will be celebrated by humor fans and word lovers everywhere.