It was the last of the ebbing days, the brink of the new season. It was the murky hours, the clove between sunset and sunrise. It was a tall tree with deep roots and it had been bleeding for a long while. As summer falls into autumn, Hollie Starling is hit by the heart-stopping news that her father has died by suicide. Thrust into a state of 'grief on hard mode', Hollie feels underserved by current attitudes toward grief and so seeks another way through the dark. Following her first year without her father, Hollie embraces her lifelong interest in folklore and turns to the healing power of nature, the changing seasons and the rituals of ancient communities. The Bleeding Tree is an unflinching year-zero guidebook to grief that shows us that by looking back to past traditions of bereavement we can all find our own way forward. 'Starling's account of family life is riveting and narrated with grace and honesty, counterpointing the personal with the mythic.' - Irish Times

Big Jim Collins dies, and his family rejoices. After decades of abuse, his wife and sons are finally free from his tyranny. One son follows in his fathers footsteps, while the other son takes a different path. But the brothers never really escape their painful childhood. It defines each of them and leads them to a final, terrifying destiny. Death comes again at the Collins farm on a quiet, starless October night. Both brothers will pay for the sins of their father in the shadow of the bleeding tree.

In late medieval and early modern Europe, definitions of blood in medical writing were slippery and changeable: blood was at once the red fluid in human veins, a humor, a substance governing crucial Galenic models of bodily change, a waste product, a cause of corruption, a source of life, a medical cure, a serum appearing under the guise of all other bodily secretions, and—after William Harvey's discovery of its circulation—the cause of one of the greatest medical controversies of the premodern period. Figurative uses of "blood" are even more difficult to pin down. The term appeared in almost every sphere of life and thought, running through political, theological, and familial discourses. Blood Matters explores blood as a distinct category of inquiry and draws together scholars who might not otherwise be in conversation. Theatrical and medical practice are found to converge in their approaches to the regulation of blood as a source of identity and truth; medieval civic life intersects with seventeenth-century science and philosophy; the concepts of class, race, gender, and sexuality find in the language of blood as many mechanisms for differentiation as for homogeneity; and fields as disparate as pedagogical theory, alchemy, phlebotomy, wet-nursing, and wine production emerge as historically and intellectually analogous. The volume's essays are organized within categories derived from medieval and early modern understanding of blood behaviors—Circulation, Wounds, Corruption, Proof, and Signs and Substances—thereby providing the terms through which interdisciplinary and cross-period conversations can take place. Contributors: Helen Barr, Katharine Craik, Lesel Dawson, Eleanor Decamp, Frances E. Dolan, Elisabeth Dutton, Margaret Healy, Dolly Jørgensen, Helen King, Bonnie Lander Johnson, Hester Lees-Jeffries, Joe Moshenska, Tara Nummedal, Patricia Parker, Ben Parsons, Heather Webb, Gabriella Zuccolin.

In the last decade of Dryden's life, he brought four new works before the theatre-going public: a dramatic opera, a tragedy, a tragicomedy, and a number of appendages to an old comedy by John Fletcher, which was revived partly so that Dryden might have the author's third-night profits. He died that night, but his family received the money. The dramatic opera, King Arthur, benefited from a fine score by Henry Purcell and has remained in the operatic repertoire to this day. Cleomenes, the tragedy, was banned until Dryden was able to convince Queen Mary that it did not reflect any seditious sympathy with the exiled James II, after which it was successful. The fate of Love Triumphant, the tragicomedy, was different; possibly because of a growing swell of moral reform, the play was universally damned, even though its themes of incest and miscellaneous fornication had never brought rejection to Dryden in the past. The Secular Masque, Dryden's principal contribution to The Pilgrim by Fletcher, had undistinguished music, but its lively verse and broad review of the previous century kept the piece on the stage for the next fifty years, and in anthologies up to the present.

THE MAGARISSE may at first seem like any ordinary fantasy novel: in another world, the Magarisse, a brotherhood of magicians and generals, once fought to defeat the power-hungry Sharadar. Their leader is dead. His son has gone in search of help from someone who was left behind long ago... This much should sound familiar to any experienced reader of the fantasy genre. But the avid reader gets something new, unexpected as he delves further into the pages of THE MAGARISSE: the source of magical energy in the world is being quickly drained, creating a sense of desperation and instigating a search for a new magical source. This sub-plot is, of course, inspired by the current situation of natural resources on Earth. Again THE MAGARISSE strays off the beaten path of literature in regards to its villain. The growth of the villain can be tracked alongside that of the heroes, flipping the classic ´coming-of-age´ novel on its head. The level of detail in this novel makes you feel like you are in each scene, standing alongside the characters that fight their way through the end of one war... and into the beginning of another. THE MAGARISSE will engage you with adventure, humor, romance, suspense, magic, and surprises. It is the result of a three-year project by a high school student who moves the fantasy genre in a new direction by veering away from many widely accepted tropes while still maintaining a recognizable fantasy feeling.

Once the Maroons escaped from slavery and established their communities in the remote interior of Suriname, attention shifted from military threat to internal danger. As they faced these dangers in an unknown rainforest, they sought refuge in prophetic movements directed by charismatic religious leaders. This book charts the history of Okanisi religious movements from their escape to the present day. It is based on sixty years of fieldwork by the late Bonno Thoden van Velzen and Ineke van Wetering, archival research and oral histories. Prophets of Doom is a tribute to Okanisi society and reflects decades of research and dedication.

• Provides a full explanation for each character of the Celtic tree alphabets and their historic variants, including each symbol’s corresponding trees, colors, birds, cryptic codes, and esoteric inner meanings • Explores the use of Celtic tree alphabets in spiritual invocation, divination, and symbolic art as well as the practice of Ogham cryptography • Explains how, like Norse Runes, each Ogham character is a meditative symbol in its own right and offers the possibility of deep psychic transformation Emanating from the spiritual traditions of Celtic antiquity, Ogham is best known as a “tree alphabet.” It is a symbolic system that encapsulates the archaic skills and wisdom of ancient Ireland and Britain and is important in contemporary Druidry. Studying the Oghams enables us to engage with ancient ways of thinking and gain access to the elemental powers that speak to the inner nature of our being, the wildwood in our hearts. Presenting a wide-ranging exploration of the Ogham tree alphabet, Nigel Pennick explores the traditional lore of the Celtic trees and their relationship to ancient, mythic beings from whom their understanding was legendarily derived. Each Ogham character is a meditative symbol in its own right, embodying a creative power available to all. Pennick provides a full explanation for each of the Ogham letters along with correspondences from historic Irish sources and considers their use in ciphers, spiritual invocation, divination, and symbolic art. He also discusses ceremonies that assist in reconnecting us with nature and the wilderness, including “Maying” and greenwood marriages and the use of colors and magical binding-knots in the Celtic tradition. Also included is a chapter on the little-known Coelbren y Beirdd, a cryptic system devised for the use of Bards and Druids. This handbook for learning Ogham and Coelbren offers a comprehensive understanding of the ancient Celtic worldview, allowing you to apply their wisdom in modern life.

This book provides extensive information on craftsmen-built houses in China. Though some inroads have been made in studying this folk custom, this work represents the first comprehensive and systematic monograph. The book examines the topic at the two main levels of “history” and “theory”. Combining historical textual research, contemporary textual research, and field study, the book presents systematic information on the folk custom of craftsmen-built houses in China. At the level of theoretical research, it puts forward some original opinions on the major theoretical issues, such as the folk custom of religious belief, the boundary between superstition and religion, and the relationship between oral literature and ritual. The book provides a guide to help readers systematically understand the folk custom of craftsmen-built houses in China. Sharing valuable insights into Chinese architectural history, as well as religious studies, cultural anthropology, and folklore, it will appeal to researchers in the fields of folklore, cultural anthropology, and architecture and can also serve as a popular science book for understanding Chinese architectural culture.