This story is true. This book is about my novel Nadia. I published this novel in the spring of 2015. By this time, I had written three other crime thrillers. Nadia is my fourth and final one. Nadia was first conceived when I was seventeen. The year was 1982 and I had just begun art school. Thirty-three years later, I would write it. The story seemed to bear no relevance to my life at all. A playboy billionaire is involved in a horrific car crash, propelling his mystery passenger into a nightmare. During the writing, I felt geared, prompted by a force. I had believed this to be routine writer’s itch. What I didn’t realise was that an undercurrent existed in this novel. This undercurrent was rendered invisible to the novel I believed I was writing. The same thing has happened to all my novels. A scene in Nadia would open my eyes. It was autumn 2016 and the life I had believed in would be destroyed. Five years after beginning Nadia I am ready to analyse it. I have been through this process three times already with my previous novels. All have been harrowing and all have given up hard truths. As this is a true story, I have included relevant diary entries. These inform upon the force that drives this novel as well as tell its own story.

Between 2011 and 2014, I wrote eight short stories. I had been writing stories since I was about six. Weird scenarios would enter my head and I would feel compelled to write about them. Blood in Water relates on Abby who makes an awful discovery about her family. Dead Letter Room samples the life of lonely Finch at his workplace. Outside enters the disturbed mind of an ex-convict and What Goes Around considers the makings of a bully. On the surface all appear to delve into diverse worlds and minds. But this isn’t quite so. They are all about alienation. My other stories are the same: alienation. It goes right back to my early children’s mysteries of the Seventies. How strange. I hadn’t noticed. The reason is that I would make my own personal discovery in 2016. I was fifty-one years old and living with my partner and two children. Until then, I was completely unaware of a vital truth about myself. This truth has leaked into my stories and creations without my realisation. This account is true. Relevant diary entries have been included as well as illustrations. Analyses and further dissections provides an insight into the force behind these stories, and ventures into the strange phenomena I have discovered. It’s like a ghost language.

What was Galilee actually like in the first century? Whether one was a peasant or a wealthy landowner, a member of the Herodian ruling class or Roman aristocracy, Galilee was known to be inhabited by dangerous, malevolent phantasms, demons and evil spirits. The evidence, drawn from an exhaustive review of contemporary sources and literature, is overwhelming—a world completely alien to our own. There was no middle class, only the powerful and the poor. Poverty, foreign occupation, demonic proliferation, corrupt overseers, and onerous quotas, all underscored the daily struggle for subsistence among the peasants of Galilee who lived tiny, poor working villages. Life lasted only twenty-six years; forty percent of children died by the age of twelve. Contextual risk analysis allows entry into this first-century world of Jesus with remarkable clarity. How and why did Jesus engage with demons and condemn the elite and demonic imperialism? Why was he labeled an “evil-doer?” Why were traditions about the Galilean women suppressed? Why was Jesus ritually killed? The figures of Jesus, his opponents and those who followed into peril emerge in startling clarity, leaving us standing with Jesus in Galilee.

Stories about Jewesses proliferated in nineteenth-century Britain as debates about the place of the Jews in the nation raged. While previous scholarship has explored the prevalence of antisemitic stereotypes in this period, Nadia Valman argues that the figure of the Jewess - virtuous, appealing and sacrificial - reveals how hostility towards Jews was accompanied by pity, identification and desire. Reading a range of texts from popular romance to the realist novel, she investigates how the complex figure of the Jewess brought the instabilities of nineteenth-century religious, racial and national identity into uniquely sharp focus. Tracing the narrative of the Jewess from its beginnings in Romantic and Evangelical literature, and reading canonical writers including Walter Scott, George Eliot and Anthony Trollope alongside more minor figures such as Charlotte Elizabeth Tonna, Grace Aguilar and Amy Levy, Valman demonstrates the remarkable persistence of this narrative and its myriad transformations across the century.

This book explores the different ways in which psychoanalysis has been connected to various fields of Italian culture, such as literary criticism, philosophy and art history, as well as discussing scholars who have used psychoanalytical methods in their work. The areas discussed include: the city of Trieste, in chapters devoted to the author Italo Svevo and the artist Arturo Nathan; psychoanalytic interpretations of women terrorists during the anni di piombo; the relationships between the Freudian concept of the subconscious and language in philosophical research in Italy; and a personal reflection by a practising analyst who passes from literary texts to her own clinical experience. The volume closes with a chapter by Giorgio Pressburger, a writer who uses Freud as his Virgil in a narrative of his descent into a modern hell. The volume contains contributions in both English and Italian.

'Her observation of our species is tender, precise, illuminating' Hilary Mantel THE NEW NOVEL BY THE BOOKER LONGLISTED AND ARTHUR C CLARKE AWARD-WINNING AUTHOR OF THE TESTAMENT OF JESSIE LAMB ADAPTED FROM THE HIT BBC RADIO 4 PLAY 'An ambitious and important writer' New York Times 'Unputdownable and often thought-provoking' Sunday Times 'Grimly plausible' Guardian In this version of London, there is a small, private clinic. Behind its layers of security, procedures are taking place on poor, robust teenagers from northern Estates in exchange for thousands of pounds - procedures that will bring the wealthy dead back to life in these young supple bodies for fourteen days. It's an opportunity for wrongs to be righted, for fathers to meet grandsons, for scientists to see their work completed. Old wine in new bottles. But at what cost? MORE PRAISE FOR JANE ROGERS AND BODY TOURISTS: 'Gripping' Mail on Sunday 'Very much a novel about human nature . . . an insightful examination of the things people truly value' SciFi Now 'A wonderfully versatile novelist' Penelope Lively 'Rogers' prose flows elegantly and with effortless power' Observer 'A compulsive and compelling slice of fiction' Sunday Express

The encyclopedia covers the myriad, experiences, and contributions of women in de medieval world.