Half mythical, heroic and sagacious, the emperor Vikramaditya is widely regarded as India's greatest monarch. This collection of stories tells of the ruler's fabled encounter with a vetala, a genie who inhabits the body of a corpse. The emperor begs the spirit for his help against a mighty necromancer and is told in return twenty-four tales, each of which presents a situation he might face as a king and culminates in a riddle that he must solve. With each answer, Vikramaditya displays his deep wisdom, proving himself to be the ideal monarch and winning, in the twenty-fifth tale, the guidance he needs from the vetala to destroy his powerful enemy. Written down in medieval times but inspired by an oral tradition stretching back centuries, these wise and witty tales rank amongst the great masterpieces of Sanskrit literature.

While speculation has always been crucial to biography, it has often been neglected, denied or misunderstood. This edited collection brings together a group of international biographers to discuss how, and why, each uses speculation in their work; whether this is to conceptualise a project in its early stages, work with scanty or deliberately deceptive sources, or address issues associated with shy or stubborn subjects. After defining the role of speculation in biography, the volume offers a series of work-in-progress case studies that discuss the challenges biographers encounter and address in their work. In addition to defining the ‘speculative spectrum’ within the biographical endeavour, the collection offers a lexicon of new terms to describe different types of biographical speculation, and more deeply engage with the dynamic interplay between research, subjectivity and that which Natalie Zemon Davis dubbed ‘informed imagination’. By mapping the field of speculative biography, the collection demonstrates that speculation is not only innate to biographical practice but also key to rendering the complex mystery of biographical subjects, be they human, animal or even metaphysical.

An insightful history of nineteenth- and twentieth-century Britain told through a single sense: touch. When, where, and who gets to touch and be touched, and who decides? What do we learn through touch? How does touch bring us closer together or push us apart? These are urgent contemporary questions, but they have their origins in late nineteenth- and early twentieth-century Britain, when new urban encounters compelled intense discussion of what touch was, and why it mattered. In this vividly written book, Simeon Koole excavates the history of these concerns and reveals how they continue to shape ideas about “touch” in the present. Intimate Subjects takes us to the bustling railway stations, shady massage parlors, all-night coffee stalls, and other shared spaces where passengers, customers, vagrants, and others came into contact, leading to new understandings of touch. We travel in crammed subway cars, where strangers negotiated the boundaries of personal space. We visit tea shops where waitresses made difficult choices about autonomy and consent. We enter classrooms in which teachers wondered whether blind children could truly grasp the world and labs in which neurologists experimented on themselves and others to unlock the secrets of touch. We tiptoe through London’s ink-black fogs, in which disoriented travelers became newly conscious of their bodies and feared being accosted by criminals. Across myriad forgotten encounters such as these, Koole shows, touch remade what it meant to be embodied—as well as the meanings of disability, personal boundaries, and scientific knowledge. With imagination and verve, Intimate Subjects offers a new way of theorizing the body and the senses, as well as a new way of thinking about embodiment and vulnerability today.

Though nearly everyone is familiar with such great mythological figures as Hercules, Icarus, and Medusa, one may wonder what relevance these ancient characters, and their stories, hold for modern readers. This unique reference book brings mythology to life for students by exploring the connections between ancient myths and contemporary culture. An introductory essay sets the tone with its overview of the myriad areas of human endeavors—including the arts, science, psychology, language and literature, consumer products, and other aspects of popular culture—that mythology has influenced. The user-friendly volume is comprised of 50 narrative essays that trace the cultural connections and offer a lively retelling of each myth. For example, readers will discover the derivation of Freudian psychoanalysis from the myth of Oedipus, and fans of popular film and fiction may be surprised to learn the mythological inspirations for works like Beauty and the Beast, The Matrix, or Michael Crichton's Eaters of the Dead. This engrossing book is enhanced with 25 original illustrations. Five fact-filled appendices offer glossaries and interesting mythological etymologies of commonplace words in nature, science, and everyday consumer products like Nike shoes and Olympus cameras. Whether for research or pure enjoyment, this accessible and informative book reveals the many unrecognized references to mythology that impact our lives.

When you gamble with kingdoms, all bets are off. Legends are born in this thrilling and New York Times bestselling spy saga from the fantasy author who is legend herself: Tamora Pierce. Aly is from a family known for great deeds. She is the daughter of Alanna, the famed knight and King’s Champion of Tortall. But even though she is bold and brave, like her mother, her true talents lie on her father’s side, in the art of spying. When Aly is captured by pirates and sold as a slave to an exiled royal family in the faraway Copper Isles, she strikes a bargain with the trickster god. If she can keep young noblewomen Sarai and Dove safe for the summer, then he will return Aly to her family. The task should be simple, but Sarai and Dove are anything but. It’s a time of murderous plotting at court, and Aly will need to rely on her training and the insights of a strange young man named Nawat to survive in a world where trust can cost you your life. “Tamora Pierce’s books shaped me not only as a young writer but also as a young woman. She is a pillar, an icon, and an inspiration. Cracking open one of her marvelous novels always feels like coming home.” —SARAH J. MAAS, #1 New York Times bestselling author “Tamora Pierce didn’t just blaze a trail. Her heroines cut a swath through the fantasy world with wit, strength, and savvy. Her stories still lead the vanguard today. Pierce is the real lioness, and we’re all just running to keep pace.” —LEIGH BARDUGO, #1 New York Times bestselling author

In the past, scholars have looked at narratives of the African diaspora only to discover how these memoirs, poems, and fictions related to the West. The Trickster Comes West: Pan-African Influence in Early Black Diasporan Narratives explores relationships among African American, Afro-Caribbean, and Afro-British narratives of slavery and of New World and British oppression and what African influences brought to these diasporic expressions. Using an interdisciplinary method that combines history, literary theory, cultural studies, anthropology, folklore, and philosophy, the book examines the work of Pan-African trickster icons, such as Leuk (Rabbit), Golo (Monkey), Bouki (Hyena), Mbe (Tortoise), and Anancy (Spider), on the resistance strategies of early black writers who were exposing the evils of slavery, racism, sexism, economic exploitation, and other forms of oppression. Works discussed in this book include Phillis Wheatley's Poems on Various Subjects, Religious and Moral (1773), Quobna Ottobah Cugoano's Thoughts and Sentiments on the Evil of Slavery (1787), Olaudah Equiano's The Interesting Narrative of the Life of Olaudah Equiano (1795), Elizabeth Hart Thwaites's “History of Methodism” (1804), Anne Hart Gilbert's "History of Methodism" (1804), and Mary Prince's The History of Mary Prince: A West Indian Slave, Related By Herself (1831). Analyzing these writings in the context of the black Atlantic struggle for freedom, The Trickster Comes West relocates the beginnings of Pan-Africanism and suggests the strong influence of its theories of communal resistance, racial solidarity, and economic development on pioneering black narratives.

When a particularly cute prank goes sideways, Shannon finds herself handcuffed to Fletch in an abandoned camp kitchen. He has every reason to be furious with her, and it's her job to diffuse him, not to fall suddenly in love with him. Likewise, Fletch shouldn't be interested in her or finding out what Shannon paints on walls when no one is looking.

.."". a first-rate piece of scholarship... an invaluable summary and commentary on the multilingual literature on [Bushman] people."" -- Choice The trickster and trance dancer are the guides through Bushman (or San) religion, a world of ambiguity and contradiction, and of enchantment. The two figures, who in Bushman belief are symbolically equivalent and mystically linked, embody these antistructural traits.

If the Renaissance was the Golden Age of English comedy, the Restoration was the Silver. These comedies are full of tricksters attempting to gain estates, the emblem and the reality of power in late feudal England. The tricksters appear in a number of guises, such as heroines landing their men, younger brothers seeking estates, or Cavaliers threatened with dispossession. The hybrid nature of these plays has long posed problems for critics, and few studies have attempted to deal with their diversity in a comprehensive way. Now one of the leading scholars of Restoration drama offers a cultural history of the period's comedy that puts the plays in perspective and reveals the ideological function they performed in England during the latter half of the seventeenth century. To explain this function, J. Douglas Canfield groups the plays into three categories: social comedy, which underwrites Stuart ideology; subversive comedy, which undercuts it; and comical satire, which challenges it as fundamentally immoral or amoral. Through play-by-play analysis, he demonstrates how most of the comedies support the ideology of the Stuart monarchs and the aristocracy, upholding what they regarded as their natural right to rule because of an innate superiority over all other classes. A significant minority of comedies, however, reveal cracks in class solidarity, portray witty heroines who inhabit the margins of society, or give voice to folk tricksters who embody a democratic force nearly capable of overwhelming class hierarchy. A smaller yet but still significant minority end in no resolution, no restoration, but, at their most radical, playfully portray Stuart ideology as empty rhetoric. Tricksters and Estates is a truly comprehensive work, offering serious critical readings of many plays that have never before received close attention and fresh insights into more familiar works. By juxtaposing the comedies of such lesser-known playwrights as Orrery, Lacy, and Rawlins with those of more familiar figures like Behn, Wycherley, and Dryden, the author invites a greater appreciation than has previously been possible of the meaning and function of Restoration comedy. This intelligent and wide-ranging study promises is a standard work in its field.

This book shows how interpretations of suicidal motives were guided by gendered expectations of behaviour, and that these expectations were constructed to create meaning and understanding for family, friends and witnesses. Providing an insight into how people of this era understood suicidal behaviour and motives, it challenges the assertion that suicide was seen as a distinctly feminine act, and that men who took their own lives were feminized as a result. Instead, it shows that masculinity was understood in a more nuanced way than gender binaries allow, and that a man's masculinity was measured against other men. Focusing on four common narrative types; the love-suicide, the unemployed suicide, the suicide of the fraudster or speculator, and the suicide of the dishonoured solider, it provides historical context to modern discussions about the crisis of masculinity and rising male suicide rates. It reveals that narratives around male suicides are not so different today as they were then, and that our modern model of masculinity can be traced back to the 19th century.