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Award-winning Mexican-American and Indigenous author Jennifer Givhan brings us an exquisitely written, spell-binding psychological thriller—weaving together folk magick with personal and cultural empowerment—that is perfect for fans of Mexican Gothic. When Eva’s husband is arrested for the murder of a friend, she must confront her murky past and embrace her magick to find out what really happened that night on the river. Eva Santos Moon is a burgeoning Chicana artist who practices the ancient, spiritual ways of brujería and curanderisma, but she’s at one of her lowest points—suffering from disorienting blackouts, creative stagnation, and a feeling of disconnect from her magickal roots. When her husband, a beloved university professor and the glue that holds their family together, is taken into custody for the shocking murder of their friend, Eva doesn’t know whom to trust—least of all, herself. She soon falls under suspicion as a potential suspect, and her past rises to the surface, dredging up the truth about an eerily similar death from her childhood. Struggling with fragmented memories and self-doubt, an increasingly terrified Eva fears that she might have been involved in both murders. But why doesn’t she remember? Only the dead women know for sure, and they’re coming for her with a haunting vengeance. As she fights to keep her family out of danger, Eva realizes she must use her magick as a bruja to protect herself and her loved ones, while confronting her own dark history. River Woman, River Demon is a mysterious incantation of reckoning with the past and claiming one’s unique power and voice.
In a tussle for power, Chelsea watched in horror as Samuel Doe and Charles Taylor tore beautiful Monrovia into a nightmare. Her sister and her were raped by drunk and drugged soldiers while her parents killed. She burried her parents and fled to Nigeria, determined to push the past behind her and create a new identity. A new identity she did create but most different from what she ever anticipated. When the famous Tancheng diamond worth ten million dollars was discovered with a private collector, lots of people wanted it. Chelsea wanted it, Libya goverment wanted it, Nigeria goverment wanted it, Jacky the head of a dangerous syndicate also wanted it. In an inticate web of deceits, betrayals, love, hurt and espionage, a woman's life, a goverment policy, and a syndicate's future are taken through a whirl wind storm.
As she settles into her role as the neighborhood boss, Shamiko wants to know more about magical girls, demons, and the town itself. But while she struggles to bring up the topic to Momo, Ogura-san is suddenly launched into another dimension!
Ever since awakening to her demon powers, Shadow Mistress Yuko (a.k.a. Shamiko) has been fighting to free her dark clan from the curses placed on them by magical girls. But somehow, she wound up becoming allies with the magical girl who is supposed to be her rival, and now they're working together to track down a magical girl who disappeared from the town. A new demon invades the neighborhood in Volume 3!
Sharon Betsworth examines the narratives, parables, and teachings of and about children in the gospels and the literature of Early Christianity. Betsworth begins with a discussion of the social-historical context of children and childhood in the first century before discussing the role of children in all four gospels. She shows that for Mark and Matthew, children are integral to understanding each evangelist's perspective on the reign of God and on Jesus' identity in each Gospel. In the Gospel of Luke the childhood of Jesus is shown to be crucial to the broader themes of the Gospel. In the Gospel of John, Betsworth examines the metaphorical use of the word 'children' looking at 'children of light' and of 'darkness'. She then explores stories of Jesus' childhood in the non-canonical Infancy Gospels of James and Thomas, as well as the childhood of his mother, Mary in the latter shedding light upon views of children, discipleship, and the person of Jesus in early christianity and in the ancient world more generally.
Thanks in large part to an exploitation film producer and distributor named K. Gordon Murray, a unique collection of horror films from Mexico began to appear on American late-night television and drive-in screens in the 1960s. Ranging from monster movies clearly owing to the heyday of Universal Studios to the lucha libre horror films featuring El Santo and the "Wrestling Women," these low-budget "Mexploitation" films offer plenty of campy fun and still inspire cult devotion, yet they also reward close study in surprising ways. This work places Mexploitation films in their historical and cultural context and provides close textual readings of a representative sample, showing how they can be seen as important documents in the cultural debate over Mexico's past, present and future. Stills accompany the text, and a selected filmography and bibliography complete the volume.
This volume is a trilateral exploration of medieval scriptural interpretation. It examines and discusses the vast literature the three exegetical traditions created in the Middle Ages - a literature of great diversity but also one of numerous cross-cultural similarities.
"[A] rare piece of scholarly detective work." -- Margaret Mills, Ohio State University In Quest of Indian Folktales publishes for the first time a collection of northern Indian folktales from the late 19th century. Reputedly the work of William Crooke, a well-known folklorist and British colonial official, the tales were actually collected, selected, and translated by a certain Pandit Ram Gharib Chaube. In 1996, Sadhana Naithani discovered this unpublished collection in the archive of the Folklore Society, London. Since then, she has uncovered the identity of the mysterious Chaube and the details of his collaboration with the famous folklorist. In an extensive four-chapter introduction, Naithani describes Chaube's relationship to Crooke and the essential role he played in Crooke's work, as both a native informant and a trained scholar. By unearthing the fragmented story of Chaube's life, Naithani gives voice to a new identity of an Indian folklore scholar in colonial India. The publication of these tales and the discovery of Chaube's role in their collection reveal the complexity of the colonial intellectual world and problematize our own views of folklore in a postcolonial world.
