Blood On A Saint

'High energy, highly unique, swashbuckling-cop-epic-noir story. Buy it. BUY IT NOW' Sam Sykes The Greatcoats are back - and this time it's personal. How do you kill a Saint? Falcio, Brasti and Kest are about to find out, as someone is doing just that, and they've started with a friend. The Dukes were already looking for ways to weasel out of their promise to put Aline on her father's throne - but with Saints turning up dead, and Church Inquistitors pushing for control - rumours are spreading that the Gods themselves oppose her ascension. The only way Falcio can stop the country turning into a vicious theocracy is to find and stop the Saint-killer - but his only clue is the iron mask encasing the head of the Saint of Mercy, which prevents her from speaking. And even if he can find the murderer, he will still have to face them in battle - and this may be a duel that no swordsman, no matter how skilled, can win.

"TO READ THEM IS TO LOVE THEM" --The Oklahoman "DE CASTELL HAS MANAGED YET AGAIN TO TOP HIS PREVIOUS BOOK BY CREATING WHAT WILL SURELY BE ONE OF THE BEST FANTASY BOOKS OF THE YEAR." --Tattooed Book Geek The Greatcoats are back--and this time it's personal. How do you kill a Saint? Falcio, Kest, and Brasti are about to find out, because someone has figured out a way to do it and they've started with a friend. The Dukes were already looking for ways out of their agreement to put Aline on the throne, but with the Saints turning up dead, rumors are spreading that the Gods themselves oppose her ascension. Now churches are looking to protect themselves by bringing back the military orders of religious soldiers, assassins, and (especially) Inquisitors - a move that could turn the country into a theocracy. The only way Falcio can put a stop to it is by finding the murderer. He has only one clue: a terrifying iron mask which makes the Saints vulnerable by driving them mad. But even if he can find the killer, he'll still have to face him in battle. And that may be a duel that no swordsman, no matter how skilled, can hope to win.

"Three girls who have lost their way are brought together by a mysterious young man"--

Exploring the issue from both historical and literary perspectives, the contributors examine violence in a broad variety of genres, places, and times, such as the Late Antique lives of the martyrs, Islamic historiography, Anglo-Saxon poetry and Norse sagas, and more.

The first extended study of relics of the Holy Blood: portions of the blood of Christ's passion preserved supposedly from the time of the Crucifixion and displayed as objects of wonder and veneration in the churches of medieval Europe. Inspired by the discovery of new evidence relating to the relic deposited by King Henry III at Westminster in 1247, the study proceeds from the particular political and spiritual motives that inspired this gift to a wider consideration of blood relics, their distribution across western Europe, their place in Christian devotion, and the controversies to which they gave rise among theologians. In the process the author advances a new thesis on the role of the sacred in Plantagenet court life as well as exploring various intriguing byways of medieval religion.

In the late nineteenth century, Spain’s most prominent writers – Juan Valera, Leopoldo Alas, and Benito Pérez Galdós – made blood a crucial feature of their fiction. Blood Novels examines the cultural and literary significance of blood, unsettling the dominant assumption of the period that blood no longer played a decisive role in social hierarchies. By examining fictional works through the rubric of "blood novels," Julia H. Chang identifies a shared fascination with blood that probes the limits of realism through blood’s dual nature of matter and metaphor. Situating the literature within broader cultural and theoretical debates, Blood Novels attends to the aesthetic contours of material blood and in particular how bleeding is inflected by gender, caste, and race. Critically engaging with feminist theory, theories of race and whiteness, literary criticism, and medical literature, this innovative study makes a case for treating blood as a critical analytic tool that not only sheds new light on Spanish realism but, more broadly, challenges our understanding of gendered and racialized embodiment in Spain.

From the renowned and bestselling author of A History of God, a sweeping exploration of religion's connection to violence. For the first time in American history, religious self-identification is on the decline. Some have cited a perception that began to grow after September 11: that faith in general is a source of aggression, intolerance and divisiveness--something bad for society. But how accurate is that view? And does it apply equally to all faiths? In these troubled times, we risk basing decisions of real and dangerous consequence on mistaken understandings of the faiths subscribed around us, in our immediate community as well as globally. And so, with her deep learning and sympathetic understanding, Karen Armstrong examines the impulse toward violence in each of the world's great religions. The comparative approach is new: while there have been plenty of books on jihad or the Crusades, this book lays the Christian and the Islamic way of war side by side, along with those of Buddhism, Hinduism, Confucianism, Daoism and Judaism. Each of these faiths arose in agrarian societies with plenty of motivation for violence: landowners had to lord it over peasants and warfare was essential to increase one's landholdings, the only real source of wealth before the great age of trade and commerce. In each context, it fell to the priestly class to legitimize the actions of the state. And so the martial ethos became bound up with the sacred. At the same time, however, their ideologies developed that ran counter to the warrior code: around sages, prophets and mystics. Within each tradition there grew up communities that represented a protest against the injustice and violence endemic to agrarian society. This book explores the symbiosis of these 2 impulses and its development as these confessional faiths came of age. The aggression of secularism has often damaged religion and pushed it into a violent mode. But modernity has also been spectacularly violent, and so Armstrong goes on to show how and in what measure religions, in their relative maturity, came to absorb modern belligerence--and what hope there might be for peace among believers in our time.

Blood, in Gil AnidjarÕs argument, maps the singular history of Christianity. A category for historical analysis, blood can be seen through its literal and metaphorical uses as determining, sometimes even defining, Western culture, politics, and social practices and their wide-ranging incarnations in nationalism, capitalism, and law. Engaging with a variety of sources, Anidjar explores the presence and the absence, the making and unmaking of blood in philosophy and medicine, law and literature, and economic and political thought, from ancient Greece to medieval Spain, from the Bible to Shakespeare and Melville. The prevalence of blood in the social, juridical, and political organization of the modern West signals that we do not live in a secular age into which religion could return. Flowing across multiple boundaries, infusing them with violent precepts that we must address, blood undoes the presumed oppositions between religion and politics, economy and theology, and kinship and race. It demonstrates that what we think of as modern is in fact imbued with Christianity. Christianity, Blood fiercely argues, must be reconsidered beyond the boundaries of religion alone.