Cadaver Chronicles

Gavin Hartmann, a well-rounded 17-year-old, dies in a tragic accident and reawakens as a plastinated cadaver on display in a museum exhibit. Fellow plastinates welcome him to their fantastical world and disclose that, as cadavers, they are entrusted guardians of undiscovered biomedical intelligence. As a permanent plastinate, he is assigned a new name, Galen, which complements his new persona as a compassionate physician. Upon probing the boundaries of his new persona, Galen acquires the critical foreknowledge to save his high school crush, Morgan, who has a life-threatening genetic heart disease. Galen has only a few short days to intercede on Morgan's behalf before the exhibit departs for a new location and his new persona fully solidifies, erasing all memories of his past life. Moreover, Galen must comply with the cadavers' Code of Silence to avoid dying indefinitely and must navigate the unthinkable by mingling with the living. With the aid of his newfound plastinated comrades, Galen sets out to save his first love, even though he risks perishing forever.

Lisa is an author with no clue as to the clandestine secrets held by her family. Throughout the universe, her family is known as the Dynasty, magickal since the beginning of time and the bearers of a heavenly bloodline. Soon, Lisa will have her predestined spiritual awakening, but there are those who hope to thwart her first. Abaddon, the King of Hell, will stop Lisa from reaching her full potential at any cost. All Lisa must do to destroy him and his followers is locate the Key to unlock an ancient prophecy. In order to get the Key before Lisa, Abaddon enlists the help of fallen angels and demons. Perhaps he can even use Lisa’s earthly family against her and cease her progress toward enlightenment. Soon, Satan gets involved in the fray, and Lisa finds herself under attack from demons and the devil, as he takes human form and confronts Lisa during the Magickian Festival where she promotes her new novel. It will take the Dynasty to save Lisa, and they are willing to descend from Heaven to do so. With guidance from her family and God, Lisa will get the chance to embrace her supernatural fate—but first, she must fight for her life.

Death, like most experiences that we think of as natural, is a product of the human imagination: all animals die, but only human beings suffer Death; and what they suffer is shaped by their own time and culture. Tragedy was one of the principal instruments through which the culture of early modern England imagined the encounter with mortality. The essays in this book approach the theatrical reinvention of Death from three perspectives. Those in Part I explore Death as a trope of apocalypse — a moment of un-veiling or dis-covery that is figured both in the fearful nakedness of the Danse Macabre and in the shameful openings enacted in the new theatres of anatomy. Separate chapters explore the apocalyptic design of two of the periods most powerful tragedies — Shakespeare's Othello, and Middleton and Rowley's The Changeling. In Part 2, Neill explores the psychological and affective consequences of tragedy's fiercely end-driven narrative in a number of plays where a longing for narrative closure is pitched against a particularly intense dread of ending. The imposition of an end is often figured as an act of writerly violence, committed by the author or his dramatic surrogate. Extensive attention is paid to Hamlet as an extreme example of the structural consequences of such anxiety. The function of revenge tragedy as a response to the radical displacement of the dead by the Protestant abolition of purgatory — one of the most painful aspects of the early modern re-imagining of death — is also illustrated with particular clarity. Finally, Part 3 focuses on the way tragedy articulates its challenge to the undifferentiating power of death through conventions and motifs borrowed from the funereal arts. It offers detailed analyses of three plays — Shakespeare's Antony and Cleopatra, Webster's The Duchess of Malfi, and Ford's The Broken Heart. Here, funeral is rewritten as triumph, and death becomes the chosen instrument of an heroic self-fashioning designed to dress the arbitrary abruption of mortal ending in a powerful aesthetic of closure.

A Ghostly Fantasy Story (and more to come.....) 12 year-old Simon de Bruin suddenly finds himself dead, in a college full of mad ghosts, and pursued by the evil sea-witch Halbizia. A ghost story like no other, packed with colourful characters (Fi a Pirate Princess) and delicious humour. Read it if you dare...

It’s new, it's medieval and it’s all very silly…. A hidden monastery in the depths of England’s depths? A secret that could rock the church to its core? A trail of clues that can only be interpreted by an expert? This all sounds rather familiar…. Except the expert is Brother Hermitage, so I wouldn’t get your hopes up. Called once more by King William - who doesn’t even know what he’s calling for - Hermitage, Cwen and Wat the weaver set off to deal with the greatest mystery of all. A mystery that has been protected and guarded for years by a secret brotherhood sworn by awful oaths. A mystery only known to a priest who now happens to be dead. A mystery hidden in a monastery that isn’t even supposed to exist. A mystery of such value that the unscrupulous and greedy are also after it, and these particular unscrupulous and greedy know Brother Hermitage very well indeed. Will all be revealed in a satisfactory manner? Will the convoluted trail lead to a revelation of staggering significance? Hardly. This is a Chronicle of Brother Hermitage, after all…. CAUTION: Not for the historically humourless. Howard of Warwick has previous form... “Absolutely hilarious” 5* “I laughed, I had tears running down my face” 5* “Stupid” 1* Need I say more... you have been warned.

Set in Orange County, California during the early 1970s and 1980s, this murder mystery brings back the bygone days of tractor showrooms, hippies and head shops in Laguna Beach, and a Catholic church in a citrus packing house dubbed the "Sunkist Cathedral." In a world of WWII-era blimp hangers and disappearing orange groves, Detective Dick Santy investigates a murder that has unmistakable connections to the controversial construction of a nuclear power plant. An arrest is made in the murder but he is not convinced they have the right man. The victim's 18-year-old daughter is not convinced either and sets out, with the help of Detective Santy, to seek the truth about her father and, in the process, learns that there are some questions best left unanswered.