Interred With Their Bones

A modern serial killer - hunting an ancient secret. A woman is left to die as the rebuilt Globe theatre burns. Another woman is drowned like Ophelia, skirts swirling in the water. A professor has his throat slashed open on the steps of Washington's Capitol building. A deadly serial killer is on the loose, modelling his murders on Shakespeare's plays. But why is he killing? And how can he be stopped? A gripping, shocking page turner, The Shakespeare Secret masterfully combines modern murder and startling true revelations from the life of Shakespeare. It has been acclaimed as one of the most compulsively readable thrillers of recent years.

The modern heroine of the national bestseller Interred with Their Bones returns, in a thriller centering on Shakespeare's eeriest play. A legendary theatrical curse . . . A rune-engraved blade, a mysterious mirror, and an ancient cauldron . . . And a ritually murdered body laid out in the manner of ancient pagan burials. Kate Stanley, Jennifer Lee Carrell's dauntless Shakespearean scholarturned- director, made a memorable-and New York Times bestselling- debut in Interred with Their Bones. Having chased down her mentor's killer (and recovering one of Shakespeare's lost plays in the process), Kate's fame as a director with an expertise in "occult Shakespeare" catapults her-and Ben Pearl, her partner in crime-solving-into a new production of Macbeth, showcasing a fabled collection of objects relating both to the play and the historical Scottish king for whom it is named. The Bard's witch-haunted play is famously cursed, its reputation for malevolence so strong that many actors refuse to quote or even name the play aloud. And as rehearsals begin at the foot of Scotland's Dunsinnan Hill, it doesn't take long for the curse to stir. Strange references to the boy actor who first played Lady Macbeth in Shakespeare's day-and died in the role-pop up. A trench atop Dunsinnan Hill is found filled with blood, and a severed human thumb turns up among the props. And Kate begins sleepwalking, waking early one morning alone atop the hill, her hands smeared with blood. Kate has no memory of how she got there, but later that day a local woman is found dead on the hill in circumstances that suggest not just ritual murder but ancient pagan sacrifice. With the police more focused on Kate as a suspect than as a possible future victim, she and Ben find themselves in a desperate race to discover a lost version of Macbeth, said to contain rituals of witchcraft aimed at conjuring demonic forces to gain forbidden knowledge. However much Kate would like to dismiss such rituals as superstition, someone else appears willing to kill for them-and for the manuscript said to spell them out. Marked for sacrifice, can Kate Stanley uncover the killer before she becomes the next victim? Watch a Video

What actions are justified when the fate of a nation hangs in the balance, and who can see the best path ahead? Julius Caesar has led Rome successfully in the war against Pompey and returns celebrated and beloved by the people. Yet in the senate fears intensify that his power may become supreme and threaten the welfare of the republic. A plot for his murder is hatched by Caius Cassius who persuades Marcus Brutus to support him. Though Brutus has doubts, he joins Cassius and helps organize a group of conspirators that assassinate Caesar on the Ides of March. But, what is the cost to a nation now erupting into civil war? A fascinating study of political power, the consequences of actions, the meaning of loyalty and the false motives that guide the actions of men, Julius Caesar is action packed theater at its finest.

The bone gatherers found in the annals and legends of the early Roman Catholic Church were women who collected the bodies of martyred saints to give them a proper burial. They have come down to us as deeply resonant symbols of grief: from the women who anointed Jesus's crucified body in the gospels to the Pietà, we are accustomed to thinking of women as natural mourners, caring for the body in all its fragility and expressing our deepest sorrow. But to think of women bone gatherers merely as mourners of the dead is to limit their capacity to stand for something more significant. In fact, Denzey argues that the bone gatherers are the mythic counterparts of historical women of substance and means-women who, like their pagan sisters, devoted their lives and financial resources to the things that mattered most to them: their families, their marriages, and their religion. We find their sometimes splendid burial chambers in the catacombs of Rome, but until Denzey began her research for The Bone Gatherers, the monuments left to memorialize these women and their contributions to the Church went largely unexamined. The Bone Gatherers introduces us to once-powerful women who had, until recently, been lost to history—from the sorrowing mothers and ghastly brides of pagan Rome to the child martyrs and women sponsors who shaped early Christianity. It was often only in death that ancient women became visible—through the buildings, burial sites, and art constructed in their memory—and Denzey uses this archaeological evidence, along with ancient texts, to resurrect the lives of several fourth-century women. Surprisingly, she finds that representations of aristocratic Roman Christian women show a shift in the value and significance of womanhood over the fourth century: once esteemed as powerful leaders or patrons, women came to be revered (in an increasingly male-dominated church) only as virgins or martyrs—figureheads for sexual purity. These depictions belie a power struggle between the sexes within early Christianity, waged via the Church's creation and manipulation of collective memory and subtly shifting perceptions of women and femaleness in the process of Christianization. The Bone Gatherers is at once a primer on how to "read" ancient art and the story of a struggle that has had long-lasting implications for the role of women in the Church. From the Trade Paperback edition.

In January 1888, workmen excavating in the eastern crypt of Canterbury Cathedral discovered the bones of a skeleton many believed to be that of the martyred archbishop, Thomas Beckett. This book traces the full history of `Beckett's bones', from their alleged destruction by Henry VIII's commissioners during the Reformation to the present day. Includes fascinating observations, such as the unexpected discovery by workmen in 1865 of Dante's bones concealed in a wooden box a short distance from his empty tomb.

Scientists not so long ago unanimously believed that people first walked to the New World from northeast Asia across the Bering land bridge at the end of the Ice Age 11,000 years ago. But in the last ten years, new tools applied to old bones have yielded evidence that tells an entirely different story. In Bones, Elaine Dewar records the ferocious struggle in the scientific world to reshape our views of prehistory. She traveled from the Mackenzie River valley in northern Canada to the arid plains of the Brazilian state of Piaui, from the skull-and-bones-lines offices of the Smithsonian Institution to the basement lab of an archaeologist in Washington State who wondered if the FBI was going to come for him. She met scientists at war with each other and sought to see for herself the oldest human remains on these continents. Along the way, she found that the old answer to the question of who were the First Americans was steeped in the bitter tea of racism. Bones explores the ambiguous terrain left behind when a scientific paradigm is swept away. It tells the stories of the archaeologists, Native American activists, DNA experts and physical anthropologists scrambling for control of ancient bones of Kennewick Man, Spirit Cave, and the oldest one of all, a woman named Luzia. At stake are professional reputations, lucrative grants, fame, vindication, even the reburial of wandering spirits. The weapons? Lawsuits, threats, violence. The battlefield stretches from Chile to Alaska. Dewar tells the stories that never find their way into scientific papers — stories of mysterious deaths, of the bones of evil shamen and the shadows falling on the lives of scientists who pulled them from the ground. And she asks the new questions arising out of the science of bones and the stories of first peoples: "What if Native Americans are right in their belief that they have always been in the Americas and did not migrate to the New World at the end of the Ice Age? What if the New World's human story is as long and complicated as that of the Old? What if the New World and the Old World have always been one?"