A powerfully poignant tale of one of the most turbulent moments in Scotland's history: the North Berwick Witch Trials. IT'S THE 4TH OF DECEMBER 1591. On this, the last night of her life, in a prison cell several floors below Edinburgh's High Street, convicted witch Geillis Duncan receives a mysterious visitor - Iris, who says she comes from a future where women are still persecuted for who they are and what they believe. As the hours pass and dawn approaches, Geillis recounts the circumstances of her arrest, brutal torture, confession and trial, while Iris offers support, solace - and the tantalising prospect of escape. Hex is a visceral depiction of what happens when a society is consumed by fear and superstition, exploring how the terrible force of a king's violent crusade against ordinary women can still be felt, right up to the present day. 'This series has already produced two works of note and distinction. It raises the question - if a country cannot re-tell its history, will it be stuck forever in aspic and condemned to be nothing more than a shortbread tin illustration? Hex and Rizzio are showing the way towards a reckoning, and about time too' - Stuart Kelly, Scotland on Sunday

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

In this encyclopedia, two experienced world travelers and numerous contributors provide a fascinating worldwide survey of street foods and recipes to document the importance of casual cuisine to every culture, covering everything from dumplings to hot dogs and kebabs to tacos. Street foods run deep throughout human history and show the movements of peoples and their foods across the globe. For example, mandoo, manti, momo, and baozi: all of these types of dumplings originated in Central Asia and spread across the Old World beginning in the 12th century. This encyclopedia surveys common street foods in about 100 countries and regions of the world, clearly depicting how "fast foods of the common people" fit into a country or a region's environments, cultural history, and economy. The entries provide engaging information about specific foods as well as coverage of vendor and food stall culture and issues. An appendix of recipes allows for hands-on learning and provides opportunities for readers to taste international street foods at home. Presents an international survey of street foods in representative countries and regions that includes interesting facts and recipe to illustrate many of them Supplies the historical and environmental background of the country's street food Includes sidebars with fun facts and statistics about street foods Provides highly useful information for students studying geography and for travelers

__________________ 'Easily my read of the year. Sheer perfection from start to finish' - Catherine Doyle 'A beautiful and profound retelling' - Madeline Miller, author of CIRCE and THE SONG OF ACHILLES 'Utterly transporting ... This dynamic feminist retelling is illustrated with stunning, polychromatic power' - Guardian Books of the Year __________________ A dazzling, feminist retelling of Greek myth from the internationally bestselling author of The Miniaturist, stunningly illustrated by Olivia Lomenech Gill. Exiled to a far-flung island by the whims of the gods, Medusa has little company except the snakes that adorn her head instead of hair. But when a charmed, beautiful boy called Perseus arrives on the island, her lonely existence is disrupted with the force of a supernova, unleashing desire, love and betrayal... Filled with glorious full-colour illustrations by award-winning Olivia Lomenech Gill, this astonishing retelling of Greek myth is perfect for readers of Circe and The Silence of the Girls. Illuminating the girl behind the legend, it brings alive Medusa for a new generation. __________________ '... a must read for women of all ages' - Red Magazine '... stole my heart from its first fierce lines' - Mary Watson 'A beautiful and compassionate retelling that gives the serpent-headed monster of myth a powerful and haunting humanity' - Jennifer Saint '... an impressive addition to the shelves of feminist retellings, balancing rage with beautiful storytelling' - Irish Times 'It's an ideal gift for teenage girls finding their voice and their power' - Stylist 'Gift ideas for the book lovers in your life'

Don't just see the sights-get to know the people. Malaysia presents visitors with an exciting and fascinating medley of cultures--Malay, Chinese, Indian, Arab, Eurasian, Dayak, and aboriginal. Though very much a modern nation state, its diverse communities retain a considerable amount of their unique heritage and, in its customs, religions, festivals, costume, cuisine, languages, and architecture, Malaysian society perfectly illustrates the virtues of a vibrant pluralism. Culture Smart! Malaysia sets out to help you navigate this rich and complex cultural mix. It provides a succinct and straightforward introduction to Malaysian history and society, explains the deeper core values of the different ethnic groups, and guides you through the maze of Malaysian etiquette and behaviour for both social and business settings. Have a more meaningful and successful time abroad through a better understanding of the local culture. Chapters on values, attitudes, customs, and daily life will help you make the most of your visit, while tips on etiquette and communication will help you navigate unfamiliar situations and avoid faux pas.

A companion volume to The Making of The English Working Class, extending the studies there to include the examination of plebeian culture, working class consciousness, and industrial life. E. P. Thompson's main thesis is that in 18th century England there was a tacit agreement of social behaviour and stability between the gentry and the poor. Both were allowed to take certain measures to achieve their aims--the gentry did it via the parliament, and the poor via civil disobedience. Most interestingly, however, was the symbolic struggle, or cultural struggle--what E. P. Thompson calls the theatre and counter-theatre. The theatre meant the social attitudes--the gentry had its wigs, its fancy outfits, and its arrogant attitude, and the poor had its popular culture. This was a way to channel power and discontent through cultural manifestations.