Dr. Chamomile Toser specializes in analyzing evidence and bones, with the help of her partner, FBI Agent Seth Billings, who brings her a new, mysterious case pops up. Twelve people have been murdered, and there's almost no usable evidence. Toser agrees to take the case, and soon her team of talented scientists is neck-deep in the investigation.

This serial killer is good, but no criminal can run forever. Meanwhile, Toser is dealing with some uncomfortable emotions-she's falling in love with her partner. Seth feels the same way, but he knows there's more to Toser than law and science. He suspects she's been lying to him, or at least hiding a secret from her past.

It's not long before that past catches up with her. The serial killer is someone she knows, and he has chosen his next target: her. Now, Toser has to make a tough call. Does she tell Seth the truth and accept his assistance in catching the killer, or does she keep her secrets safe and set out on her own to stop further bloodshed?

Aeschylus' Oresteia opens with Agamemnon sacrificing his daughter to the gods; an act which sets in motion a bloody cycle of revenge and counter-revenge. When he in turn is killed at the hands of his wife Clytemnestra, their son Orestes takes up the mantle of avenging his father, continuing the bloodshed until peace is ultimately found in the rule of law. Zinnie Harris reimagines this ancient drama, using a contemporary sensibility to rework the stories, placing the women in the centre. Orestes' leading role is replaced by his sister Electra, who as a young child witnesses her father's murder and is compelled to take justice into her own hands until she too must flee the Furies. This Restless House premiered at the Citizens Theatre, Glasgow, in April 2016 in a co-production with the National Theatre of Scotland.

THE ENGLISH FOLK-PLAY By E. K. CHAMBERS OXFORD AT THE CLARENDON PRESS 1933 ST. GEORGE AND THE DRAGON OXFORD UNIVERSIXY PRESS AMEN HOUSE, E. G. 4. London Edinburgh Glasgow-Leipzig New York Toronto Melbourne Capetown Bombay Calcutta Madras Shanghai HUMPHREY MILKORD PUBLISHER TO THE UNIVERSITY PRINTED TN GREAT BRITAIN AT THE UNIVERSITY PRESS, OXFORD BY JOHN JOHNSON, ANALYSIS THE MUMMERS PLAY AND ITS CONGENERS PAGE THE MUMMERS PLAY ..... 3 THE PRESENTATION . . . . .13 THE COMBATANTS . . . . .23 THE DISPUTE . . . . . - 33 THE LAMENT . . . . . .38 THE WESTON-SUB-EDGE PLAT . . .41 THE CURE . . . . . .50 JACK FINNEY ...... 57 MULTIPLIED COMBATS . . . 59 THE Quite . . . . . .63 THE MYLOR PLAY . . . . .71 COSTUME . . . . . .83 ABNORMAL MUMMERS PLAYS . . .87 THE PLOUGH PLAY . . . . .89 THE REVESBY PLAY . . . . .104 THE SWORD DANCE . . . . .123 THE AMPLEFORTH PLAY . . . .131 THE MORRIS DANCE . . . . .150 JACK OF LENT . . . . .153 MEDIEVAL PARALLELS . . . .160 vi ANALYSIS PAGE SAINT GEORGE 170 THE SEPEN CHAMPIONS . . . .174 THE STAGE AND THE FOLK . . . .185 THE RESIDUAL PROBLEM . . .192 THE PROBLEM OF ORIGIN PARALLELS FROM WESTERN EUROPE . . 197 PARALLELS FROM THE BALKANS . . .206 A PRIMITIVE LUDUS . . . . .211 THE SIGNIFICANCE OF THE LUDUS . .216 WOOING PLATS . . . . .229 1 52 OF TEXTS 236 INDEX 245 ILLUSTRATIONS 1. ST. GEORGE AND THE DRAGON. Drawing by THOMAS FISHER in J. G. Nichols, Ancient Paintings at Stratford upon-dvon 1838, from Fresco in the Chapel of the Gild of Holy Cross. frontispiece 2. A KIRMESS IN THE NETHERLANDS. Engraving in the British Museum from Painting by PIETER BRUEGHEL c. I53 6 9-facing p. 204 THE MUMMERS PLAY AND ITS CONGENERS The Mummers Play. years ago, I attempted, in TheMediaeval Stage, to give an account of the Mummers Play, as one of several ludi of the folk which involve an element of mimesis. Since then, much additional material has been collected on the play and its congeners, notably by the late Reginald Tiddy and Cecil Sharp, and by Professor C. R. Baskervill, Mr. Douglas Kennedy, and Mr. Stuart Piggott and fresh light has been thrown on the possible origin of such ludi by the discovery of close analogues still surviving in various parts of the Balkans. It seems, therefore, worth while to go over the ground again, and to bring together the threads of the old and the new evidence with regard to this singular and long-enduring seasonal ceremony. In 1903 I was able to make use of twenty-nine examples of the play. I can now draw upon well over a hundred, more or less complete, together with a few entangled in ludi of other types. Probably there are others, even in print, which have eluded my search, and there are references, in Tiddys valuable study and elsewhere, to performances at various places from which no texts, so far as I know, are upon record. But my hundred or so examples cover the greater part of the country, and extend to Wales, the Isle of Man, the eastern coast-line of Ireland, and the Lowlands of Scotland. From the more purely Celtic

Torianey Heckstall's personal philosophy says it all. "Feeling in the dark" is a metaphor for how she feels when she makes the most of the decisions in her life. Life is a random cascade of experiences and opportunities-or so she thought.

On a whim, she decides to upgrade a ight she's taking to rst class, never daring to imagine that this one seemingly random decision would change her life in ways she could only once dream of.

Sitting next to her is the man who will change her life.

QueShaune Guadau II is the owner of a billion-dollar oil corporation founded by his father. But even he knows that money can't buy him everything he craves-and he's too distracted to realize that the beautiful stranger next to him in rst class could change his life too.

Shaune and Tory made a deal with each other that will change both their lives forever. Tory was never a woman to go back on her own rules; even so, Shaune's relentlessness would soon make her question her unshakeable moral core. And he will do whatever it takes to convince her that he is the man for her.

Neither is able to abandon the sexy, irty, cat-and-mouse games, and this creates a problem for Shaune's best friend, Marcus Swain. Jealous and vindictive, Marcus controls a game of his own, in which the two become unwitting players. Soon, he engineers a tumultuous rift between them.

Now it's a race to see which game is the more powerful-seduction or sabotage.

On his way to work at the bank one morning, the manager Mr Kettle freaks out. He goes back home changes into his casual clothes and sets about enjoying himself. No one apart from Mrs Kettle can understand him and why he is behaving in this way. Mrs Kettle joins him in his rebellion. The bank officials employ a doctor to hypnotise Mr Kettle and get him back to his former self.3 women, 6 men

Plays from Romania: Dramaturgies of Subversion reflects the diversity of dramatic writing exploring the past and present of Romania, and takes stock thirty years after the collapse of communism. In addition to plays originally written in Romanian, the collection includes work by German, Hungarian and Roma authors born and/or working in Romania, and brings together plays written during the communist period and its aftermath. The plays included in the collection, edited and translated by Jozefina Komporaly and fully published for the first time in English, demonstrate broad variety in terms of form and content - ranging from family dramas to allegories, and absurdist experiments to modular texts rooted in open dramaturgy - and are the work of both individual playwrights and the results of collective creation. These works share a preoccupation with critically reflecting urgent concerns rooted in Romanian realities, and are notable dramaturgical experiments that push the boundaries of the genre. In addition, these plays also seek novel ways to examine universal experiences of the human condition, such as love, loss, abuse, betrayal, grief, violence, manipulation and despair. This unique anthology celebrates the renewed vitality and variety of writing for the stage after 1990, and endeavours to place Romanian theatre in a forward-looking transnational context. Lowlands ('Niederungen') by Herta Muller, adapted for the stage by Mihaela Panainte (German) This stage adaptation is based on a volume of short stories by Herta Muller written in German in 1982 and focuses on the perspective of a child narrator, by way of a series of episodes that centre on mundane aspects of daily life in a remote village against the backdrop of the oppressive atmosphere of mid-twentieth century Romania. The Spectator Sentenced to Death ('Spectatorul condamnat la moarte') by Matei Visniec (Romanian) This play is a bitter parody of the Stalinist justice system, which totally disregards the fundamental question whether the accused is actually guilty or not. The Passport ('Kalucsni') by Gyoergy Dragoman (Hungarian) This play is set pre-1989 in a typical small town in the Transylvanian province of Romania, in which the lives of the various social classes, and the fate of the persecuted and that of those who persecute are closely intertwined. The Man Who Had His Inner Evil Removed ('Omul din care a fost extras raul') by Matei Visniec (Romanian) This topical play is a sharp reflection on the voluntary servitude in which we place ourselves, often unawares, in conditions of our contemporary consumer culture, and a fierce critique of increasingly dominant tendencies to abandon moral criteria in political life. Stories of the Body (Artemisia, Eva, Lina, Teresa) ('A test toertenetei') by Andras Visky (Hungarian) The cycle Stories of the Body comprises four plays based on real life stories as experienced by remarkable women (including Mother Teresa and Italian Renaissance painter Artemisia Gentileschi), and are connected to various cities including Budapest, Cluj/Kolozsvar, Kolkata and Rome, from the 17th to the 21st century. Sexodrom by Giuvlipen Theatre Company (Mihaela Dragan, Antonella Lerca Duda, Nicoleta Ghita, Zita Moldovan, Bety Pisica, Oana Rusu, Raj Alexandru Udrea), based on a concept by Bogdan Georgescu.(Roma) This is a work of collective creation by members of the Roma Theatre company Giuvlipen, aiming to bring to public attention taboo subjects, to enhance the visibility of Roma performers and to experiment with new forms of theatre-making in a Romanian context.

Hate knows no bounds... It was a cold dark night, and Andre was eager to get home to his family. A 35-year old African-American, he is a successful businessman. Driving down a deserted road, he has to abruptly stop for what apparently is a body on the pavement. Getting out to help, he is suddenly surrounded by men in white hoods - and realizes he has fallen for a trap. Will he get out alive? In a world where hate driven crimes dominate headline news, A High Price for Justice is a compelling account of one man's fight to expose an evil conspiracy and unsolved murders involving some of Mississippi's high society.

In Beau Monde on Empire's Edge, Mayhill C. Fowler tells the story of the rise and fall of a group of men who created culture both Soviet and Ukrainian. This collective biography showcases new aspects of the politics of cultural production in the Soviet Union by focusing on theater and on the multi-ethnic borderlands. Unlike their contemporaries in Moscow or Leningrad, these artists from the regions have been all but forgotten despite the quality of their art. Beau Monde restores the periphery to the center of Soviet culture. Sources in Russian, Ukrainian, Polish, and Yiddish highlight the important multi-ethnic context and the challenges inherent in constructing Ukrainian culture in a place of Ukrainians, Russians, Poles, and Jews. Beau Monde on Empire's Edge traces the growing overlap between the arts and the state in the early Soviet years, and explains the intertwining of politics and culture in the region today.

Ruth Finnegan's Oral Literature in Africa was first published in 1970, and since then has been widely praised as one of the most important books in its field. Based on years of fieldwork, the study traces the history of storytelling across the continent of Africa. This revised edition makes Finnegan's ground-breaking research available to the next generation of scholars. It includes a new introduction, additional images and an updated bibliography, as well as its original chapters on poetry, prose, "drum language" and drama, and an overview of the social, linguistic and historical background of oral literature in Africa. This book is the first volume in the World Oral Literature Series, an ongoing collaboration between OBP and World Oral Literature Project. A free online archive of recordings and photographs that Finnegan made during her fieldwork in the late 1960s is hosted by the World Oral Literature Project (http: //www.oralliterature.org/collections/rfinnegan001.html) and can also be accessed from publisher's website.

You Never Can Tell, by Shaw, George Bernard - Akasha Classics, AkashaPublishing.Com - One of Shaw, George Bernard's sunniest plays, You Never Can Tell is a comedy of love and mistaken identity. Mrs. Clandon has returned to England with her three children after an extended stay abroad. Having abandoned her husband long ago, she finds herself unexpectedly dining with him at a family lunch in a remarkable series of coincidences. Can these two strong wills be reunited with the help of an extraordinary waiter? And will Mrs. Clandon's independent-minded daughter fall for the charms of a handsome dentist? First produced in 1897, You Never Can Tell combines Shaw's characteristic lively dialogue with a charmingly absurd story.

This is Tom Stoppard's award-winning play, set in Derbyshire. The orderly classicism of Lady Croom's Capability Brown grounds are being turned into picturesque romantic chaos, as fashion dictates, by landscape architect "Culpability Noakes". In a Regency room overlooking the work is Lady Croom's brilliant adolescent daughter - Thomasina Coverly, with her handsome, clever tutor Septimus Hodge. Their maths lesson is disturbed by, among others, the imperious, amorous Lady Croom and Ezra Chater, a cuckold and minor poet, determined on satisfaction. One hundred and eighty years later, in the same room, a corresponding group, comprising a mathematician, a biographer/historian, and a vulgar academic, try to unravel the events of 1809 - with spectacularly wrong results.

The Saigon Tangent tells the story of five members of a Special Force Unit during the Vietnam War who are tasked to solve a series of alarming homicides. During the war, they rescue Pow's and assassinate communist officials. Now, they find themselves in an intricate web of deceit that could connect to the events that happened almost two decades ago.

On a sunny afternoon in August of 1970, the Eastern Caribbean was, without warning, confronted with a terrible and tragic event. The Christena, a well-used ferry that regularly crossed the eleven-mile expanse between the twin islands if St. Kitts and Nevis sank. The two British colonial societies were suddenly thrown into turmoil, finding themselves unprepared to deal with such sudden tragedy. The ferry was registered to carry 155 passengers, but it was severely overloaded. While ninety-nine people survived that afternoon, nearly 250 other passengers perished disaster.

As if their struggle to heal after the tragedy was not taxing enough, the islands had yet more adversity to conquer. However, both societies were determined to overcome that terrible event, even as they fought to achieve greater political independence.

Told from the perspective of Whitman T. Browne, PhD, a native if Nevis, who lived on the island at the time of the tragedy. "The Christena Disaster Forty-Two Years Later" is a moving, firsthand account of how these sister communities banded together, not only to win their political autonomy, but also to overcome their emotional suffering as a result of greater tragedy.

The Philanderer, by George Bernard Shaw - Akasha Classics, AkashaPublishing.Com - A lady and gentleman are making love to one another in the drawing-room of a flat in Ashly Gardens in the Victoria district of London. It is past ten at night. The walls are hung with theatrical engravings and photo-graphs - Kemble as Hamlet, Mrs. Siddons as Queen Katharine pleading in court, Macready as Werner (after Maclise),