All aspects of the cult of St David, patron saint of Wales, are examined in this wide-ranging volume. The cult of St David has been an enduring symbol of Welsh identity across more than a millennium. This volume, published to commemorate the fourteenth centenary of the death of the saint, traces the evidence for the cult of St David through archaeological, historical, hagiographical, liturgical, and toponymic evidence, and considers the role of the cult and church of St David in the history of Welsh society, politics, and landscape. The collection includesa new edition and translation of the Life of St David by Rhygyfarch, based on the text in British Library Ms. Cotton Vespasian A.xiv, as well as new evidence concerning the relics of the saint enshrined in St Davids Cathedral. J. WYN EVANS is the Dean of St Davids Cathedral. JONATHAN M. WOODING is Director of the Centre for the Study of Religion in Celtic Societies at University of Wales Lampeter. Contributors: JULIA BARROW,JANE CARTWRIGHT, FRED COWLEY, JOHN REUBEN DAVIES, OWAIN TUDOR EDWARDS, J. WYN EVANS, G.R. ISAAC, DANIEL HUWS, DAVID HOWLETT, T.F.G. HIGHAM, HEATHER JAMES, JOHN MORGAN-GUY, L.D.M NOKES, HUW PRYCE, C. BRONK RAMSEY, MARK REDKNAP, RICHARD SHARPE, BERNARD TANGUY, +GLANMOR WILLIAMS, JONATHAN M. WOODING, W.N. YATES.

Heather James examines the ways in which Shakespeare handles the inheritance and transmission of the Troy legend. She argues that Shakespeare's use of Virgil, Ovid and other classical sources demonstrates the appropriation of classical authority in the interests of developing a national myth, and goes on to distinguish Shakespeare's deployment of the myth from 'official' Tudor and Stuart ideology. James traces Shakespeare's reworking of the myth in Troilus and Cressida, Antony and Cleopatra, Cymbeline and The Tempest, and shows how the legend of Troy in Queen Elizabeth's day differed from that in the time of King James. The larger issue the book confronts is the directly political one of the way in which Shakespeare's textual appropriations participate in the larger cultural project of finding historical legitimation for a realm that was asserting its status as an empire.

Evelyn Barrett has a new job, a new baby, and a new life--of sorts. Nearly crushed by the horrific abduction and murder of her daughter (book 1, Unholy Hunger), Evelyn is moving on as best she can.No longer allowed to practice law, she is recruited by one of the detectives from her daughter's case to become a police consultant. Her inaugural case becomes a baptism by fire as she joins the hunt for a chillingly methodical and sadistic serial rapist and murderer.Her revulsion and anger fuels a passion for justice . . . and then it becomes personal. Her friend and law school roommate, Jen, becomes a victim. The rapist has made a catastrophic mistake with Jen: he has left her alive and able to talk.Filled with the chilling tension of Unholy Hunger, Hands of Darkness explores the emotional and spiritual consequences for all involved when justice and compassion collide head-on with the darkest examples of human depravity.

The range of poetic invention that occurred in Renaissance English literature was vast, from the lyric eroticism of the late sixteenth century to the rise of libertinism in the late seventeenth century. Heather James argues that Ovid, as the poet-philosopher of literary innovation and free speech, was the galvanizing force behind this extraordinary level of poetic creativity. Moving beyond mere topicality, she identifies the ingenuity, novelty and audacity of the period's poetry as the political inverse of censorship culture. Considering Spenser, Marlowe, Shakespeare, Jonson, Milton and Wharton among many others, the book explains how free speech was extended into the growing domain of English letters, and thereby presents a new model of the relationship between early modern poetry and political philosophy.

The range of poetic invention that occurred in Renaissance English literature was vast, from the lyric eroticism of the late sixteenth century to the rise of libertinism in the late seventeenth century. Heather James argues that Ovid, as the poet-philosopher of literary innovation and free speech, was the galvanizing force behind this extraordinary level of poetic creativity. Moving beyond mere topicality, she identifies the ingenuity, novelty and audacity of the period's poetry as the political inverse of censorship culture. Considering Spenser, Marlowe, Shakespeare, Jonson, Milton and Wharton among many others, the book explains how free speech was extended into the growing domain of English letters, and thereby presents a new model of the relationship between early modern poetry and political philosophy.

Evelyn Barrett wants to die. As long as her daughter's murderer dies with her, she is ready to go. Why did this man--this stranger--destroy her family? Why has he not been brought to justice? Why is she forced to live a life of anger and grief? Amid a million questions she cannot answer, Evelyn knows one thing for sure: this murderer must be punished for his crime.

Before it all, she was a successful attorney who won all the hard cases. Now that the case is personal, Evelyn will stop at nothing to seek her own version of justice. When another girl goes missing, Evelyn plows forward, ignoring the warnings from police detectives, the pleas of her grief-stricken husband, and the strange, almost supernatural tingles that tug at her. But as she follows the stench of evil, Evelyn learns that the hardest thing she will have to face may not be the death of her child after all. Perhaps the harder lesson is this: the ultimate truth--of crime and verdict, of life and death--cannot be swayed by a mother's revenge.

In this first book of a new, page-turning series, a woman will be brought to her limits before she finally recognizes the movement of the Holy Spirit and reconnects with the source of true peace.

Heather James examines the ways in which Shakespeare handles the inheritance and transmission of the Troy legend. She argues that Shakespeare's use of Virgil, Ovid and other classical sources demonstrates the appropriation of classical authority in the interests of developing a national myth, and goes on to distinguish Shakespeare's deployment of the myth from 'official' Tudor and Stuart ideology. James traces Shakespeare's reworking of the myth in Troilus and Cressida, Antony and Cleopatra, Cymbeline and The Tempest, and shows how the legend of Troy in Queen Elizabeth's day differed from that in the time of King James. The larger issue the book confronts is the directly political one of the way in which Shakespeare's textual appropriations participate in the larger cultural project of finding historical legitimation for a realm that was asserting its status as an empire.