Witch Cradle

January, 1951, while the country is in the grip of war in Korea, the threat of nuclear annihilation, and Senator Joe McCarthy’s Red Scare, the residents of St. Adele, Michigan, are more concerned with staying warm and shoveling snow until a bizarre ice storm brings down a towering pine. Entangled in its roots is evidence that leads Constable John McIntire to the abandoned farmstead of a young couple who had supposedly left the community years before, part of an exodus of Finnish-Americans gone off to build a workers’ Utopia in the Soviet republic of Karelia. McIntire’s fears are realized when he discovers two bodies, buried sixteen years in an unused cistern. In his zeal to uncover the truth, McIntire brings the scrutiny—and the suspicion—of a Red-hunting government agent upon his neighbors and himself. It is only the beginning of his mis-calculations. Each step in investigating the deaths seems only to bring more misery to the living. Old wounds are opened, old terrors rekindled, and old wrongs exposed. McIntire himself is not immune. He struggles to solve the two-decades-old murders, while a part of the past he hoped to bury forever threatens to destroy his new life.

DIV“How the people love a sinner, especially when she is a woman. Witch! Witch!”/divDIV The Dark End of the Street is a television program thatpries into the business of Barry and Cheryl Higgins and their three small children, uncovering every nasty aspect of their lives on welfare in front of a fascinated and disgusted audience. The couple didn’t get rich off the wildly successful reality show, though, so why would anyone want to kidnap the kids? When the two older children are found, there is little doubt that Cheryl planned their disappearance to win the public’s affection and boost the show’s ratings. As the media and the legal system condemn Cheryl, one question remains: Where is baby Cara?/divDIV /divDIVGillian White adeptly demonstrates how the public’s need to know and to judge—and how people can profit from those impulses—is a modern kind of witch hunt./div

In today's high tech world, people have completely forgotten how to make The Cup and Saucer, The Witch's Broom, and Jacob's Ladder. Thank goodness for Cat's Cradle. This book's simple instructions and ultra-clear instructional art are foolproof.

Praise for the previous editions:"Clearly the best reference work on the subject now available."

Maya Deren (1917–1961) was a Russian-born American filmmaker, theorist, poet, and photographer working at the forefront of the American avant-garde in the 1940s and 1950s. Influenced by Jean Cocteau and Marcel Duchamp, she is best known for her seminal film Meshes of the Afternoon (1943), a dream-like experiment with time and symbol, looped narrative and provocative imagery, setting the stage for the twentieth-century's groundbreaking aesthetic movements and films. Maya Deren assesses both the filmmaker's completed work and her numerous unfinished projects, arguing Deren's overarching aesthetic is founded on principles of incompletion, contingency, and openness. Combining the contrasting approaches of documentary, experimental, and creative film, Deren created a wholly original experience for film audiences that disrupted the subjectivity of cinema, its standards of continuity, and its dubious facility with promoting categories of realism. This critical retrospective reflects on the development of Deren's career and the productive tensions she initiated that continue to energize film.

Barry and Cheryl, desperately poor and living in a tower block with their two small children, are famous having been made the subjects of a fly-on-the-wall documentary. But with the birth of Cheryl's third baby it all goes wrong. In the eye of the public she changes from a plucky trier into a profligate sponger on the state. And then, mysteriously, her three children go missing.

January, 1951, while the country is in the grip of war in Korea, the threat of nuclear annihilation, and Senator Joe McCarthy's Red Scare, the residents of St. Adele, Michigan, are more concerned with staying warm and shoveling snow until a bizarre ice storm brings down a towering pine. Entangled in its roots is evidence that leads Constable John McIntire to the abandoned farmstead of a young couple who had supposedly left the community years before, part of an exodus of Finnish-Americans gone off to build a workers' Utopia in the Soviet republic of Karelia. McIntire's fears are realized when he discovers two bodies, buried sixteen years in an unused cistern. In his zeal to uncover the truth, McIntire brings the scrutiny - and the suspicion - of a Red-hunting government agent upon his neighbors and himself. It is only the beginning of his mis-calculations. Each step in investigating the deaths seems only to bring more misery to the living. Old wounds are opened, old terrors rekindled, and old wrongs exposed. McIntire himself is not immune. He struggles to solve the two-decades-old murders, while a part of the past he hoped to bury forever threatens to destroy his new life.

The beginning of the New York Times best-selling Cradle series! Lindon is born Unsouled, the one person in his family unable to use the magical Paths of the sacred arts. He uses every trick and technique he can borrow or steal to improve his life, but it seems he will never be able to join the ranks of the truly powerful. Until the heavens descend and show him the future. When Lindon becomes the only one who sees the approaching doom, he must leave his homeland to save it...and to see how far he can go by walking his own Path. SERIES DESCRIPTION The Cradle series is the best-selling example of the Progression Fantasy subgenre, which includes works of fantasy where the primary plot revolves around a character growing more powerful in their use of magic. Cradle is high-stakes, fast-paced, and action-focused, with minimal time dedicated to world-building, and as such the books are lean and focused. The series is often compared to anime, with fans using phrases like "anime in book form" or "fantasy novels meet Dragon Ball Z," emphasizing the story's specialty of loud and colorful super-powered battles.

'Diane Purkiss ... insists on taking witches seriously. Her refusal to write witch-believers off as unenlightened has produced some richly intelligent meditations on their -- and our -- world.' - The Observer 'An invigorating and challenging book ... sets many hares running.' - The Times Higher Education Supplement