An investigation of the New Age movement in America that aims to understand its appeal to women and the self-proclaimed prophetesses, like Love Has Won's Amy Carlson, who've created kingdoms for themselves within it.   Known for deep dives into true crime, extremist ideologies and fringe subcultures, journalist Leah Sottile turns her investigative eye toward American New Age culture. Today, tarot cards, astrology and crystals are everywhere — from Instagram and TikTok, to upscale boutiques and pricey wellness retreats. Sottile investigates how the recent surge of interest in New Age ideas speaks to a culture that is woven into the very fabric of America, and how self-professed gurus like Love Has Won's Mother God and the mysterious channeler Ramtha have built devout followings because of it. For more than a century, this pastel-colored world of love, light and enlightenment has been built upon a foundation of conspiracies, antisemitism, nationalism and a rejection of science.   In BLAZING EYE SEES ALL, Sottile seeks to understand the quest for New Age spirituality in an era of fear that has made us open to anything that claims to bring relief — from war, the climate crisis, COVID 19, or the myriad of other issues we face. At the same time, she attempts to draw a line between truly helpful, healing ideas and snake oil. The new New Age is everywhere, and Sottile helps us sort through the crystals to find true clarity.

Cymbeline tells the story of a British king, Cymbeline, and his three children, presented as though they are in a fairy tale. The secret marriage of Cymbeline’s daughter, Imogen, triggers much of the action, which includes villainous slander, homicidal jealousy, cross-gender disguise, a deathlike trance, and the appearance of Jupiter in a vision. Cymbeline displays unusually powerful emotions with a tremendous charge. Like some of Shakespeare’s other late work—especially The Winter’s Tale and The Tempest—it is an improbable story lifted into a nearly mythic realm.

Titus Andronicus is one of Shakespeare's earliest and bloodiest tragedies and was hugely successful in his lifetime. Subsequent generations have struggled with its bold confrontation of violence but in the 20th and 21st centuries the play has chimed with audiences again, perhaps because of its simultaneously shocking and playful approach to violent revenge and bodily mutilation. Jonathan Bate's original Arden edition was first published in 1995 and has had a significant influence on how the play has been performed and studied in the past 20 years. This revised edition includes a new 10,000 word introductory essay in which Bate reassess his views on the play's co-authorship with George Peele in the light of contemporary textual scholarship and updates his lively account of the play's performance history, on the international stage and screen. With detailed on-page commentary notes this will continue to be the edition of choice for students, scholars and theatre-makers.