Elinor Beckett è ciò che viene definita una strega in grado di 'vedere'. Fra le strade di una metropoli decadente e corrotta, le anime maledette e gli spiriti maligni intrappolati fra la vita e la morte non possono passare inosservati al suo dono innato, capace di percepirli e individuarli fra la gente comune. Il suo compito è semplice: aiutare i defunti a passare oltre o esorcizzarli tramite la sua magia dal mondo degli esseri viventi. Quando una seduta spiritica finita in tragedia apre le porte a un'entità sinistra sul piano dei vivi, Elinor viene incaricata dallo stregone Charles Volkov al fine di iniziare una caccia senza tregua, che vedrà un male dimenticato riemergere dalle proprie ceneri per portare a termine un macabro e sanguinoso rituale.

Ritorno al futuro raddoppia con una collana dedicata alle 'linee temporali alternative'. Si comincia con Citizen Brown, l'adattamento a fumetti del videogioco di successo del 2010 della Telltale 'Back to the Future: the Game!'. Quando una DeLorean vuota appare nel 1986, Marty McFly scopre che il suo amico, il dottor Emmett 'Doc' Brown è bloccato nel 1931 e forse in mortale pericolo. Ora sta a Marty ritornare nel passato ancora una volta per salvare Doc e il continuum spazio temporale!

The second decade of this acclaimed and popular series begins with a volume that will be essential reading for historians and re-enactors alike. Two papers consider cloth manufacture in the early medieval period: Ingvild ye examines the graves of prosperous Viking Age women from Western Norway which contained both textile-making tools and the remains of cloth, considering the relationship between the two. Karen Nicholson compliments this with practical experiments in spinning. Two papers examine surviving medieval garments: Tina Anderlini reveals the details of cut and construction of a thirteenth-century chemise attributed to King Louis IX of France (St Louis), examined out of its shrine for the first time since 1970; and Frances Pritchard considers fifteenth-century orphreys embroidered in England for a wealthy Italian merchant family, which demonstrate in their iconography the family association with the city of Lucca. Three papers consider fashionable clothing and morality: Sarah-Grace Heller discusses sumptuary legislation from Angevin Sicily in the 1290s which sought to restrict men's dress at a time when preparation for war was more important than showy clothes; Cordelia Warr examines the dire consequences of a woman dressing extravagantly as portrayed in a fourteenth-century Italian fresco; and Emily Rozier discusses the extremes of dress attributed by moral and satirical writers to the men known as 'galaunts'. Two textual studies show the importance of textiles in daily life: Susan Powell reveals the austere but magnificent purchases made on behalf of Lady Margaret Beaufort, mother of King Henry VII, in the last ten years of her life (1498-1509). Anna Riehl Bertolet discusses in detail the passage in Shakespeare's A Midsummer Night's Dream where Helena passionately recalls sewing a sampler with Hermia when they were young and still bosom friends.

The usual wide range of approaches to garments and fabrics appears in this tenth volume. Three chapters focus on practical matters: a description of the medieval vestments surviving at Castel Sant'Elia in Italy; a survey of the spread of silk cultivation to Europe before 1300; and a documentation of medieval colour terminology for desirable cloth. Two address social significance: the practice of seizing clothing from debtors in fourteenth-century Lucca, and the transformation of the wardrobe of Margaret Tudor, daughter of King Henry VII, upon her marriage to the king of Scotland. Two delve into artistic symbolism: a consideration of female headdresses carved at St Frideswide's Priory in Oxford, and a discussion of how Anglo-Saxon artists used soft furnishings to echo emotional aspects of narratives. Meanwhile, in an exercise in historiography, there is an examination of the life of Mrs. A.G.I. Christie, author of the landmark Medieval English Embroidery. Robin Netherton is a professional editor and a researcher/lecturer on the interpretation of medieval European dress; Gale R. Owen-Crocker is Professor of Anglo-Saxon Culture at the University of Manchester.BR> Contributors: Michelle L. Beer, Elizabeth Coatsworth, Valija Evalds, Christine Meek, Maureen C. Miller, Christopher J. Monk, Lisa Monnas, Rebecca Woodward Wendelken

Topics in this volume range widely throughout the European middle ages. Three contributions concern terminology for dress. Two deal with multicultural medieval Apulia: an examination of clothing terms in surviving marriage contracts from the tenth to the fourteenth century, and a close focus on an illuminated document made for a prestigious wedding. Turning to Scandinavia, there is an analysis of clothing materials from Norway and Sweden according to gender and social distribution. Further papers consider the economic uses of cloth and clothing: wool production and the dress of the Cistercian community at Beaulieu Abbey based on its 1269-1270 account book, and the use of clothing as pledge or payment in medieval Ireland. In addition, there is a consideration of the history of dagged clothing and its negative significance to moralists, and of the painted hangings that were common in homes of all classes in the sixteenth century. Robin Netherton is a professional editor and a researcher/lecturer on the interpretation of medieval European dress; Gale R. Owen-Crocker is Professor of Anglo-Saxon Culture at the University of Manchester. Contributors: Antonietta Amati, Eva I. Andersson, John Block Friedman, Susan James, John Oldland, Lucia Sinisi, Mark Zumbuhl