HORROR IS WHAT HAPPENS WHEN EVIL OVERTAKES THE HEART. Joey's a Baltimore mechanic. One night, she receives a call from her best friend, asking for his car to be picked up from the infamous body dumping grounds of Baltimore: Leakin Park. When she arrives, there's little more around than a stalled-out car and a couple of ravens, so she leaves only with the car. Back at the body shop, it doesn't take long for the smell of rot to permeate the trunk. Inside? A corpse. The cops say her friend did it. His absence is his guilt, but Joey knows better. She will find her missing friend and she will prove his innocence. But something isn't right in Baltimore. It's not just the feeling that someone is always watching from the city's abandoned buildings... Her search for her friend reveals something much worse hiding under Baltimore. A ghost town, a reaper, regret. Suddenly, the city's rage and the stink that rising out of the dirt make much more sense.

Regret is the Beginning; Horror is the Transformation; Tragedy is the Offspring. After seeing Wayland off to the afterlife, Joey's left grieving over the reality that her father and best friend are gone. She can't let it stop her though. She's got a job to do for Charon, her regular life to return to, and the complications brought on by having Jag carry her heart. She can't even focus on that when she discovers running from her problems doesn't actually get rid of them. Stalked by the ghosts of her Baltimore, Joey can't get away from her mistakes. Meanwhile, now that the badges can see her again, she's got a couple of things to explain, like jumping out the window at the station and why there was blood in her boyfriend's apartment. Telling them ghosts are real isn't enough; she has to prove it. Ralph seems like a good option as the guy who makes deals with death, but when she shows up at his bar, he's missing too. Time is running out on her credibility and with every second that passes, she risks sinking Jag's life for holding onto him for so long, the blood came off her hands and got all over him.

Everything's an insult when your soul is bankrupt. Joey and Wayland may have returned to Baltimore after their deaths, but things are not the same through eyes tainted by death. The city seems darker, the graffiti louder, and a meltdown is only a hair-trigger away. Joey's ready for everything to go back to normal, but that might not be possible when every time she's around Wayland, he's dripping with someone's freshly spilled blood. Meanwhile, Jag's losing his patience with Joey's preference for her serial killer best friend. Desperate to keep her life together in a somewhat recognizable way, Joey discovers that a local medium might have a way to calm the regret-fueled rage that plagues both her and Wayland, driving them both further out of control with each passing day. In hopes of a return to normal, she sets out to ask the authorities of the afterlife to grant her and Wayland a real second chance. The ravens stalking her promise that if she doesn't move quickly, she may lose everything she cares about. With a past and a future that can't compromise, tragedy doesn't spare the indecisive.

The body has always had the potential to unsettle us with its strange exigencies and suppurations, its demands and desires, and thus throughout the ages, it has continued to be a subject of interest and obsession. This collection of twelve peer-reviewed essays on Jacques Lacan and Michel Foucault interrogates the body in all of its beauty...and with all of its blights and blemishes. Written by a diverse body of scholars--art historians, cultural theorists, English professors, philosophers, psychoanalysts, and sociologists from North America and Europe--these essays bring into conversation two intellectual giants frequently seen as antagonists, and thus rarely seen together. Topics covered include: the intersections of Foucault and Lacan and how they bring to light new thoughts on the senses, the self-destructive body, ableism and disability in Guillermo del Toro's film The Shape of Water, body image and the ego, selfie-culture, and metamorphosis in Ottessa Moshfegh's novel My Year of Rest and Relaxation, among others.