Medieval mystery for people who laugh starts here.... England's most famous date 1066: At the monastery of De'Ath's Dingle, during a completely pointless theological debate, there is a mysterious death. Routine business for the average investigative medieval monk. Unfortunately, this isn’t a tale of average monks. Anyone who would put the idiot Brother Simon in charge of a murder investigation is either one chant short of a plainsong or is up to something. When Brother Hermitage, innocent in every way, including bystanding, is lined up for execution, he begins to wonder if something might be going on. Perhaps his new companion Wat, weaver of pornographic tapestry, can figure out what it is. Before it's too late. If you are a lover of the historical detective genre, if you have a deep respect for the worlds created, don’t read this book. It’ll only upset you. Now available in a massive box set with The Garderobe of Death and The Tapestry of Death; for those with a lever-arch Kindle. People have commented on the whole sorry business: 5* Such a good writer, it's a whole new slant on medieval mystery. The truth is out there, sort of! Always makes me laugh, love these books, love this author. More please as soon as possible, just keep writing... 5* Like Cadfael meets Clouseau. 5* The usual mayhem, confusion, murder and laughs! 5* Always makes me laugh, love these books, love this author. 1* Stupid! Be warned, there are now 31 Chronicles of Brother Hermitage

Medieval mystery the Howard of Warwick way; funny! Now also a book. Available where all good books gather together. England 1067: Henri de Turold, King William's favourite hunting companion has been murdered. How anyone actually did it, given the remarkably personal nature of the fatal wound, is a bit of a mystery. Lord Robert Grosmal, of disordered mind, disordered castle and Henri's host at the time, knows that King William gets very tetchy when his friends are murdered. He sends to the nearby monastery of De'Ath's Dingle for a monk to investigate. Medieval monks are usually good at this sort of thing. Brother Hermitage is a medieval monk but he's not very good at this sort of thing. Motivated by the point of a sword he and his companion Wat the weaver set off to solve the crime. Oh, by the way King William is arriving that night so they better get a move on. Brother Hermitage's second criminal investigation reveals many things. Improvement is not among them. If you are looking for a poignant evocation of the medieval world, an insightful exploration of the characters of the time, buy a different book. Ellis Peters is quite good. After this debacle he even has another go in The Tapestry of Death. Out now on Kindle What has been said of "The Heretics of Death" 'I laughed 'till I cried,' 5* 'medieval hysterical mystery – must read!' 5* 'buy this book. It is cheap and it will make you laugh ' 5* 'I don't think I'm the target audience,' 1* 'Hermitage you're an idiot' Prior Athan of De'ath's Dingle.

"Padura’s Heretics spans and defies literary categories . . . ingenious." —Maureen Corrigan, Fresh Air A sweeping novel of art theft, anti-Semitism, contemporary Cuba, and crime from a renowned Cuban author, Heretics is Leonardo Padura's greatest detective work yet. In 1939, the Saint Louis sails from Hamburg into Havana’s port with hundreds of Jewish refugees seeking asylum from the Nazi regime. From the docks, nine-year-old Daniel Kaminsky watches as the passengers, including his mother, father, and sister, become embroiled in a fiasco of Cuban corruption. But the Kaminskys have a treasure that they hope will save them: a small Rembrandt portrait of Christ. Yet six days later the vessel is forced to leave the harbor with the family, bound for the horrors of Europe. The Kaminskys, along with their priceless heirloom, disappear. Nearly seven decades later, the Rembrandt reappears in an auction house in London, prompting Daniel’s son to travel to Cuba to track down the story of his family’s lost masterpiece. He hires the down-on-his-luck private detective Mario Conde, and together they navigate a web of deception and violence in the morally complex city of Havana. In Heretics, Leonardo Padura takes us from the tenements and beaches of Cuba to Rembrandt’s gloomy studio in seventeenth-century Amsterdam, telling the story of people forced to choose between the tenets of their faith and the realities of the world, between their personal desires and the demands of their times. A grand detective story and a moving historical drama, Padura’s novel is as compelling, mysterious, and enduring as the painting at its center.

Burning Bodies interrogates the ideas that the authors of historical and theological texts in the medieval West associated with the burning alive of Christian heretics. Michael Barbezat traces these instances from the eleventh century until the advent of the internal crusades of the thirteenth century, depicting the exclusionary fires of hell and judicial execution, the purifying fire of post-mortem purgation, and the unifying fire of God's love that medieval authors used to describe processes of social inclusion and exclusion. Burning Bodies analyses how the accounts of burning heretics alive referenced, affirmed, and elaborated upon wider discourses of community and eschatology. Descriptions of burning supposed heretics alive were profoundly related to ideas of a redemptive Christian community based upon a divine, unifying love, and medieval understandings of what these burnings could have meant to contemporaries cannot be fully appreciated outside of this discourse of communal love. For them, human communities were bodies on fire. Medieval theologians and academics often described the corporate identity of the Christian world as a body joined together by the love of God. This love was like a fire, melting individuals together into one whole. Those who did not spiritually burn with God's love were destined to burn literally in the fires of Hell or Purgatory, and the fires of execution were often described as an earthly extension of these fires. Through this analysis, Barbezat demonstrates how presentations of heresy, and to some extent actual responses to perceived heretics, were shaped by long-standing images of biblical commentary and exegesis. He finds that this imagery is more than a literary curiosity; it is, in fact, a formative historical agent.

When he comes to the aid of his old friend, Sheriff Hugh Beringar, twelfth-century sleuth Brother Cadfael becomes embroiled in a case involving a mysterious treasure, murder, and charges of heresy

Martha Carrier was hanged on August 19th 1692 in Salem, Massachusetts, unyielding in her refusal to admit to being a witch, going to her death rather than joining the ranks of men and women who confessed and were thereby spared execution. Like her mother, young Sarah Carrier is bright and wilful, openly challenging the small, brutal world in which they live. In this startling novel, she narrates the story of her early life in Andover, near Salem. Her father is a farmer, English in origin, quietly stoical but with a secret history. Her mother is a herbalist, tough but loving, and above all a good mother. Often at odds with each other, Sarah and her mother have a close but also cold relationship, yet it is clear that Martha understands her daughter like no other. When Martha is accused of witchcraft, and the whisperings in the community escalate, she makes her daughter promise not to stand up for her if the case is taken to court. As Sarah and her brothers are hauled into the prison themselves, the vicious cruelty of the trials is apparent, as the Carrier family, along with other innocents, are starved and deprived of any decency, battling their way through the hysteria with the sheer willpower their mother has taught them.