In a shabby house, on a shabby street, in the new capital of Madrid, Luzia Cotado uses scraps of magic to get through her days of endless toil as a scullion. But when her scheming mistress discovers the lump of a servant cowering in the kitchen is actually hiding a talent for little miracles, she demands Luzia use those gifts to better the family's social position. What begins as simple amusement for the bored nobility takes a perilous turn when Luzia garners the notice of Antonio Pérez, the disgraced secretary to Spain's king. Still reeling from the defeat of his armada, the king is desperate for any advantage in the war against England's heretic queen--and Pérez will stop at nothing to regain the king's favor. Determined to seize this one chance to better her fortunes, Luzia plunges into a world of seers and alchemists, holy men and hucksters, where the lines between magic, science, and fraud are never certain. But as her notoriety grows, so does the danger that her Jewish blood will doom her to the Inquisition's wrath. She will have to use every bit of her wit and will to survive--even if that means enlisting the help of Guillén Santangel, an embittered immortal familiar whose own secrets could prove deadly for them both.

A collection of "first-rate frontline journalism" from the Spanish Civil War to US actions in Central America "by a woman singularly unafraid of guns" (Vanity Fair). For nearly sixty years, Martha Gellhorn's fearless war correspondence made her a leading journalistic voice of her generation. From the Spanish Civil War in 1937 through the Central American wars of the mid-eighties, Gellhorn's candid reporting reflected her deep empathy for people regardless of their political ideology. Collecting the best of Gellhorn's writing on foreign conflicts, and now with a new introduction by Lauren Elkin, The Face of War is a classic of frontline journalism by "the premier war correspondent of the twentieth century" (Ward Just, The New York Times Magazine ). Whether in Java, Finland, the Middle East, or Vietnam, she used the same vigorous approach. "I wrote very fast, as I had to," she says, "afraid that I would forget the exact sound, smell, words, gestures, which were special to this moment and this place." As Merle Rubin noted in his review of this volume for The Christian Science Monitor, "Martha Gellhorn's courageous, independent-minded reportage breaks through geopolitical abstractions and ideological propaganda to take the reader straight to the scene of the event."

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