Anglo‐Saxon farms and farming (

Speculum 91/3 (July 2016) ture and music” (xiii). A dubious assertion indeed, given the prevalence of the demonic throughout the late 1960s. One need only think of the recording of the Rolling Stones’ “Sympathy for the Devil” (1968), the release of film versions of David Wheatley’s The Devil Rides Out and of Rosemary’s Baby (1968), or the publication of Anton LaVey’s Satanic Bible (1969) to question the singular importance he grants to The Exorcist in reviving interest in the devil. In fact, modern cultural and esoteric interest in the demonic, neglected in Almond’s book, can be traced back to the nineteenth century. In the end, these minor quibbles do not detract much from a work that is enlightening and enjoyable, bringing to life one of the most sinister figures in Western culture. It will be of great interest to a broad readership, both within and beyond academia.