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The start of a thrilling, highly illustrated series about a boy who finds a portal to a legendary world in his local barbershop . . . and learns he's the hero they've been waiting for. For younger fans of Black Panther and Last Gate of the Emperor! Jarell has never quite known where he belongs. He's ignored at home and teased at school for wanting to draw instead of playing sports with the other boys. The only place he's ever felt truly at ease is his local barbershop where the owner hangs Jarell's art up on the walls. When Jarell discovers a hidden portal in the barbershop, he's transported to a magical world that's unlike anything he's seen before. But it's not just the powerful gods and dangerous creatures that makes this world different--it's that everyone believes Jarell is the hero they've been waiting for.
A dozen years of peace have passed in the city of White Gryphon - providing well deserved and much needed security for the people who had lost their homes in the magical Cataclysm which killed the Mage Urtho, creator of the gryphons. But the inhabitants of White Gryphon have not forgotten their long struggles, and have trained an elite guard force, the Silver Gryphons, to protect their city, and if necessary, to join with the army of the Black Kings for mutual defense.
The Book of the Fourth World offers detailed analyses of texts that range far back into the centuries of civilised life from what is now Latin- and Anglo-America. At the time of its 'discovery', the American continent was identified as the Fourth World of our planet. In the course of just a few centuries its original inhabitants, though settled there for millennia and countable in many millions, have come to be perceived as a marginal if not entirely dispensable factor in the continent's destiny. Today the term has been taken up again by its native peoples, to describe their own world: both its threatened present condition, and its political history, which stretches back thousands of years before Columbus. In order to explore the literature of this world, Brotherston uses primary sources that have traditionally been ignored because they have not conformed to Western definitions of oral and written literature, such as the scrolls of the Algonkin, the knotted strings (Quipus) of the Inca, Navajo dry-paintings and the encyclopedic pages of Meso-America's screenfold books.