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Norman Douglas, one of the 20th century's great travellers in Italy, was for most of his life inextricably, passionately, connected to the Bay of Naples. This breathtaking sweep of sea and coastline - dominated by Vesuvius and with Pozzuoli and Sorrento standing sentinel - was Douglas' first experience of Italy. It was here, on the island of Capri, that he died, some 55 years after first buying a villa in Naples. "Siren Land", Douglas' first travel book, is a homage to a part of the world that captivated him more than any other. Weaving the myths of the Sirens into the landscape and history of the region, Douglas writes with knowledge and an irrepressible exuberance of the past and the present, of legends and archaeology, folklore and daily life, patron saints, local ghosts, wine and the wind. As the summer draws to a close, Douglas' prose becomes suffused with a melancholy tinged with excitement at what still remains to be discovered: 'relics of Roman rule, of old Hellas, or medieval romance...These are the delights of Siren Land'. 'What makes "Siren Land" exceptional is the quality of the telling. Weaving scholarship, impressions, fact and fantasy into an intricate fabric as enchantingly entertaining and full of human interest as the best of fairy tales or ancient myths. One of the most memorable books of its genre' - Mark Holloway, in his introduction to "Siren Land".
Fierce Vikings and mystical Sirens face each other in a neverending battle to claim the most significant natural resource their world has to offer: the sea. For generations, Viking clans have faced Siren tribes in battles waged on land and sea. Battles that pit brute strength against sorcery, and cunning versus charm. Their war has torn apart the very world they fight over while also filling graveyards that span farther than the eye can see. But on these battlefields, you are just as likely to encounter love as you are death. These are the tales of their mythical encounters. These are the tales of the Sirens of the Norse Sea.
In Debbie Herbert's debut novel, there are two secrets, each one with a deadly consequence... Shelly Connors's worlds--on land and in the sea--are turned upside down when an evening swim turns into a nightmare. On a sweltering night deep in the bayou, the mystical mermaid witnesses a horrifying act. With a monstrous killer now hot on her trail, her life and the lives of her kin are in jeopardy. Terrified of becoming the next victim, Shelly has no choice but to turn to Sheriff Tillman Angier. Tillman has had his intense gray eyes on the sultry honey-haired beauty for a while. The feelings are mutual...and impossible to ignore. But he's determined to solve the murders, and he knows Shelly's hiding something. Can she trust him with her deepest secret?
The sexual exploitation of children by adults has a long, fraught history. Yet how cultures have reacted to it is shaped by a range of forces, beliefs, and norms, like any other social phenomenon. Changes in how Anglo-American culture has understood intergenerational sex can be seen with startling clarity in the life of British writer Norman Douglas (1868–1952), who was a beloved and popular author, a friend of luminaries like Graham Greene, Aldous Huxley, and D.H. Lawrence, and an unrepentant and uncloseted pederast. Rachel Hope Cleves’s careful study opens a window onto the social history of intergenerational sex in the nineteenth and twentieth centuries, revealing how charisma, celebrity, and contemporary standards protected Douglas from punishment—until they didn’t. Unspeakable approaches Douglas as neither monster nor literary hero, but as a man who participated in an exploitative sexual subculture that was tolerated in ways we may find hard to understand. Using letters, diaries, memoirs, police records, novels, and photographs—including sources by the children Douglas encountered—Cleves identifies the cultural practices that structured pedophilic behaviors in England, Italy, and other places Douglas favored. Her book delineates how approaches to adult-child sex have changed over time and offers insight into how society can confront similar scandals today, celebrity and otherwise.
"The realization hits: We're not going to win. It's why I couldn't defeat Draewulf in Bron--because this power was never mine anyway." After a fierce battle with Draewulf, Nym barely escaped with her life. Now, fleeing the scorched landscape of Tulla, her storm-summoning abilities are returning; only . . . the dark power is still inside her. Broken and bloodied, Nym needs time to recover, but when the full scope of the shapeshifter's horrific plot is revealed, the strong-willed Elemental must race across the Hidden Lands and warn the other kingdoms before Draewulf's final attack. From the crystalline palaces of Cashlin to the legendary Valley of Origin, Nym scrambles to gather an army. But even if she can, will she be able to uncover the secret to defeating Draewulf that has eluded her people for generations? With a legion of monsters approaching, and the Hidden Lands standing on the brink of destruction, the stage is set for a battle that will decide the fate of the world. This time, will the Siren's Song have the power to save it? "A riveting tale from start to finish."--Marissa Meyer, New York Times bestselling author of The Lunar Chronicles of Storm Siren The last in the low-spice, YA romantasy trilogy Series best read in order: Book 1: Storm Siren Book 2: Siren's Fury Book 3: Siren's Song Full-length book Includes discussion questions for book clubs
Sirens are sounds that confront us in daily life, from the sounds of police cars and fire engines to, less often, tornado warnings. Ideologies of sirens embody the protective, the seductive and the dangerous elements of siren sounds – from the US Cold War public training exercises in the 1950s and 1960s to the seductive power of the sirens entrenched in popular culture: from Wagner to Dizzee Rascal, from Kafka to Kurt Vonnegut, from Hans Christian Andersen to Walt Disney. This book argues, using a wide array of theorists from Adorno to Bloch and Kittler, that we should understand 'siren sounds' in terms of their myth and materiality, and that sirens represent a sonic confluence of power, gender and destructiveness embedded in core Western ideologies to the present day. Bull poses the question of whether we can rely on sirens, both in their mythic meanings and in their material meanings in contemporary culture.
A girl searches for a killer on an island where deadly sirens lurk just beneath the waves in this “twisty, atmospheric story that grips readers like a siren song” (Publishers Weekly, starred review). The sea holds many secrets. Moira Alexander has always been fascinated by the deadly sirens who lurk along the shores of her island town. Even though their haunting songs can lure anyone to a swift and watery grave, she gets as close to them as she can, playing her violin on the edge of the enchanted sea. When a young boy is found dead on the beach, the islanders assume that he’s one of the sirens’ victims. Moira isn’t so sure. Certain that someone has framed the boy’s death as a siren attack, Moira convinces her childhood friend, the lighthouse keeper Jude Osric, to help her find the real killer, rekindling their friendship in the process. With townspeople itching to hunt the sirens down, and their own secrets threatening to unravel their fragile new alliance, Moira and Jude must race against time to stop the killer before it’s too late—for humans and sirens alike.