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The winds of change are finally whispering through the Faelan Werewolf Reservation… Lizzie Grace is doing her utmost to ignore the portents of doom, wanting nothing more than enjoy her life and her time with Aiden O’Connor while she still can. But the song of the once unprotected and very powerful wellspring still washes across the distant shores of darkness, and it continues to draw evil to the reservation. The one that arrives this time is different from the others. Not only is it skilled in magic, but its kills are very specific. Very targeted. As the brutal deaths mount up and she, Monty, and Aiden struggle to find answers and stop the killings, Lizzie begins to suspect there’s more to this particular evil than meets the eye. Especially when it helps save the life of a child. But the biggest threat to Lizzie comes not in the form of evil, but rather the changes whispered on the wind. Because the werewolf Aiden once asked to be his wife has finally arrived back in the reservation. And she’s determined to get her man.
For the first time ever, a tale from the Persian Book of Kings springs to life in this stunningly produced and ingeniously crafted pop up book. Zahhak: The Legend of the Serpent King retells the myth of the misguided Prince Zahhak who is easily swayed by the devil to murder his father and usurp the thrown. Cursed with monstrous snakes that grow out of the king's shoulders, the Serpent King grows infamous throughout the land for his treachery and oppression. He rules for one thousand years before a noble and valiant Feraydun gains the strength and army to defeat the unjust King. The fantastic world of Zahhak: The Legend of the Serpent King literally pops off the page with intricately crafted spreads, two pop-up folds per page, and complex construction that will delight readers young and old with every turn of the page.
Never mess with the relics of the old gods… or the pixies who once guarded them. After her mom’s disappearance six months ago, Bethany Aodhán has been running their tavern in old Deva—something her family had been doing ever since a light-fingered pixie lost them the job of guarding the treasures of the old gods eons ago. Then her brother, Lugh, is attacked, his best friend murdered, and the tavern firebombed. A confrontation with a former lover leads to the discovery of another murder and a missing jewel from a godly relic, and Beth learns that the Éadrom Hoard—one of three godly hoards now guarded by the elves—has been stolen. But this is no ordinary theft. Darker forces are at work, and they’re not only seeking the means to resurrect a god of destruction but the power to forever banish daylight. That power lay with Agrona’s Claws—three godly artifacts that, when used together, give the user full control over night itself. With the webs of suspicion drawing ever tighter around them, Beth & Lugh—with the help of two sexy elves and a cantankerous old goddess who knows far more than she admits—race to find the missing artifacts before those intent on unleashing chaos. It’s a race they must win, because it’s not just their lives on the line, but the fate of modern-day England.
This is an essential companion to The Presbyterian Hymnal and Hymns, Psalms, & Spiritual Songs. Church musicians and pastors will welcome the ease with which they can locate keywords, topics, and scriptural references.
A beautiful, compact, gift edition of some of the world’s greatest poems about loss and death, to ease the heart of the bereaved Who has not suffered grief? In Mourning Songs, the brilliant poet and editor Grace Schulman has gathered together the most moving poems about sorrow by the likes of Elizabeth Bishop, William Carlos Williams, Gwendolyn Brooks, Neruda, Catullus, Dylan Thomas, W. H. Auden, Shakespeare, Emily Dickinson, W. S. Merwin, Lorca, Denise Levertov, Keats, Hart Crane, Michael Palmer, Robert Frost, Hopkins, Hardy, Bei Dao, and Czeslaw Milosz—to name only some of the masters in this slim volume. “The poems in this collection,” as Schulman notes in her introduction, “sing of grief as they praise life.” She notes, “As any bereaved survivor knows, there is no consolation. ‘Time doesn’t heal grief; it emphasizes it,’ wrote Marianne Moore. The loss of a loved one never leaves us. We don’t want it to. In grief, one remembers the beloved. But running beside it, parallel to it, is the joy of existence, the love that causes pain of loss, the loss that enlarges us with the wonder of existence.”
The Song of Everlasting Sorrow follows the adventures of Wang Qiyao, a girl born of the crowded, labyrinthine alleys of Shanghai's working-class neighborhoods. Infatuated with the glitz and glamour of 1940s Hollywood, Wang Qiyao seeks fame in the Miss Shanghai beauty pageant, and this fleeting moment of stardom becomes the pinnacle of her life. After the Communist victory, Wang Qiyao continues to indulge in the decadent pleasures of the Shanghai bourgeoisie, secretly playing mahjong during the antirightist campaign and exchanging lovers on the eve of the Cultural Revolution. She reemerges in the 1980s as a purveyor of "old Shanghai," only to become embroiled in a tragedy that echoes the Hollywood noirs of her youth.
This title was first published in 2003. From 1821 until his death, Schubert compiled or specially composed for publication 42 song sets, yet during his own lifetime, and until now, their integrity and importance as sets have been virtually ignored. In this book, Michael Hall asserts that these songs sets are not arbitrary collections, as so often assumed, but highly integrated works in their own right. Approaching these songs as sets the book throws light on Schubert's largely undiscussed intellectual preoccupations. They reveal that he was au fait with most of the philosophical concerns of his time, especially those which touched on Romanticism. But although the sets reflect Romanticism in their topics, Hall maintains that they are the epitome of classical balance. In encouraging students and performers to approach these songs as sets, this study aims to alter perceptions of this important repertory.
Storied Deserts makes a crucial and critical intervention in the field of environmental humanities by showcasing an emerging body of research on desert places from around the world. Deserts, despite dominant stereotypes of wasteland and barrenness, are culturally and ecologically abundant places. This edited volume sets out to reimagine the world’s desert places and the very concept of "the desert" itself, taking a boldly interdisciplinary and multicultural approach. Authors engage in literary ecocriticism and ecopoetics, film and visual studies, critical theory, personal and transdisciplinary reflection, creative practices, and historical scholarship. Through their diverse range of perspectives, contributors show how arid lands have been and can be understood as sites of narrative production, places where signs and imaginaries are born from the materialities of space and entanglement. In this way, this volume highlights how the storied matter of the Earth’s deserts informs lived realities, environmental histories, cinematic and literary imaginaries, political conflicts, and even intellectual categories such as "the human" and "the elemental". Ultimately, this book shows that reimagining desert places can help us to grapple with the epochal challenges of the Anthropocene. It is an important and engaging collection for scholars and students across disciplines that helps establish the value of desert humanities.