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See the Grishaverse come to life on screen with the Netflix series, Shadow and Bone—Season 2 streaming now! Discover the origin story of the Darkling in #1 New York Times-bestselling author Leigh Bardugo's Demon in the Wood—the beautifully illustrated, first-ever Grishaverse graphic novel. Before he became the Darkling, Eryk was just a lonely boy burdened by an extraordinary power. The dangerous truth is that Eryk is not just a Grisha—he is the deadliest and rarest of his kind. With stunning illustrations and raw emotion, peer into the shadows of the Darkling’s past and discover why he has always been feared by those who wish to destroy him and hunted into hiding his true abilities. But even in this villain origin story, wicked secrets are destined to reveal themselves . . .
Following his recent victories, Prince Snarmis is now among Psykoria’s mightiest warriors, but is haunted by his deeds from a past battle. After fighting daemons for so long, the prince has developed an aversion to fighting his own kin. Then, men and women serving Argolax—the Daemon Archbishop—emerge from within the cities, butchering people in the daemon’s name. Knowing of Snarmis’s problem, King Breetor forbids his son from aiding in the upcoming battles. But the king himself is still traumatised by what the Daemon Archbishop did to their home. He too is forbidden from riding out. With doubts and fears resurfacing, Snarmis’s progress in proving himself has been undone, but fate has something else in store for the prince. Snarmis soon finds himself within Algatar—the Daemon Capital—and learns that there is a much deeper meaning behind the enemy’s deeds. If Psykoria’s heroes cannot end the unrest among their own people, the daemons will destroy them all. With its greatest champions in such a state, can Psykoria defeat this new threat? An epic tale with moral and socio-political themes, delving into the motivations of both hero and villain alike. Get The Daemon Capital now and discover the source behind Psykoria’s unrest—and its greatest enemy yet.
Ramsey Campbell is the world's most honored living horror writer, with more than twenty World Fantasy, British Fantasy, Bram Stoker, and other awards to his credit. Hailed as one of the most literate and literary writers of our time, in genre and out, Campbell has been acclaimed as a "master of dark fantasy" by Clive Barker, one of today's "finest writers of supernatural horror and psychological suspense" by the Charleston Post & Courier, the "master of a skewed and exquisitely terrifying style" by Library Journal, "one of the world's foremost horror writers" by the San Francisco Examiner-Chronicle, and a "master of mood" by Publishers Weekly. In The Darkest Part of the Woods, Campbell introduces readers to the Price family, whose lives have for decades been snarled with the fate of the ancient forest of Goodmanswood. Here, Dr. Lennox Price discovered a hallucinogenic moss that quickly became the focus of a cult-and though the moss and the trees on which it grew are long gone, it seems as if the whole forest can now affect the minds of visitors. After Lennox is killed trying to return to his beloved wood, his widow seems to see and hear him in the trees-or is it a dark version of the Green Man that caresses her with leafy hands? Lennox's grandson heeds a call to lie in his lover's arms in the very heart of the forest-and cannot help but wonder what the fruit of that love will be. And Heather, Lennox's daughter, who turned her back on her father's mysteries and sought sanctuary in the world of facts and history? Goodmanswood summons her as well . . . At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.
A man who digs cursed earth, uncovers great sorrow. When the women of Widow's Ridge begin to go missing, a deputy sheriff, a psychiatrist and a community college professor become mired in chilling myth and mystery. When the missing women reappear, the horror of the Helling comes home to roost. EDITORIAL REVIEWS "Daemon of the Dark Wood may be sexually fueled, but make no mistake, its horror roots are firmly grounded. From the first pages of the novel Chandler does an excellent job of creating fear in the reader. The tension is unrelenting throughout; the violence is visceral and often extreme. On top of this, Chandler manages to pull off sex scenes that are both arousing and horrific at the same time. Whether you are straight, gay, or a fetish devotee, readers will find plenty in The Daemon of the Dark Wood to be enthralled, appalled, or horrified by." --Horror World "Randy Chandler writes with apt audaciousness. He seems truly fond of the salacious wenches he has created. Daemon of the Dark Wood deals with loss of control, but the novel’s author is in masterly command." --Hellnotes "If the devil is truly in the details then Chandler is a Practiced Master of the Dark Literary Arts." --Walt Hicks, Hellbound Times "It starts off at a leisurely pace, and gradually builds to a frenzy. Chandler offers up wild situations and images that bring to mind Bentley Little. Or maybe even Edward Lee." --Horror Drive-In "Chandler wastes no time when it comes to creating tension and his narrative immediately conjures up a world of screams and fear."--HorrorTalk "It’s fun, fast, and trashy, but with solid writing chops and great descriptions. Randy Chandler is no hack." --Toxic Graveyard "Daemon of the Dark Wood will please any reader who relishes a well-written tale of ancient knowledge and hidden dangers, and those who fight to keep the human realm free of unbridled evil." --ForeWord Reviews Magazine
Reproduction of the original.
This volume examines the key representations of transgression drama produced between 1600 and 1800. Arranged in chronological order, the entries consist of plot summary (often including significant dialogue), performance data (if available), opinions by critics and scholars, and other features.
Since the dark days after the Great War, Feyree have been forced to earn their wings through the magical Rites of Krisalys, difficult and dangerous trials intended to make young sprytes understand their duties as adults and help them find their callings in life. Danai, Pook and their fellow sprytes have nervously looked forward to the secretive rites, not knowing what will be required of them. At least they didn’t have to worry about being harmed during the rites… Until now. Forces are gathering in the shadows, and they will stop at nothing, even murder, to keep Danai from completing the rites. Denizens of Nonetre, the Fire Realm, have also appeared in Lampion, raising fears of war among even the dwarven Troich and the elven Ael. The sprytes will have to accomplish bizarre and impossible quests, and ice dragons, fire demons, and even their own revered Loremaster stand in their way. In spite of the obstacles, there is one thing the young Feyree know. They are going to get their wings—or die trying.
From Napoleon's invasion of Portugal in 1807 to his final defeat at Waterloo, the English theatres played a crucial role in the mediation of the Peninsular campaign. In the first in-depth study of English theatre during the Peninsular War, Susan Valladares contextualizes the theatrical treatment of the war within the larger political and ideological axes of Romantic performance. Exploring the role of spectacle in the mediation of war and the links between theatrical productions and print culture, she argues that the popularity of theatre-going and the improvisation and topicality unique to dramatic performance make the theatre an ideal lens for studying the construction of the Peninsular War in the public domain. Without simplifying the complex issues involved in the study of citizenship, communal identities, and ideological investments, Valladares recovers a wartime theatre that helped celebrate military engagements, reform political sympathies, and register the public’s complex relationship with Britain’s military campaign in the Iberian Peninsula. From its nuanced reading of Richard Brinsley Sheridan's Pizarro (1799), to its accounts of wartime productions of Shakespeare, description of performances at the minor theatres, and detailed case study of dramatic culture in Bristol, Valladares’s book reveals how theatrical entertainments reflected and helped shape public feeling on the Peninsular campaign.