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Magic springs from unexpected sources. In the second novel of The Werewolves of Rebellion series, Phillip Andrews, second-in-command of the Werewolves of Rebellion, bumps into Daffodil, a leggy blond, and falls hard for her. There’s only one problem—she’s the River Rebel’s branded property. But Daffodil has even worse problems and finds herself in a dangerous, abusive sexual game with Ezra Smith, acting president of the River Rebels. Upon meeting Phillip, Daffodil can’t get him out of her mind. He gives her hope and strength, things no man has ever inspired in her before. If she tries to leave the River Rebels, Ezra will surely find her and murder Phillip. And when she foils one of Ezra’s human-trafficking shipments, Daffodil is forced to escape the MC and go into hiding in Phillip’s arms. As Halloween approaches, the Werewolves of Rebellion are faced with bizarre deaths in their MC. Men are found drained of everything, leaving only mummified husks behind. Demon-women tantalize dreams and frighten everyone in the MC. Bernadette, mate to club president Frank Nightshade, is now an apprentice witch, but although she keeps trying to protect the MC and Frank’s clan from evil, now she must save Phil and his new woman, Daffodil, too. The only way that Phil and Daffodil can be together is to vanquish the demons, but in doing so, how many will lose their lives, and will it be worth it for their love?
A scholarly work that aims to be both broad enough in scope to satisfy upper-division undergraduates studying folk belief and narrative and detailed enough to meet the needs of graduate students in the field. Each of the seven chapters in Part 1 focuses on one aspect of Russian folk belief, such as the pagan background, Christian personages, devils and various other logical categories of the topic. The author's thesis - that Russian folk belief represents a "double faith" whereby Slavic pagan beliefs are overlaid with popular Christianity - is persuasive and has analogies in other cultures. The folk narratives constituting Part 2 are translated and include a wide range of tales, from the briefly anecdotal to the more fully developed narrative, covering the various folk personages and motifs explored in Part 1.
Inspired by the true story of a political murder that horried Russians in 1869, Fyodor Dostoevsky conceived of Demons as a "novel-pamphlet" in which he would say everything about the plague of materialist ideology that he saw infecting his native land. What emerged was a prophetic and ferociously funny masterpiece of ideology and murder in pre-revolutionary Russia.
Reissued with an introduction by Chimamanda Ngozi Adichie, a stunning and disquieting novel of heroism and cowardice A masterful novel that was a huge bestseller in Europe, The Beautiful Mrs. Seidenman is a testament to the power of literature. Now with an introduction by Chimamanda Ngozi Adichie, who named it her “favorite book no one else has heard of” in the New York Times, the novel follows Irma Seidenman, a young Jewish widow in Nazi-occupied Warsaw in 1943, who possesses two attributes that can spell the difference between life and death: blue eyes and blond hair. With these features, and a set of false papers, she slips out of the ghetto, passing as the wife of a Polish officer, until one day an informer spots her on the street and drags her off to the Gestapo. At times a dark lament, at others a sly and sardonic thriller, The Beautiful Mrs. Seidenman is the story of the thirty-six hours that follow Irma's arrest and the events that lead to her dramatic rescue as the last of Warsaw’s Jews are about to meet their deaths in the burning ghetto.
From the moment Pybus first heard about Lillian Alling's trek across North America to her homeland of the Soviet Union, she couldn't get the story out of her mind. The result is an entertaining travel narrative that pieces together Alling's journey through the natural beauty and rich history of northwestern North America--a story never before told.
In view of the extended interest now felt in Russian opera, drama and ballet, it has been thought worthwhile to offer to the public this outline of the development of a genuine national opera, from the history of which we have much to learn in this country, both as regards the things to be attempted and those to be shunned. Too much technical analysis has been intentionally avoided in this volume. The musician can supply this deficiency by the study of the scores mentioned in the book, which, dating from Glinka's time, have nearly all been published and are therefore accessible to the student; the average opera-goer will be glad to gain a general view of the subject, unencumbered by the monotonous terminology of musical analysis.