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Within the walls of her palace, Princess Katya’s best friend lies at her feet, close to death. Her pyradisté is overwhelmed by some mysterious power, and her former lady-in-waiting has stabbed her in the back. Wounded and nearly alone, Katya must find a way to sabotage the magic of her Fiendish uncle Roland, or those who fight for the capitol will be overwhelmed by hypnotized guards and Fiend-filled corpses. Starbride’s pain is nearly overwhelming. The agony inside her only lessens when she satisfies a strange new desire to hurt those around her. She may hold the key to banishing Fiendish power from Farraday, but only by using it herself. Together, Katya and Starbride must make a final desperate push to take back the kingdom, but even if they survive, can the strength of their love keep them from madness? After all, fighting evil with evil has its consequences.
Rowan has lost the war, and while the Academy works to rebuild, outside its protected walls everything has changed. Astaroth, using the Book of Thoth, has created a world where demons rule, chaos reigns, and humans toil like slaves . . . and worse. Outraged by Rowan's seeming complacency with the new order and reeling from personal tragedy, Max McDaniels sets out on his own for escape, for information, and for revenge. In his travels, he will be forced to become many things: prisoner, gladiator, assassin. But can he become the one thing mankind needs most—a hero? The Tapestry series continues to weave threads of fantasy, mythology, science fiction, and mystery into a wholly original adventure with appeal to fans of everything from Harry Potter to Lord of the Rings to The X-Men. Genre-blending and fully illustrated, The Tapestry novels have caught the attention of middle-grade and young-adult readers alike.
This classic text, reprinted several times since its first publication in 1976, has been extensively revised in this new edition and includes new chapters on Henry V, As You Like It, and on 'the study of the audience and the study of response'. Both readers and actors/theatre-goers will find will find it opens up new ways of looking at the plays and at the mechanisms that underpin some of the most magical moments in Shakespeare's plays.
Nicoll's History, which tells the story of English drama from the reopening of the theatres at the time of the Restoration right through to the end of the Victorian period, was viewed by Notes and Queries (1952) as 'a great work of exploration, a detailed guide to the untrodden acres of our dramatic history, hitherto largely ignored as barren and devoid of interest'.