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A sword-and-sorcery novel on a war between gods. It features Bahznell Bahnakson, a seven-foot giant who leads the forces of the good god, Tomanak, against the evil god, Demon Breath.
Megalithic constructions with 100-ton rocks and millimetric adornments. Giant monuments perfectly aligned with the stars. Cave paintings that reveal gods in chariots of fire that bend time and space. Enqui, from Sumer, Horus, from Egypt, Quetzalcoatl, from the Mayans and Aztecs, would they be space travelers? Are the other gods of the world vestiges of ancient aliens?
When the raid is completed that rainy March night in 1072 A.D., Charles the Merciless counts his spoils. He and his raiders have captured twentyfive men, fourteen women, five dozen gold coins, twenty-five small silver bars, an assortment of jewelry, and one baby boy with blond hair, green eyes, and a telling birthmark. Sold into slavery, the boy, John the son of Robert and Mary Joinville and the grandson of Baron William Joinville leads a difficult life at the Abbey of Lille. Tutored by a monk, John becomes not only a talented shepherd, but an educated young man. John yearns to become a knight. When his opportunity arises, this shepherd boy shows his true mettle as a leader and a warrior. As a knight of Baron Legran, he and his compatriots join God's Crusades where the battles never seem to end. The Arab and Turkish people have never forgotten the Crusades, even 1000 years after the fact. Gods of War provides a unique, historical look through John's eyes at the advance of Christendom into the heart of Islam.
A bishop’s vows are tested by the epic eleventh-century battle between East and West, in this compelling novel of the Crusades. It is the year 1097. The violent warrior class of Western Europe is marching against the Islamic Seljuk Empire to recapture Jerusalem at the plea of Pope Urban II, igniting a searing inferno of war, betrayal, and intrigue as two worlds collide—East against West, Christians against Muslims. Caught in this vicious conflict, Bishop Tristan de Saint-Germain strives to balance religious vows, loyalty to the pope, and his life-long love for Mala the Romani, the beautiful girl he met as a child just before entering the monastery of the Black Monks in France. Tested by separations, the death of their firstborn child, the threat of eternal damnation, and now annihilation, Tristan and Mala struggle against the raging tides of cultural and religious intolerance to remain together in an age of inflexible Catholic doctrine and holy war. Finding support in Queen Irene and Emperor Alexius of Byzantium, they are challenged by Archbishop Adhémar of Le Puy, rigid moralist and leader of the First Holy Crusade; Tafur, the perverse “Beggar King”; and Lord Desmond DuLac, hated specter of the Saint-Germain family past. Time alone shall direct the outcome as humanity awakens the wrathful hand of God’s scarlet fury
As an introduction to modern myth, The Golden Horns masterfully encompasses a wide circle of historical and literary materials. John Greenway first establishes the theoretical base of his discussion by examining the nature of time in Norse mythic consciousness. After suggesting several ways in which the mythic apprehension of reality conditioned medieval Icelandic narrative, he then elaborates on the dialectical relationship between myth and reason. Maintaining that myth is neither true nor false but always either expressive or not, the author then traces the origin, rise, and fall of two great modern myths of northern birth: seventeenth century Swedish Gothicism and the Ossianic craze of the eighteenth century--both of which illustrate the singular tension in the modern mind between mythic imperatives and the impulse to de-mythologize. Finally, The Golden Horns traces the romantic belief in a "new mythology" which synthesizes myth and reason from its early acceptance through its eventual repudiation. In his conclusions about the state of myth in the modern world, Greenway postulates that we have inherited the romantic respect for myth as truth but lack the romantic faith in transcendence necessary to establish myth's reality. Consequently, we express our mythic consciousness of who we are in quasi-scientific language, consciously manipulating mythic symbols for social control.
Knighted for bravery in a battle he only half remembers, his newfound noble status is the only thing that saves Falorn's life when he's captured by a powerful archbishop. But that nobility also forces him on a doomed quest into the land of the Immortal King, where savage armies compete with powerful wizards to try to take away the magical artifact that propelled Falorn into this mess in the first place. In a web of betrayals and counterbetrayals, he finds himself caught in a love triangle between the woman whom he loves but who has twice abandoned him, and the woman who seems to love him -- but whom he can never fully trust. Wizards, monsters, pirates, murderous cults, and rogue professors all have a role to play in this thrilling sequel to The Green Lion. But the ultimate role will be played by the sorceress in whose thorns Falorn is caught, and who set in motion the events that threaten to consume him!