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“By employing a vivd bestiary of creature both mundane and monstrous, Nickerson crafts a fantastical series opener that leaves ample room for future installments.” —Publisher’s Weekly “Fast, funny, and weird in the best way! The Salamander Stone has the extremely messed up teen angst you’re looking for.”—Travis Baldree, New York Times, USA Today and ABA Indie best-selling author of Legends & Lattes Ellie Adair isn’t surprised when a vampire appears in the takeout window of her part-time job, and while she’s afraid of the flame salamander attacking her employer’s ice cream store, she’s come to expect these sudden monster attacks. They’ve been happening across the globe for nearly a year, to the point that local governments are beginning to fund towns that organize their own “monster-hunting” militias. But Ellie’s not concerned with the Beowulf Brigade’s newsletter or the push for vampires to integrate into society. She’s too busy searching for answers about her father's disappearance, her mother's battle with mental illness, her grandfather’s suddenly failing health, and the fact that—just weeks after turning sixteen—Ellie starts transforming into a lumbering, bloodthirsty beast. In a world where insurance companies offer supernatural creature coverage for monster attacks and restaurants offer hema, a blood substitute for vampires wanting to follow more sustainable diets, Ellie isn't sure which side she's on, but she knows that whatever is kidnapping teens from Errolton High School needs to be stopped. And maybe, with the help of her friends, her monstrous persona can make a difference. The Salamander Stone is a tale of monsters, teen angst, and one girl's journey to heal her estranged relationship with her family—and herself.
Amber uncovers a conspiracy so earth-shattering it threatens the human race. She is forced to go on the run, and it seems that someone is after her on every corner-some for her power; some to make her their savior; others out of twisted love or simple lust. But the Salamander Stone attracts more than earthly evil. A demon is after her too, and what he wants is unspeakable.
Poetry. Women's Studies. "In her luminous book, Laurie Filipelli remakes the constellations of a modern life. Her poems re-draw the lines between the parts of the world, helping us to see there are no divisions between planting a plumbago and watching the passage of hateful legislation, no space between grief for a lost father and the wonder of what he's told the speaker: 'the whale's veins are so wide we could swim / to her heart.' By looking so tenderly and incisively at the actual experience of a life, Filipelli makes us see our own differently."--Sasha West "Flying together, flying apart: in these poems the self is as elastic as a flock of birds cutting across the winter sky. Here, among carousel and cave, where 'the bigger you spin, the lighter you fall,' we are invited into the world of mothers and daughters, fathers and grandfathers, a geography whose inhabitants bear steadily forward while always casting a long look back. As our leader advances, in an outstretched hand she presents to us the artifacts of her explorations--mirrors, keys, paper dragons--reminding us all the while to accept the dangers of discovery as well as its myriad blessings. The wisdom within these pages is hard-won and generously offered, the speaker lifting her face skyward no matter the conditions at her feet. 'The future is a ballad sung in your name,' Filipelli promises, and we want to--we do--believe her."--Laurie Saurborn
"A collection of meditations like polished stones--painstakingly worded, tough-minded, yet partial to mystery, and peerless when it comes to injecting larger resonances into the natural world." — Kirkus Reviews Here, in this compelling assembly of writings, Pulitzer Prize-winning author Annie Dillard explores the world of natural facts and human meanings. Veering away from the long, meditative studies of Pilgrim at Tinker Creek or Holy the Firm, Annie Dillard explores and celebrates moments of spirituality, dipping into descriptions of encounters with flora and fauna, stars, and more, from Ecuador to Miami.
A city has many lives and layers. London has more than most. Not all the layers are underground, and not all the lives belong to the living. Twelve-year-old George Chapman is about to find this out the hard way. When, in a tiny act of rebellion, George breaks the head from a stone dragon outside the Natural History Museum, he awakes an ancient power. This power has been dormant for centuries but the results are instant and terrifying: A stone Pterodactyl unpeels from the wall and starts chasing George. He runs for his life but it seems that no one can see what he's running from. No one, except Edie, who is also trapped in this strange world. And this is just the beginning as the statues of London awake This is a story of statues coming to life; of a struggle between those with souls and those without; of how one boy who has been emotionally abandoned manages to find hope.
Introduces a number of different animals and how they protect themselves.
Vols. 277-230, no. 2 include Stuff and nonsense, v. 5-6, no. 8, Jan. 1929-Aug. 1930.
The literary influence of alchemy and hermeticism in the work of most medieval and early modern authors has been overlooked. Stanton Linden now provides the first comprehensive examination of this influence on English literature from the late Middle Ages through the sixteenth and seventeenth centuries. Drawing extensively on alchemical allusions as well as on the practical and theoretical background of the art and its pictorial tradition, Linden demonstrates the pervasiveness of interest in alchemy during this three-hundred-year period. Most writers—including Langland, Gower, Barclay, Eramus, Sidney, Greene, Lyly, and Shakespeare—were familiar with alchemy, and references to it appear in a wide range of genres. Yet the purposes it served in literature from Chaucer through Jonson were narrowly satirical. In literature of the seventeenth century, especially in the poetry of Donne, Herbert, Vaughan, and Milton, the functions of alchemy changed. Focusing on Bacon, Donne, Herbert, Vaughan, and Milton—in addition to Jonson and Butler—Linden demonstrates the emergence of new attitudes and innovative themes, motifs, images, and ideas. The use of alchemy to suggest spiritual growth and change, purification, regeneration, and millenarian ideas reflected important new emphases in alchemical, medical, and occultist writing. This new tradition did not continue, however, and Butler's return to satire was contextualized in the antagonism of the Royal Society and religious Latitudinarians to philosophical enthusiasm and the occult. Butler, like Shadwell and Swift, expanded the range of satirical victims to include experimental scientists as well as occult charlatans. The literary uses of alchemy thus reveal the changing intellectual milieus of three centuries.