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1588: The London of Elizabeth I is rocked by news of a daring raid on the Tower. The truth is known only to a select few: that, for twenty years, a legendary doomsday device, its power fabled for millennia, has been kept secret and safe in the Tower.
Many cultures, including Greeks, Romans, French, and British, have taken great pride in legends that recount the foundation of their society. This book demonstrates the contexts in which a medieval British matriarchal legend, the Albina narrative, was paired over time with a patriarchal narrative, which was already widely disseminated, leading to the attribution of British origins to the warrior Brutus. By the close of the Middle Ages, the Albina tale had appeared in multiple versions in French, Latin, English, Welsh, and Dutch. This study investigates the classical roots of the narrative and the ways it was manipulated in the Middle Ages to function as a national foundation legend. Of especial interest are the dynamic qualities of the text: how it was adapted over the span of two centuries to meet the changing needs of medieval writers and audiences. The currency in the Middle Ages of the Albina narrative is attested to by its inclusion in nearly all the extant manuscripts of the Middle English Prose Brut, many of the French and Latin Bruts, and in a variety of other chronicles and romances. In total, there are over 230 manuscripts surviving today that contain versions of the Albina tale. Despite this, however, relatively little modern scholarship has focused on this widely disseminated and adapted legend. This book provides the first-ever overview of the entire Albina tradition, from its roots to its eventual demise as a popularly accepted narrative. The Classical basis of the narrative in the Hypermnestra story and the ways it was manipulated in the medieval era to function as a national foundation legend are considered. Folkloric, biblical, and legal influences on the development of the tradition are addressed. The tale is viewed through a variety of lenses to suggest ways it may have functioned or was put to use in the Middle Ages. The study concludes with an overview of the narrative's demise in the Renaissance. This is a useful reference source for medievalists and other scholars interested in chronicle studies, literature, folklore, foundation narratives, manuscript studies, and historiography. It will also be useful to art historians who wish to study the various depictions of the Albina narrative in illuminated texts. The tale's emphasis on matriarchy and its subversion of the accepted societal norm will attract the interest of scholars in feminist studies. As the first analysis of the Albina tradition as a whole, it will be a valuable cornerstone for later studies.
On the day that Aldair found that his world had abruptly turned upside down, his history-changing quest began. And he did not even then know that it was to be a quest. Aldair had been a true acolyte of the Faith when it happened. And then he found himself an accursed outcast, the one against whom all hands were raised. His only friends were those who had been his most vicious enemies. His only course led to the lands of horror. And his final goal had to be that most forbidden of all lands, the dwelling place of the dead, that island of total terror known as Albion. Neal Barrett's novel is an adventure in an unexpected futurity equal in inventive surprises to his highly praised Stress Pattern.
When Britain agreed to hand over Hong Kong to the People's Republic of China come 1997, officials explained that the colony had nothing to worry about: China was reforming and would allow Hong Kong to continue its dynamic capitalist ways; besides, Britain was going to leave its prize possession with a representative government up and working well beforehand. But the brain drain that started shortly thereafter--only compounded by the brutal crackdown in Tiananmen Square--makes it clear that Hong Kong people trust in neither Chinese nor British promises.
One woman’s quest to defend her culture. Haunted by the Roman attack that destroyed her home, Ailia flees to the remote Welsh mountains in search of the charismatic war king, Caradog, who is leading a guerrilla campaign against the encroaching army. Ailia proves herself an indispensable advisor to the war king, but as the bond between them deepens, she realises the terrible role she must play to save the soul of her country. Set in Iron-Age Britain, Songwoman is a powerful exploration of the ties between people and their land and what happens when they are broken. Ilka Tampke teaches fiction at RMIT University. Her first novel, Skin, was published in eight countries and was nominated for the Voss Literary Prize and the Aurealis Awards in 2016. Ilka lives on five acres in the Macedon Ranges of Victoria. ‘Vivid world-building, a seamless blend of research and imagination, and the heightened lexicon of fantasy lend a beguiling lustre to this Iron Age saga.’ Age ‘Songwoman is a sparkling piece of writing, shot through with complex moral struggles and questions about what it means to belong to a place. Ilka Tampke transported me into the mind of Ailia, into her intense relationship with war king Caradog and her even more intense relationship with the land. Fine-tuned historical research blends seamlessly into this gripping story of a young woman fighting to stop the destruction of her home.’ Jane Rawson, author of From the Wreck ‘Those who root for Game of Thrones’ Daenerys Targaryen will find much to love in Ailia’s personal quest, with Tampke more successfully navigating the realms of almost fantasy than Ishiguro, marking her out as an exciting talent to watch.’ New Daily on Skin ‘[Tampke’s] vision is clear and brought to life vividly through the strength of her singular heroine. We have no heard the last from this resonant new Australian voice.’ Readings on Skin ‘Fantasy lovers will enjoy the mysticism and world building, and historical fiction readers will appreciate the Roman invasion story line.’ Booklist on Skin ‘Tampke has created a visceral tale of ritual, magic and violence.’ Sunday Times on Skin