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Palace intrigue, dark magic, and terrifying secrets drive the beautifully written standalone novel Fire Dance, set in the world of Last Song Before Night. Espionage, diplomacy, conspiracy, passion, and power are the sensuously choreographed steps of the soaring new high fantasy novel by Ilana C. Myer, one woman's epic mission to stop a magical conflagration. Lin, newly initiated in the art of otherwordly enchantments, is sent to aid her homeland's allies against vicious attacks from the Fire Dancers: mysterious practitioners of strange and deadly magic. Forced to step into a dangerous waltz of tradition, treachery, and palace secrets, Lin must also race the ticking clock of her own rapidly dwindling life to learn the truth of the Fire Dancers' war, and how she might prevent death on a scale too terrifying to contemplate. Myer's novel is a symphony of secret towers, desert winds, burning sands, blood and dust. Her prose soars, and fluid movements of the politically charged plot carry the reader toward a shocking crescendo.
Shula Azzarh is Fae......in a world where it's illegal to be.Working at Piriguini's Circus keeps her hidden in plain sight, but when a vicious accident exposes the truth of what she is, her safe game of hiding comes to an end. Taken by the emperor's soldiers, Shula is forced into the hands of a mysterious Brotherhood, a group of humans hell-bent on eradicating her race completely.The Fae Resistance needs her. Their healer hates her. And the Emperor of Illyk will stop at nothing to possess her. The secrets of the empire run deeper than she knows, and Shula will have to rely on the magic she's suppressed for years to save herself from the emperor's malicious plans.Because Shula is an Elemental.And her fire might be the only thing that can make or break their world. Fans of Sarah J. Maas and Holly Black will love the first installment in this new, action packed, adult fantasy series!
Draws upon the science of attachment theory to explain the misunderstood roots of suffering and how to achieve vibrant relationships by welcoming desire rather than suppressing it.
All dancers dream of the chance to try out for the Royal Court Ballet Company. Only two dancers from the elite New York Ballet Academy will have this honour. Vanessa is one of them. She dances with grace and elegance, and a fury that is unmatched. Justin – strong, sexy and caring – will be her partner. But the thrill of travelling to London for this once-in-a-lifetime competition is shrouded by their past and the demands of an ancient organisation. The Lyric Elite needs them to win the contest and to infiltrate the Royal Court Ballet in order to seek out a dark society of Necrodancers. Vanessa will dance like she has never danced before, but not for them. Vanessa is there to find her missing sister, Margaret, and she won't let anything get in the way of that ... Fierce rivals, dark forces and hidden motives weave together in a gripping thriller for fans of Black Swan and Cassandra Clare's Mortal Instruments.
An often overlooked segment of Maine (and American) history is the story of women in the working class dance industries. Generally looked upon with a gasp of shock, burlesque and vaudeville dancing, and later taxi dancing and marathon dancing, were often the only way for women to survive (In taxi dancing, men paid women by the dance; while marathon dancing was a contest and women tried to outlast each other on the dance floor.) In turn-of-the-20th-century Maine, this new form of dancing was taking off, as it was elsewhere in the country. Historian Trudy Irene Scee explores the dance industries of Maine, how they were effected by national events, and how events in Maine effected national trends. She explores the difficulties women faced at that time and how they turned to new forms of entertainment to make money and pay for food and shelter. The focus of the book centers on the 1910s through the 1970s, but extends back into the 1800s, largely exploring the dance halls of the nineteenth century (be they saloons with hurdy-gurdy girls and the like, or dance halls with women performing the early forms of taxi- and belly dancing), and includes a chapter on belly dancing and other forms of dance entertainment in Maine in the 1980s to early 2000s. The newest form of dance—striptease dancing—is not be examined specifically, but is discussed as it pertains to the other dance forms. The book forms a unique look at one segment of Maine history and is a terrific addition to the literature on women’s issues.