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From William Shakespeare's series of history dramas to Sir Walter Scott and George R.R. Martin's A Song of Ice and Fire, not to mention the smash-hit TV show Game of Thrones, the British civil war of 1455 to 1485 has inspired writers more than any other. Ed West's My Kingdom for a Horse illuminates the bloody war fought for thirty long years between the descendants of King Edward III in a battle for the throne. Named after the emblems used by the two leading families, the Houses of York and Lancaster, the title of the conflict gives it a romantic feel that probably wasn't as apparent to those on the battlefield having swords shoved into their eyes. And, for all the lovely heraldry and glamorous costumes of the era, the war saw the complete breakdown of the medieval code of chivalry in which prisoners were spared, which makes it even better drama. In 1460-61 alone, twelve noblemen were killed in the field and six were beheaded off it, removing a third of the English peerage. Written in the spirit of a black comedy, My Kingdom for a Horse is an ideal introduction for anyone interested in one of history's most insane wars. Featuring some of history's most infamous figures, including the insane King Henry VI, whose madness triggered the breakdown, and the wicked Richard III, who murdered his young nephews to take the throne, this fifth entry in West's A Very, Very Short History of England series is a must for fans of British history.
A gorgeously illustrated anothology of horse poems. No saddle, bridle, bit for me, I grip my pony's mane, and we are one, together, galloping free. --from "My Pony" by Ruth Feder Joyous colts gallop through snowy fields. Mystical white horses canter in the moonlight. From the wonder of a new-born foal to the quiet grace of a beloved mare at pasture, horses capture our imagination like no other animal can. A celebration of horses in all their majesty, this collection of poems will inspire any young reader who has ridden a horse--or has dreamed of riding one.
Rapunzel is in trouble, and it is up to Flynn Rider and Maximus the horse to save her.
Unfixable Forms explores how theatrical form remakes—and is in turn remade by—early modern disability. Figures described as "deformed," "lame," "crippled," "ugly," "sick," and "monstrous" crowd the stage in English drama of the sixteenth and seventeenth centuries. In each case, such a description distills cultural expectations about how a body should look and what a body should do—yet, crucially, demands the actor's embodied performance. In the early modern theater, concepts of disability collide with the deforming, vulnerable body of the actor. Reading dramatic texts alongside a diverse array of sources, ranging from physic manuals to philosophical essays to monster pamphlets, Katherine Schaap Williams excavates an archive of formal innovation to argue that disability is at the heart of the early modern theater's exploration of what it means to put the body of an actor on the stage. Offering new interpretations of canonical works by William Shakespeare, Ben Jonson, Thomas Dekker, Thomas Middleton, and William Rowley, and close readings of little-known plays such as The Fair Maid of the Exchange and A Larum For London, Williams demonstrates how disability cuts across foundational distinctions between nature and art, form and matter, and being and seeming. Situated at the intersections of early modern drama, disability studies, and performance theory, Unfixable Forms locates disability on the early modern stage as both a product of cultural constraints and a spark for performance's unsettling demands and electrifying eventfulness.
The Wind Dancers—Kona, Brisa, Sumatra, and Sirocco—are back with four more full-color illustrated titles sure to delight the imaginations of horse-loving little girls everywhere. Sirocco, the lone colt among a trio of fillies, is always hungry. Will he lose his appetite when his fellow Wind Dancers challenge him to learn to cook, or will he become a chef extraordinaire?