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This is the story of Lars and his companions...time-lost and scattered across the Worlds of a fallen empire. A year ago two Black Phoenix warriors appeared out of the dark of night to capture Lars. His home was burned and his grandfather murdered. From there Lars embarked on an adventure across the fantastical land of Artaria. He became a soldier and fought in battle, journeyed the realm with a tribal prince and a wizened warrior, and mourned the death of a childhood friend. All the while an ancient enemy From Beyond the Grave had crossed over to the reality of the living. Aemellion, a mysterious man of impossible years, had emerged from myth and scorn to fight on the side of light and life. And Anna, a woman from another World and another era, had crossed the stellar reaches in search of Lars. Now the story takes Lars into manhood and to another World. But he does not go there alone. Aemellion opened the Gate for Lars. And Anna stepped with him. There is Alikae, the former prince of Artaria turned Brethren hunter. Gallion, the trepid and unfocused Elemantalist. And Sir Sheldon, the Last of the Wyvernknights. They will sail on the endless oceans and traverse the coldest mountains; they will meet new companions and confront old enemies; and as plans unravel and victory eludes them death may be the only choice that remains. Epic in its scope and spanning Worlds, the Black Phoenix Cycle will take you to the nightfall of an interstellar civilization, and back in time to its pinnacle. And through the millennia, two enemies will play out a game where the barrier between the living and the dead is ruptured and those closest to themregardless of love, loyalty, or sacrificeare merely pawns. The Cycle continueson Camroon.
The definitive book on China's uneasy transformation into an economic and political superpower, and an insightful and thought-provoking analysis of daily life in China from the Pulitzer Prize–winning journalists and bestselling authors of Half a Sky. "Nick Kristof's and Sheryl WuDunn's work as correspondents in China was beyond compare, and now they have written a book every bit as astonishing. China Wakes is filled with anecdote, detail, and analysis of the highest order.... This book demands reading, and yet it is a pleasure as well as an education." —David Remnick, Editor of The New Yorker Featuring 16 pages of photos
And 1970s, and the dark and violent creatures who embody the pre- and post-millennial crises of faith. Lavishly illustrated, the articles come to startling conclusions about what we have really been reading under the covers with flashlights for generations. Annotation ©2004 Book News, Inc., Portland, OR (booknews.com).
In five richly imaginative novellas and a short story, Zhu Wen depicts the violence, chaos, and dark comedy of China in the post-Mao era. A frank reflection of the seamier side of his nation's increasingly capitalist society, Zhu Wen's fiction offers an audaciously plainspoken account of the often hedonistic individualism that is feverishly taking root. Set against the mundane landscapes of contemporary China-a worn Yangtze River vessel, cheap diners, a failing factory, a for-profit hospital operating by dated socialist norms-Zhu Wen's stories zoom in on the often tragicomic minutiae of everyday life in this fast-changing country. With subjects ranging from provincial mafiosi to nightmarish families and oppressed factory workers, his claustrophobic narratives depict a spiritually bankrupt society, periodically rocked by spasms of uncontrolled violence. For example, I Love Dollars, a story about casual sex in a provincial city whose caustic portrayal of numb disillusionment and cynicism, caused an immediate sensation in the Chinese literary establishment when it was first published. The novella's loose, colloquial voice and sharp focus on the indignity and iniquity of a society trapped between communism and capitalism showcase Zhu Wen's exceptional ability to make literary sense of the bizarre, ideologically confused amalgam that is contemporary China. Julia Lovell's fluent translation deftly reproduces Zhu Wen's wry sense of humor and powerful command of detail and atmosphere. The first book-length publication of Zhu Wen's fiction in English, I Love Dollars and Other Stories of China offers readers access to a trailblazing author and marks a major contribution to Chinese literature in English.
How and why do works make their way into a public art collection? Who decides what will be hung on the walls, placed on plinths, displayed in cases? These important, but seldom discussed, questions lie at the heart of this ‘cultural biography’ of the 70 years during which the Robert McDougall Art Gallery was Christchurch’s civic art gallery. The book explains how the collection came together, how it developed, and how the public, and artists and critics, reacted to it. The book is presented in three parts, each of which has its own introduction. It provides an analytical framework in detail and in context by defining terms and explaining particular, recurrent concepts. These include, and indeed highlight, selection and presentation cultures derived from the core museological functions of collection and display. These, together with the framework’s other concepts, are related to mainstream methodology in the social sciences, particularly political science. The latter is especially relevant to the study of a public art gallery – owned and funded by the public and its elected representatives, and controlled by these representatives and their appointed agents. Furthermore, the framework explores the concept of post-colonial tensions between heritages – specifically indigenous, transplanted and autochthonous ones. The significance of this becomes more apparent when the concepts used in relevant previous studies of specific public art galleries in New Zealand are reviewed. There is also a strong emphasis on the development of a public Maori art collection. It is a story, too, of vivid and influential personalities – the directors and curators who fought for the gallery and the artists represented in it. But the book is more than just the story of a single gallery’s collection: it shines a light on concerns and patterns that will be familiar to galleries everywhere, and provides a unique perspective on New Zealand’s cultural development over much of the twentieth century.
The world of Avern has moved on. It’s been nearly a millennium since the day when the whole pantheon vanished, a day no one will ever forget. Since the Abandonment, the mortals have learned to live without gods and goddesses. The world became mundane, with little magic and even less hope. Tyrants have emerged, while those possessing magic hold immense power. Forces surge in the darkness, threatening to topple the already fragile world. However, Avern’s world plight is not unknown, and distant watchers will intervene. The mortals are sleeping, however, unknowing that two great powers will soon vie for control. Then something happens that changes things. A young princess makes a bid for power by murdering her father. She then attempts to murder her sister, the crown princess of Lineria, Keiara. Despite a true strike aided by dark powers, Keiara doesn’t die. Instead, the strike pierces the barrier between her human soul and the soul sleeping within her, the soul of the Dark Phoenix. More than a goddess, the Dark Phoenix is the legendary mother of the gods. She is a part of the Eternal Phoenix that brought life to their world eons ago, one of the primal forces of the cosmos.
Of the eight million dedicated cyclists in this country, just 32,044 own amateur racing licenses. There's a reason for that: Racing is not only incredibly difficult, it's downright excruciating, with the possibility for public humiliation never more than one pedal away. So when Natalie, Bill Strickland's preschool-aged daughter, asked him if he could win ten points during one racing season -- the bicycling equivalent of taking an at-bat against Randy Johnson or going one-on-one with Lebron James--a sensible man would've just said no and moved on. Instead, Strickland decided to try. In the process, he discovered that he was racing toward the loving home life he cherished and, at the same time, trying to get away from something far worse -- his legacy of horrific childhood abuse. Strickland's memoir is filled with lyrical insights on training and dedication, racing scenes packed with nail-biting suspense, and powerful reflections on the meaning of family. Because for Strickland, it's definitely not about the bike.