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The first volume in The Last Roman trilogy, set in the final years of the Roman Empire Sixth-century Byzantium: Corruption is rife and the empire is in turmoil when Flavius Belisarius is expected to join his father’s cohort to help protect the border of the Eastern Roman Empire. Flavius’s father, Decimus, is the governor of Dorostorum city and has two goals: to keep out the Sklaveni barbarians across the Danube and to expose the deep roots of corruption. Seeking to prevent a barbarian raid, Decimus asks the powerful magnate Senuthius Vicinus for help. But when treachery leads to death in the Belisarius family, Decimus’s reputation is damaged. With his life changed forever, Flavius swears vengeance on the man who betrayed his father and begins a journey from which there is no way back.
The second volume in The Last Roman trilogy, set in the final years of the Roman Empire Sixth-century Constantinople: Flavius Belisarius is barely eighteen and already commander of the cavalry patrolling the Persian frontier. A brilliant soldier but a poor schemer, Flavius needs to be both in order to survive the febrile politics of the Eastern Roman Empire. When his friend Petrus Sabbatius uses trickery to elevate himself to the position of co-emperor, Flavius finds himself embroiled in an explosive venture of machinations and warfare. As the valiant leader sets out to reconquer the Western Empire from the hands of the Vandals and Ostrogoths, Flavius is unaware that his wife, joining him on the campaign, has been secretly charged to spy on him. The brave general must battle against the deadly Sassanids and protect the co-emperor from his own subjects – who are out for blood.
Ancient Rome, in this accurate and evocative series, is just as politics driven as any major American city -- possibly even more. Decius Caecilius Metellus has, through a series of rather wild adventure, and in the act of tracking down killers and other reprobates, barely escaped annhilation several times. Now, newly elected to the office of aedile, the lowest rung on the ladder of Roman authority, he must smoke out corruption and conspiracy that threaten to destroy all of Rome.
Sixth century Byzantium. The Emperor Justinian is determined to reunite the whole of the Roman Empire and his best general, Flavius Belisarius, is poised to invade Italy. Flavius and his men march north unopposed until the local senators of Naples refuse to surrender and a bloody assault ensues. Rome, hearing of the fate of Naples, yields the city to Flavius, but before long the Goths arrive and stage a brutal attack which Flavius’s army only just survives. Besieged and mired in a cesspit of corruption, Byzantium’s greatest general must navigate a world rife with deceit and brutality where only the most cut-throat survive.
History and adventure, brutality and courage combine to powerful effect, making Warrior of Byzantine an outstanding opening to The Last Roman trilogy following the career of Flavius Belisaurius, the general who re-conquered the old imperial provinces of the west.
Many men killed Julius Caesar. Only one man was determined to kill the killers. From the spring of 44 BC through one of the most dramatic and influential periods in history, Caesar's adopted son, Octavian, the future Emperor Augustus, exacted vengeance on the assassins of the Ides of March, not only on Brutus and Cassius, immortalized by Shakespeare, but all the others too, each with his own individual story. The last assassin left alive was one of the lesser-known: Cassius Parmensis was a poet and sailor who chose every side in the dying Republic's civil wars except the winning one, a playwright whose work was said to have been stolen and published by the man sent to kill him. Parmensis was in the back row of the plotters, many of them Caesar's friends, who killed for reasons of the highest political principles and lowest personal piques. For fourteen years he was the most successful at evading his hunters but has been barely a historical foot note--until now. The Last Assassin dazzlingly charts an epic turn of history through the eyes of an unheralded man. It is a history of a hunt that an emperor wanted to hide, of torture and terror, politics and poetry, of ideas and their consequences, a gripping story of fear, revenge, and survival.
The Goddess Test meets Dexter in an edgy, compelling debut about one teen’s quest for revenge…no matter how far it takes her. Amelie Ainsworth is not alone in her head. Bound to a deal of desperation made when she was a child, Amelie’s mind houses the Furies—the hawk and the serpent—lingering always, waiting for her to satisfy their bloodlust. After escaping the asylum where she was trapped for years, Amelie knows how to keep the Furies quiet. By day, she lives a normal life, but by night, she tracks down targets the Furies send her way. And she brings down Justice upon them. Amelie’s perfected her system of survival, but when she meets a mysterious boy named Niko at her new school, she can’t figure out how she feels about him. For the first time, the Furies are quiet in her head around a guy. But does this mean that Amelie’s finally found someone who she can trust, or are there greater factors at work? As Amelie’s mind becomes a battlefield, with the Furies fighting for control, Amelie will have to decide which is worse: denying the only man she might ever love, or subjecting him to the fate the Furies want for him?
“Tense and evocative . . . . Despite its powerful social critique, Vengeance is cautious and prismatic, openly troubled by its own claims to authority.” —Katy Waldman, The New Yorker As the narrator attempts to sort out what happened in King’s life—paying visits to his devoted mother, his estranged young daughter and her mother, his girlfriend, his brother, and his cousin—the writer’s own sense of identity begins to feel more and more like a fiction. He is one of the “free people” while Kendrick, who studies theology and philosophy, will never get his only wish, expressed plainly as “I just need to get out of here.” The dichotomy between their lives forces the narrator to confront the violence in his own past, and also to reexamine American notions of guilt and penance, racial bias, and the inherent perversity of punitive justice. It is common knowledge that we have an incarceration crisis in our country. Vengeance, by way of vivid storytelling, helps us to understand the failure of empathy and imagination that causes it.
Vengeance is a thrilling tale of deceit, battles, of betrayal and revenge. In an empire riven by religious disputes, Belisaurius must rely on his own growing prowess and subtle wits.
An exceptional debut in the tradition of Mary Renault and Steven Pressfield.