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Wargs: Outcast is the heart pounding and gripping conclusion to the Wargs Trilogy. It's been three years since the bloody and gruesome battle in the remote wilderness near Misty Hollow. A battle Matt believed ended the harrowing threat against the peaceful residents of Misty Hollow. Since then, they have learned to maintain a peaceful co-existence with the wargs. Meanwhile, sinister forces have been working to resurrect a program to create the ultimate transgenic human-animal hybrid, bringing possible new threats to the valley's residents. After receiving a cryptic message, Matt is plagued with more questions unanswered and left with a bone-chilling fear; who's behind this dark veil and what is their connection to Misty Hollow? With the new threat looming, one has to ask, are they ready to face a new adversary? Join Matt and the people of Misty Hollow as they struggle to unravel the new mystery and thwart the rising threat before it brings more misery and death back to the valley.
Matthew Kershaw, a professor and crypto zoologist, is intrigued when he gets a call from an old college friend upset about an attack on a forest ranger in an Idaho valley. A pack of exceptionally large wolves with strange features mauled the ranger, but someone like Kershaw needs to get to the bottom of it. Canceling his plans for the summer, he heads to the scene. The idea of discovering a new species of wolf excites Kershaw, who's convinced that tales of animal totems, animal spirits, skin-walkers, and their brethren that he's heard about since he was a little boy must be rooted in truth. While Kershaw believes that a species of wolf could remain undiscovered deep in the wilderness, he thinks the assignment at hand will most likely end up being a simple wolf population survey. He has no idea that life is about to turn treacherous, and he'll soon be in the middle of a conflict between real-life transgenic wolves, Therianthropes, and human-animal hybrids.
This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1974.
In a world of magic, dragons, and spirits of power, sixteen-year-old Claire serves as the feared and hated heir to a crumbling throne. In the dark of the night, a sinister force takes her mother, the queen that protects her people. Claire must travel untamed lands armed only with the very powers that her own people fear and a temperamental little brother who carries his own scars. They must face ancient threats to find the queen their people desperately need to survive. Can she return her mother to the throne? Will her people wither without a powerful ruler?
An entertaining and illuminating collection of weird, wonderful, and downright baffling words from the origins of English—and what they reveal about the lives of the earliest English speakers Old English is the language you think you know until you actually hear or see it. Unlike Shakespearean English or even Chaucer’s Middle English, Old English—the language of Beowulf—defies comprehension by untrained modern readers. Used throughout much of Britain more than a thousand years ago, it is rich with words that haven’t changed (like word), others that are unrecognizable (such as neorxnawang, or paradise), and some that are mystifying even in translation (gafol-fisc, or tax-fish). In this delightful book, Hana Videen gathers a glorious trove of these gems and uses them to illuminate the lives of the earliest English speakers. We discover a world where choking on a bit of bread might prove your guilt, where fiend-ship was as likely as friendship, and where you might grow up to be a laughter-smith. The Wordhord takes readers on a journey through Old English words and customs related to practical daily activities (eating, drinking, learning, working); relationships and entertainment; health and the body, mind, and soul; the natural world (animals, plants, and weather); locations and travel (the source of some of the most evocative words in Old English); mortality, religion, and fate; and the imagination and storytelling. Each chapter ends with its own “wordhord”—a list of its Old English terms, with definitions and pronunciations. Entertaining and enlightening, The Wordhord reveals the magical roots of the language you’re reading right now: you’ll never look at—or speak—English in the same way again.
First published in 1933, this book forms one of two volumes on the ethnography of the Gothic, German, Dutch, Anglo-Saxon, Frisian and Scandinavian peoples.
“* * * * * *! The most incredible story in the history of music … a heavyweight book.”—Kerrang! “An unusual combination of true crime journalism, rock and roll reporting and underground obsessiveness, Lords of Chaos turns into one of the more fascinating reads in a long time.”—Denver Post A narrative feature film based on this award-winning book has just gone into production.
Arguing that outlaw narratives become particularly popular and poignant at moments of national ecological and political crisis, Sarah Harlan-Haughey examines the figure of the outlaw in Anglo-Saxon poetry and Old English exile lyrics such as Beowulf, works dealing with the life and actions of Hereward, the Anglo-Norman romance of Fulk Fitz Waryn, the Robin Hood ballads, and the Tale of Gamelyn. Although the outlaw's wilderness shelter changed dramatically from the menacing fens and forests of Anglo-Saxon England to the bright, known, and mapped greenwood of the late outlaw romances and ballads, Harlan-Haughey observes that the outlaw remained strongly animalistic, other, and liminal. His brutality points to a deep literary ambivalence towards wilderness and the animal, at the same time that figures such as the Anglo-Saxon resistance fighter Hereward, the brutal yet courtly Gamelyn, and Robin Hood often represent a lost England imagined as pristine and forested. In analyzing outlaw literature as a form of nature writing, Harlan-Haughey suggests that it often reveals more about medieval anxieties respecting humanity's place in nature than it does about the political realities of the period.