2020 American Fiction Award Winner! Welcome to Tandara, where gods are fickle, nightmares are real, and trolls make excellent bakers . . . Raine Stewart is convinced she’ll die young and alone in Alabama, the victim of a chronic, mysterious illness. Until a man in a shabby cloak steps out of her mirror and demands her help to defeat a bloodthirsty wizard. Raine shrugs it off as a hallucination—just one more insult from her failing body—and orders her intruder to take a hike. But the handsome figment of her imagination won’t take no for an answer, and kidnaps her anyway, launching her into a world of utmost danger—and urgent purpose. Ruled by unpredictable gods and unstable nations, Tandara is a land of shapeshifters and weather-workers, queens and legends. Ravenous monsters and greedy bounty hunters patrol unforgiving mountains. Riverboats pulled by sea-cattle trade down broad waterways. And creatures of nightmare stalk Raine herself, vicious in the pursuit of her blood. But Raine isn’t helpless or alone. She’s part of a band as resourceful as it is odd: a mage-shy warrior, a tattered wizard, a tenderhearted giant, and a prickly troll sorceress. Her new friends swear she has powers of her own. If she can stay under their protection, she might just live long enough to find out . . .
2020 American Fiction Award Finalist! What’s a nice Southern girl doing in a place like this? Whisked from humdrum Alabama to the fantastical land of Tandara by a mage who won’t take no for an answer, Raine Stewart finds herself tangled in a muddle of magic. A Dark Wizard is out for her blood, a demonic golem has orders to dispatch her . . . and she stinks at magic. Being a wizard, even a baby wizard, is harder than Raine thought. Raine and her companions find sanctuary amongst the famed warriors of the snow-capped nation of Finlara, and Raine is reunited with her dear friend, the frost giant Tiny Bartog. In short order, she unearths a magic mirror, a dread curse, and a tragic, ill-fated love affair. Safety, however, is an illusion. The dreaded Magog’s Eye is still missing, and war looms. It seems an entire world hangs in the balance, waiting to see whether Raine will be able to harness her magic. But with a little help from her friends, she’ll survive . . . she hopes.
2020 American Fiction Award Finalist! What’s a nice Southern girl doing in a place like this? Whisked from humdrum Alabama to the fantastical land of Tandara by a mage who won’t take no for an answer, Raine Stewart finds herself tangled in a muddle of magic. A Dark Wizard is out for her blood, a demonic golem has orders to dispatch her . . . and she stinks at magic. Being a wizard, even a baby wizard, is harder than Raine thought. Raine and her companions find sanctuary amongst the famed warriors of the snow-capped nation of Finlara, and Raine is reunited with her dear friend, the frost giant Tiny Bartog. In short order, she unearths a magic mirror, a dread curse, and a tragic, ill-fated love affair. Safety, however, is an illusion. The dreaded Magog’s Eye is still missing, and war looms. It seems an entire world hangs in the balance, waiting to see whether Raine will be able to harness her magic. But with a little help from her friends, she’ll survive . . . she hopes.
2020 American Fiction Award Winner! Welcome to Tandara, where gods are fickle, nightmares are real, and trolls make excellent bakers . . . Raine Stewart is convinced she’ll die young and alone in Alabama, the victim of a chronic, mysterious illness. Until a man in a shabby cloak steps out of her mirror and demands her help to defeat a bloodthirsty wizard. Raine shrugs it off as a hallucination—just one more insult from her failing body—and orders her intruder to take a hike. But the handsome figment of her imagination won’t take no for an answer, and kidnaps her anyway, launching her into a world of utmost danger—and urgent purpose. Ruled by unpredictable gods and unstable nations, Tandara is a land of shapeshifters and weather-workers, queens and legends. Ravenous monsters and greedy bounty hunters patrol unforgiving mountains. Riverboats pulled by sea-cattle trade down broad waterways. And creatures of nightmare stalk Raine herself, vicious in the pursuit of her blood. But Raine isn’t helpless or alone. She’s part of a band as resourceful as it is odd: a mage-shy warrior, a tattered wizard, a tenderhearted giant, and a prickly troll sorceress. Her new friends swear she has powers of her own. If she can stay under their protection, she might just live long enough to find out . . .
Print Culture and the Medieval Author is a book about books. Examining hundreds of early printed books and their late medieval analogues, Alexandra Gillespie writes a bibliographical history of the poet Geoffrey Chaucer and his follower John Lydgate in the century after the arrival of printing in England. Her study is an important new contribution to the emerging 'sociology of the text' in English literary and historical studies. At the centre of this study is a familiar question: what is an author? The idea of the vernacular writer was already contested and unstable in medieval England; Gillespie demonstrates that in the late Middle Ages it was also a way for book producers and readers to mediate the risks - commercial, political, religious, and imaginative - involved in the publication of literary texts. Gillespie's discussion focuses on the changes associated with the shift to print, scribal precedents for these changes, and contemporary understanding of them. The treatment of texts associated with Chaucer and Lydgate is an index to the sometimes flexible, sometimes resistant responses of book printers, copyists, decorators, distributors, patrons, censors, owners, and readers to a gradual but profoundly influential bibliographical transition. The research is conducted across somewhat intractable boundaries. Gillespie writes about medieval and modern history; about manuscript and print; about canonical and marginal authors; about literary works and books as objects. In the process, she finds new meanings for some medieval vernacular texts and a new place for some old books in a history of English culture.
Nach dem Tod seiner Eltern hat sich der Krieger Talon ganz dem Schutz der Pantera gewidmet. Loyalität und Ehre bedeuten ihm alles. Und so zögert er auch keine Sekunde, Isi Rousseau als Feindin zu betrachten. Doch schon der erste Blick auf die schlafende Schönheit erweckt eine nie gekannte Sehnsucht in ihm ... Computergenie Xavier hingegen weiß, dass die Schwester seines besten Freundes nach den Regeln der Pantera tabu ist. Womit er nicht gerechnet hat, ist der starke Wille der schönen Amalie, die sich stets nimmt, was sie begehrt ...
Explores how the earliest printers moulded demand and created new markets and argues that marketing changed what was read and the place of reading in sixteenth-century readers' lives, shaping their expectations, tastes, and their practices and beliefs.
Could your ancestors write their own names or did they mark official documents with a cross? Why did great-grandfather write so cryptically on a postcard home during the First World War? Why did great-grandmother copy all the letters she wrote into letter-books? How unusual was it that great-uncle sat down and wrote a poem, or a memoir? Researching Family History Through Ancestors' Personal Writings looks at the kinds of (mainly unpublished) writing that could turn up amongst family papers from the Victorian period onwards - a time during which writing became crucial for holding families together and managing their collective affairs. With industrialization, improved education, and far more geographical mobility, British people of all classes were writing for new purposes, with new implements, in new styles, using new modes of expression and new methods of communication (e.g. telegrams and postcards). Our ancestors had an itch for scribbling from the most basic marks (initials, signatures and graffiti on objects as varied as trees, rafters and window ledges), through more emotionally charged kinds of writing such as letters and diaries, to more creative works such as poetry and even fiction. This book shows family historians how to get the most out of documents written by their ancestors and, therefore, how better to understand the people behind the words.
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