Hers was a life of adventure and perilof facing forest fires and winter storms, predators and wild herds. But for the white horse, her greatest challenge would be in learning to place her trust in the wisdom of her rider, in order to survive.
Successful within the Coalition of Law Enforcement and engaged to be married, David Malard had it all until his bride-to-be was brutally murdered. Grief stricken, he agrees to enlist in Earthenia's Special Forces as they prepare to face an old and deadly enemy. Before he knows it, an invasion of his world throws him onto the front lines where he must battle not only a powerful army, but also the horror and grief he struggles with as he witnesses the brutality of war.
BOOK FIVE Celehi Supreme Quay'lar is dead, murdered on Earthenian soil. With the declaration of war by the Celehi and no assistance from allies, David Malard and his friends are faced with the annihilation of their region. But hope still remains in unlikely new alliances and an ancient map coded into the Humans' famed Blades of Norian.
Hers was a life of adventure and peril of facing forest fires and winter storms, predators and wild herds. But for the white horse, her greatest challenge would be in learning to place her trust in the wisdom of her rider, in order to survive.
Death and the Body in the Eighteenth-Century Novel demonstrates that archives continually speak to the period's rising funeral and mourning culture, as well as the increasing commodification of death and mourning typically associated with nineteenth-century practices. Drawing on a variety of historical discourses--such as wills, undertaking histories, medical treatises and textbooks, anatomical studies, philosophical treatises, and religious tracts and sermons--the book contributes to a fuller understanding of the history of death in the Enlightenment and its narrative transformation. Death and the Body in the Eighteenth-Century Novel not only offers new insights about the effect of a growing secularization and commodification of death on the culture and its productions, but also fills critical gaps in the history of death, using narrative as a distinct literary marker. As anatomists dissected, undertakers preserved, jewelers encased, and artists figured the corpse, so too the novelist portrayed bodily artifacts. Why are these morbid forms of materiality entombed in the novel? Jolene Zigarovich addresses this complex question by claiming that the body itself--its parts, or its preserved representation--functioned as secular memento, suggesting that preserved remains became symbols of individuality and subjectivity. To support the conception that in this period notions of self and knowing center upon theories of the tactile and material, the chapters are organized around sensory conceptions and bodily materials such as touch, preserved flesh, bowel, heart, wax, hair, and bone. Including numerous visual examples, the book also argues that the relic represents the slippage between corpse and treasure, sentimentality and materialism, and corporeal fetish and aesthetic accessory. Zigarovich's analysis compels us to reassess the eighteenth-century response to and representation of the dead and dead-like body, and its material purpose and use in fiction. In a broader framework, Death and the Body in the Eighteenth-Century Novel also narrates a history of the novel that speaks to the cultural formation of modern individualism.
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