The long-awaited moment is here, as Robert Newcomb brings his epic trilogy, The Destinies of Blood and Stone, to a triumphant close. Old questions will receive unexpected answers. Ancient prophecies will come to pass. New wonders and horrors will be revealed. And the lives of Prince Tristan and his sister, Shailiha–the Chosen Ones who alone can unite the sundered powers of the beneficent Vigors and the evil Vagaries–will change forever. On the far side of the impassable Tolenka Mountains, where the countries of Rustannica and Shashida fight an endless War of Attrition, a turning point has come. Vespasian, emperor of Rustannica, is desperate. The relentless battle has left his country battered and the treasury all but empty. Unless he can achieve a breakthrough his armies will crumble and the cause of the Vagaries will go down in abject defeat. But if he gathers all his strength in one daring throw of the dice, Vespasian may yet prevail. Meanwhile, in Eutracia, the wizards Faegan and Wigg make a startling discovery–a new form of magic that grants its users amazing powers. Among them may be an unforeseen method of crossing the Tolenka Mountains and entering directly into the War of Attrition, tilting the balance in favor of the Vigors . . . and bringing Tristan into full possession of the mystic endowments in his blood. But a new threat has surfaced in Eutracia. An ancient Vagaries spell has borne its poisonous fruit: half-human, half-serpent monstrosities who live only to slay and are commanded by a hideously transformed sorcerer-demon known as the Viper Lord. Now, as Tristan departs on a risky mission to cross into Rustannica and meet his destiny in an apocalyptic confrontation with Vespasian, Shailiha will remain behind to battle the Viper Lord and his murderous horde. Failure is unthinkable. But the cost of victory may be impossibly high.
Epic fantasy found an exhilarating new voice in Robert Newcomb, whose monumental debut novel, The Fifth Sorceress, was hailed by readers and critics alike. And now, for all those spellbound by the tale of Prince Tristan, heir to the throne of Eutracia, his twin sister Princess Shailiha, the ancient wizard Wigg, and the fate of their enchanted land, there is indeed more—much more—to be told. . . . For three centuries, Eutracia was a kingdom at peace, ruled by a benevolent monarchy and guided by a council of wizards. But a horror from the past, long believed vanquished, returned with devastating fury. And when the battle against the bloodthirsty Sorceresses of the Coven was finally won, victory was not without its price. Now, the royal palace lies in ruins; the king and queen, the royal guard, and the Directorate of Wizards are dead; the land is lawless; and Prince Tristan— forced by the Coven to murder his father, the King—is a wanted man. In a cavernous underground labyrinth, once headquarters of the wizards’ council, Tristan has taken refuge with his sister, Shailiha, her infant daughter, the wizard Wigg—the lone surviving member of the Directorate—and the crippled wizard Faegan, returned from self-imposed exile in the forest of Shadowood. Together they face the daunting task of restoring order to Eutracia and winning back the allegiance of her subjects. But suddenly, even these challenges pale beside a truly terrifying turn of events. The sacred jewel that is the source of all magic has inexplicably begun to lose its power. Without its age-old enchantment to sustain their spells, the immortal wizards will perish . . . and magic will vanish from Eutracia forever. At the same time, a mysterious and ruthless mercenary has declared a bounty upon the head of Prince Tristan. And an army of wizards on a mission to rid Eutracia of monsters created by the Coven has fallen prey to an insidious breed of creatures—beings that can only have sprung from forbidden use of malevolent magic. With time and their powers dwindling, Wigg and Faegan desperately seek to discover who, or what, has succeeded the dead Sorceresses in laying siege to Eutracia. But when the shocking truth is revealed, and an evil that transcends life itself is made known, it is Tristan, more than any other, who will be stunned to his very soul. And it is Tristan who will be thrust into the ultimate battle—for his life, his land, and the course of his destiny.
An Collins' Divine Songs and Meditacions were first printed in a small octavo volume in London in 1653. The only extant copy is presently held at The Huntington Library and it is, therefore, this copy that is reproduced in this facsimile edition. It is an important text because it is one of the earliest volumes of collected poems by an English woman in the seventeenth century. The poems are especially intriguing because of the glimpses they provide into the life and mind of a woman writer during this period and because of the social, political, historical and religious contexts in which they are embedded. The precise identity of An Collins' remains a mystery, and scholars have had to rely on the Divine Songs and Meditacions for most of their understanding of its author, often drawing very different conclusions about her religious, social and political beliefs. To date critics have focused on the biographical and historical interest of the poems, but as Robert Evans highlights in his Introductory Note to the volume, these works also exhibit a rhetorical power and skill that merits further attention.
Though the overthrow and exile of Napoleon in 1815 is a familiar episode in modern history, it is not well known that just a few months later, British colonisers toppled and banished the last king in Ceylon. Beginning with that case, this volume examines the deposition and exile of indigenous monarchs by the British and French – with examples in India, Burma, Malaysia, Vietnam, Madagascar, Tunisia and Morocco – from the early nineteenth century down to the eve of decolonisation. It argues that removal of native sovereigns, and sometimes abolition of dynasties, provided a powerful strategy used by colonisers, though European overlords were seldom capable of quelling resistance in the conquered countries, or of effacing the memory of local monarchies and the legacies they left behind.
From The Death of Nancy Sykes (1897) to The Hobbit: The Battle of the Five Armies (2014) and beyond, cinematic adaptations of British literature participate in a complex and fascinating history. The History of British Literature on Film, 1895-2015 is the only comprehensive narration of cinema's 100-year-old love affair with British literature. Unlike previous studies of literature and film, which tend to privilege particular authors such as Shakespeare and Jane Austen, or particular texts such as Frankenstein, or particular literary periods such as Medieval, this volume considers the multiple functions of filmed British literature as a cinematic subject in its own right-one reflecting the specific political and aesthetic priorities of different national and historical cinemas. In what ways has the British literary canon authorized and influenced the history and aesthetics of film, and in what ways has filmed British literature both affirmed and challenged the very idea of literary canonicity? Seeking to answer these and other key questions, this indispensable study shows how these adaptations emerged from and continue to shape the social, artistic, and commercial aspects of film history.
Reprint of the original, first published in 1872. The publishing house Anatiposi publishes historical books as reprints. Due to their age, these books may have missing pages or inferior quality. Our aim is to preserve these books and make them available to the public so that they do not get lost.
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