Ian C. Esslemont's prequel trilogy takes readers deeper into the politics and intrigue of the New York Times bestselling Malazan Empire. The first book of the Path to Ascendancy trilogy, Dancer's Lament, focuses on the genesis of the empire and features Dancer, the skilled assassin, who, alongside the mage Kellanved, would found the Malazan empire. At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.
Esslemont's all-new prequel trilogy takes readers deeper into the politics and intrigue of the New York Times bestselling Malazan Empire. Dancer's Lament focuses on the genesis of the empire, and features Dancer, the skilled assassin, who, alongside the mage Kellanved, would found the Malazan empire.
The conclusion to Ian C. Esslemont's epic fantasy Path to Ascendancy trilogy--a prequel story set in the New York Times bestselling Malazan Empire series--co-created by Steven Erikson. The incessant war between the bickering city states of Quon Tali rages. So engrossed are the warring lords and princes in their own petty feuds that few notice that an upstart mage from Dal Hon has gained control of the southern seas. Kellanved could not care less about any of this petty politicking or strategy or war. Something other and altogether more mysterious has caught his attention and he - together with a reluctant and his decidedly skeptical friend Dancer - traverse continents and journey through the Realms. But this ancient mystery that has so captivated Kellanved is neither esoteric nor ephemeral. It involves the Elder races themselves, and more alarmingly, the semi-mythic Army of Dust and Bone. Surely no one in their right mind would be so foolish as to embark on a journey from which none have returned? Well, no one except Kellanved. Path to Ascendancy #1 Dancer's Lament #2 Deadhouse Landing #3 Kellanved's Reach
Esslemont's new prequel trilogy takes readers deeper into the politics and intrigue of the New York Times bestselling Malazan Empire. Dancer's Lament focuses on the genesis of the empire, and features Dancer, the skilled assassin, who, alongside the mage Kellanved, would found the Malazan empire. At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.
A Wall Street Journal Best Book of 2018 In the tradition of Patrick Leigh Fermor and Geoff Dyer, a Grammy-winning producer discovers a powerful and ancient folk music tradition. In a gramophone shop in Istanbul, renowned record collector Christopher C. King uncovered some of the strangest—and most hypnotic—sounds he had ever heard. The 78s were immensely moving, seeming to tap into a primal well of emotion inaccessible through contemporary music. The songs, King learned, were from Epirus, an area straddling southern Albania and northwestern Greece and boasting a folk tradition extending back to the pre-Homeric era. To hear this music is to hear the past. Lament from Epirus is an unforgettable journey into a musical obsession, which traces a unique genre back to the roots of song itself. As King hunts for two long-lost virtuosos—one of whom may have committed a murder—he also tells the story of the Roma people who pioneered Epirotic folk music and their descendants who continue the tradition today. King discovers clues to his most profound questions about the function of music in the history of humanity: What is the relationship between music and language? Why do we organize sound as music? Is music superfluous, a mere form of entertainment, or could it be a tool for survival? King’s journey becomes an investigation into song and dance’s role as a means of spiritual healing—and what that may reveal about music’s evolutionary origins.
Position Pieces for Cello is designed to give students a logical and fun way to learn their way around the fingerboard. Each hand position is introduced with exercises called "Target Practice," "Geography Quiz," and "Names and Numbers." Following these exercises are tuneful cello duets which have been specifically composed to require students to play in that hand position. In this way, students gain a thorough knowledge of how to find the hand positions and, once there, which notes are possible to play. Using these pieces (with names like "I Was a Teenage Monster," "The Irish Tenor," and "I've Got the Blues, Baby"), position study on the cello has never been so much fun!
Poetic elegies for lost or fallen cities are seemingly as old as cities themselves. In the Judeo-Christian tradition, this genre finds its purest expression in the book of Lamentations, which mourns the destruction of Jerusalem; in Arabic, this genre is known as the ritha al-mudun. In The City Lament, Tamar M. Boyadjian traces the trajectory of the genre across the Mediterranean world during the period commonly referred to as the early Crusades (1095–1191), focusing on elegies and other expressions of loss that address the spiritual and strategic objective of those wars: Jerusalem. Through readings of city laments in English, French, Latin, Arabic, and Armenian literary traditions, Boyadjian challenges hegemonic and entrenched approaches to the study of medieval literature and the Crusades. The City Lament exposes significant literary intersections between Latin Christendom, the Islamic caliphates of the Middle East, and the Armenian kingdom of Cilicia, arguing for shared poetic and rhetorical modes. Reframing our understanding of literary sources produced across the medieval Mediterranean from an antagonistic, orientalist model to an analogous one, Boyadjian demonstrates how lamentations about the loss of Jerusalem, whether to Muslim or Christian forces, reveal fascinating parallels and rich, cross-cultural exchanges.
Sixteen-year-old Deirdre Monaghan is a music prodigy, who’s about to find out she can see faeries. Two mysterious (and cute) guys enter her life. Trouble is, Luke is a soulless faerie assassin and Aodhan is a dark faerie soldier. Their orders from the Faerie Queen? Kill Deirdre.
Winner of the 2007 National Book Critics Circle Award for Criticism A New York Times Book Review Top Ten Book of the Year Time magazine Top Ten Nonfiction Book of 2007 Newsweek Favorite Books of 2007 A Washington Post Book World Best Book of 2007 In this sweeping and dramatic narrative, Alex Ross, music critic for The New Yorker, weaves together the histories of the twentieth century and its music, from Vienna before the First World War to Paris in the twenties; from Hitler's Germany and Stalin's Russia to downtown New York in the sixties and seventies up to the present. Taking readers into the labyrinth of modern style, Ross draws revelatory connections between the century's most influential composers and the wider culture. The Rest Is Noise is an astonishing history of the twentieth century as told through its music.
"A remarkably clear-eyed descent into New York's surreal world of modern dance peopled by the obsessed, dispossessed, sexy, suicidal, brutal, broke, and absurd."—Lance Olsen, author of Nietzsche's Kisses The award-winning writer Renée E. D'Aoust draws from her experiences as a modern dancer in New York during the nineties. Her luminous prose spotlights this passionate, often brutal world. Trained at the prestigious Martha Graham Center, D'Aoust intertwines accounts of her own and other dancers' lives with essays on modern dance history. A dancer's body, scarred, strained, and tough, bears witness to the discipline demanded by the art form. Body of a Dancer provides a powerful, acidly comic record of what it is to love, and eventually leave, a life centered on dance. "With exquisite description, absolute honesty, and a clear compelling voice, Body of a Dancer offers an unforgettable account of one artist’s bittersweet journey."—Dinty W. Moore Renée E. D'Aoust's essays have been featured as notable essays in Best American Essays in 2006, 2007, and 2009. Her nonfiction work has been included in the anthology Reading Dance, edited by Robert Gottlieb and nominated for the Pushcart Prize. D'Aoust is the recipient of an NEA Dance Criticism fellowship and grants from The Puffin Foundation and the Idaho Commission on the Arts.
