David, Earl of Huntingdon, sighed quietly as he watched his teenage son slip out of the woods that surrounded Huntingdon castle. That particular sport, where Robert had emerged, was special. That had been where Mathilda had taken her son for long forest walks, where she’d told him stories, and played games. Sadly, when Robert was eight years old, the stories had ended. David realised, as each day passed, why his offspring behaved in the way he did. After all, Robert of Huntingdon was Mathilda’s son. He was her legacy. The moment couldn’t be put off any longer. It was time to tell his son the story of how the Earl had met Robert’s mother… This story is set pre-Series One, before ‘Robin Hood and the Sorcerer’.
Mathilda investigates her older sister's shattering death and learns perplexing truths when she accesses her sister's computer journals and reads about a secret underworld life.
On Hallowe’en night, Mathilda Honeycutt finds out she’s a SuperWitch. Not the modern, hippy kind… the real, wand-wielding, pixie dust kind. After a life devoted to retail and coffee drinks, Mathilda is thrown into the secret world of witches, warlocks, werewolves, vampires, faeries, headless horsemen, you name it, it exists… even whirling dervishes! As Mathilda discovers her magic, she also discovers she’s prophesied to save the world. Problem is, she’d rather spend her time on online auctions, bidding on cut-rate but fabulous designer shoes. Now, she’s got to save the world, run her coffee house, battle against her friend and co-worker in “The War of the Wooden Spoons” and figure out what’s going on with the silent, watchful (but yummy) Sebastian Wilding, a member of a centuries old Secret Society who has vowed to keep her safe and brainy, sweet (and hot) Dr. Aidan Seymour, a maverick member of The Royal Institute of Psychical Research. Making matters worse, her nemesis is a powerful witch who doesn’t mind fighting dirty. Will Mathilda be able to save the world while still being perfectly accessorized? And how is she going to pick between Luscious Sebastian and Dreamy Aidan? And will she be able to talk The Witches Council into updating their uniform? And, lastly, will she ever get the hang of riding around on a broom?
"Iconoclastic Departures contributes to the ongoing reevaluation of Mary Shelley as a professional author in her own right with a lifelong commitment to the development of her craft. Many of its essays acknowledge the importance of her family to her work - the steady theme of much earlier scholarship - but for them the family has become an imperative socio-psychological context within which to better understand her innovations in the many literary forms she worked with during her career: journals, letters, travelogues, biographies, poems, dramas, tales, and novels." "The book's essays also convey the conviction that even if Mary Shelley, after Percy Shelley's death, gradually retired from public life as his relatives wished, she retained a resiliently resistant attitude toward many of the established orders of her day, easily recovered by a careful look beyond her "feelings" to the productions of her literary "imagination."" "The Mary Shelley who inhabits this three-part collection of portraits is a radical, even if a quiet radical. Part 1 focuses on various moments in her construction of her authorial identity; parts 2 and 3 anatomize the nature of her resistance and her innovation. She is presented as a writer who reappropriates authority for herself, who redesigns genres, who redefines gender, who rewrites history and biography, who revises her readers' aesthetic expectations, and who protests cultural imperialism at home and abroad. It seems significant to the contributors to this volume that this new, radical Mary Shelley was not invented by a pointed call for papers but emerged spontaneously from an open invitation to scholars working in various corners of the English-speaking world."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved
The events of this story occur in a cemetery on Stanley Street, Niagara Falls, Canada. The main characters are five disgruntled, misfit spirits who refuse to accept the fact that they are dead. They are not fond of each other, but owing to circumstances, they are forced to spend most of their time in each others company during their waking hours. They spend most of their time at the Fat Ladys Tomb, plotting and scheming how to escape their untimely entombment in the cemetery that endeavors to hold them hostage against their wishes due to their misfortune at having arrived their in the first place. Do they escape? Read on and find out.
Contributions to this book probe the contexts–both social and spiritual–from which select iconic figures emerge and discover how to present themselves as innovators and cultural leaders as well as draw material into forms that subsequent generations consider innovative or emblematic. The overall import of the book is to locate producers of culture such as authors, poets, singers, and artists as leaders both in their respective genres and of culture and society more broadly through the influence exerted by their works.
This collection addresses royal motherhood across Europe, from both the medieval and Early Modern periods, including (in)famous and not-so-famous royal mothers. The essays in this collection reveal the complexities and the subtleties inherent in the role of royal mothers and challenges these traditional stereotypes. The volume provides a fresh re-evaluation of these women, from those who have been given an almost saintly status to those who struggled against contemporary chronicles and propaganda that perpetuated the stereotypes associated with ‘bad mothers’– these particular images of saintliness and wickedness have persisted right into the modern era. This series of intriguing case studies reveals how royal mothers were perceived by their contemporaries and explores the motivation for the ways in which they are depicted in modern popular culture. Taken together with the companion volume, Royal Mothers and their Ruling Children, this collection sheds new light on the important and challenging role of mothers within the framework of monarchy and at the epicenter of power.
This book examines the often tragic and nearly always disabling metaphor of thetheatrum mundi, world-as-stage, as it plays itself out in the characters of Mary Shelley's novels.
On the New York Times bestseller list for over 20 weeks * A New York Times Notable Book * A National Book Award Finalist * Named a Best Book of the Year by Fresh Air, Time, Entertainment Weekly, Associated Press, and many more “If you’re looking for a superb novel, look no further.” —The Washington Post From the Pulitzer Prize–winning author of All the Light We Cannot See, comes the instant New York Times bestseller that is a “wildly inventive, a humane and uplifting book for adults that’s infused with the magic of childhood reading experiences” (The New York Times Book Review). Among the most celebrated and beloved novels of recent times, Cloud Cuckoo Land is a triumph of imagination and compassion, a soaring story about children on the cusp of adulthood in worlds in peril, who find resilience, hope, and a book. In the 15th century, an orphan named Anna lives inside the formidable walls of Constantinople. She learns to read, and in this ancient city, famous for its libraries, she finds what might be the last copy of a centuries-old book, the story of Aethon, who longs to be turned into a bird so that he can fly to a utopian paradise in the sky. Outside the walls is Omeir, a village boy, conscripted with his beloved oxen into the army that will lay siege to the city. His path and Anna’s will cross. In the present day, in a library in Idaho, octogenarian Zeno rehearses children in a play adaptation of Aethon’s story, preserved against all odds through centuries. Tucked among the library shelves is a bomb, planted by a troubled, idealistic teenager, Seymour. This is another siege. And in a not-so-distant future, on the interstellar ship Argos, Konstance is alone in a vault, copying on scraps of sacking the story of Aethon, told to her by her father. Anna, Omeir, Seymour, Zeno, and Konstance are dreamers and outsiders whose lives are gloriously intertwined. Doerr’s dazzling imagination transports us to worlds so dramatic and immersive that we forget, for a time, our own.
