Hackers, fae, and a new breed of corporate greed battle over the future of the human race.... Hacker couple Jack and Rosie crack technology, but the newest device, the Phaethon, isn't like other phones. The parts are junk, yet it can do the impossible. Through gentle prodding and data theft, they learn it's powered remotely...by a living creature. Cracking the Phaethon enters them into a war. Some, like Calthine, the bitter Bogle, are on their side. Others are controlled by a new type of fae; the bosses of the Phaethon corporation, who have steel for eyes and iron for souls. Now, the hackers have to fight creatures they've never heard of to save the friends they've just made.
In classical mythology, Phaethon is the child of the sun god Helios, who tries to drive his father's chariot and is killed in the attempt. Euripides explains how this happened: Helios had seduced Phaeton's mother - already betrothed to another - and as the price of her seduction had promised to grant her a favour. As an adult Phaethon claims the promise and asks to drive his father's chariot, with disastrous consequences... Only a quarter of Euripides' original version of Phaethon has survived. Alistair Elliot has translated these surviving 327 lines and reconstructed the rest, staying as faithful as possible to Euripides' time and way of thinking. The result is something very like finding a lost Euripides play, unperformed since the fifth century BC and amounting to a new masterpiece.
These powerful and drama-packed retellings feature a host of well-known Greek gods and goddesses, magically brought to life by Tony Ross's lively illustrations. Phaeton and the Sun Chariot/Zeus Shining/Dionysus and the Pirates: What happens when you want what you can't have? Spoilt Phaeton, lovelorn Semele, and a band of greedy pirates are all about to find out the hard way...
Emma M. Firth children's book, here is a piece of the content as it began; LONG ago, when the earth was new and people had not lived long enough upon it to find out how little they really knew about it, there lived in a far-away country a simple and childlike people. The country was a small one, but it was very beautiful, and the people who lived in it loved it dearly. They loved its rugged mountains, green valleys, and swift-flowing streams. It is the little country which we call Greece; but then it was called Hellas.
The Golden Age is Grand Space Opera, a large-scale SF adventure novel in the tradition of A. E. Van vogt and Roger Zelazny, with perhaps a bit of Cordwainer Smith enriching the style. It is an astounding story of super science, a thrilling wonder story that recaptures the excitements of SF's golden age writers. The Golden Age takes place 10,000 years in the future in our solar system, an interplanetary utopian society filled with immortal humans. Within the frame of a traditional tale-the one rebel who is unhappy in utopia-Wright spins an elaborate plot web filled with suspense and passion. Phaethon, of Radamanthus House, is attending a glorious party at his family mansion to celebrate the thousand-year anniversary of the High Transcendence. There he meets first an old man who accuses him of being an impostor and then a being from Neptune who claims to be an old friend. The Neptunian tells him that essential parts of his memory were removed and stored by the very government that Phaethon believes to be wholly honorable. It shakes his faith. He is an exile from himself. And so Phaethon embarks upon a quest across the transformed solar system--Jupiter is now a second sun, Mars and Venus terraformed, humanity immortal--among humans, intelligent machines, and bizarre life forms that are partly both, to recover his memory, and to learn what crime he planned that warranted such preemptive punishment. His quest is to regain his true identity. The Golden Age is one of the major, ambitious SF novels of the year and the international launch of an important new writer in the genre. At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.
Two Thousand Years of Solitude: Exile After Ovid is an interdisciplinary study of the impact of Ovid's banishment upon later Western literature and explores the responses to Ovid's portrait of his life in exile. Two millennia after his banishment, Ovid is still a potent symbol of the punished author, suffering in exile.
Ovid's Homer examines the Latin poet's engagement with the Homeric poems throughout his career. Boyd offers detailed analysis of Ovid's reading and reinterpretation of a range of Homeric episodes and characters from both epics, and demonstrates the pervasive presence of Homer in Ovid's work. The resulting intertextuality, articulated as a poetics of paternity or a poetics of desire, is particularly marked in scenes that have a history of scholiastic interest or critical intervention; Ovid repeatedly asserts his mastery as Homeric reader and critic through his creative response to alternative readings, and in the process renews Homeric narrative for a sophisticated Roman readership. Boyd offers new insight into the dynamics of a literary tradition, illuminating a previously underappreciated aspect of Ovidian intertextuality.