The mutilated body of a young woman. The town doctor lying comatose in the road. A hundred and fifty tablets of Canadian OxyContin. This is the havoc that a merciless killer has wreaked on a sleepy Maine seaport. As detectives Maggie Savage and Michael McCabe investigate, they realize the man they are after does not exist. Nobody knows his real name. Nobody has seen his face. But everybody fears his blade. The only one who may know the murderer's true identity is an eleven-year-old girl—who has vanished into thin air. Taut, twisting, and starring two unforgettable heroes, Darkness First will thrill fans of John Sandford and C. J. Box.
Raised and trained in seclusion at a secret fortress on the edge of the northern wilds of the Kingdom of Ashai, a young warrior called Rezkin is unexpectedly thrust into the outworld when a terrible battle destroys all that he knows. With no understanding of his life's purpose and armed with masterful weapons mysteriously bestowed upon him by a dead king, Rezkin must travel across Ashai to find the one man who may hold the clues to his very existence.Determined to adhere to his last orders, Rezkin extends his protection to an unlikely assortment of individuals he meets along the way, often leading to humorous and poignant incidents.As if pursuing an elite warrior across a kingdom, figuring out who he is and why everyone he knows is dead, and attempting to find these so-called friends and protect them is not enough, strange things are happening in the kingdom. New dangers begin to arise that threaten not only Rezkin and his friends, but possibly everyone in Ashai.
A mysterious traveler intervenes in an epic holy war in this “impressive, challenging debut” of the critically acclaimed fantasy epic (Publishers Weekly, starred review). The first book in R. Scott Bakker's Prince of Nothing series introduces readers to a strikingly original and engrossingly vivid new world. With its language and classes of people, its cities, religions, mysteries, taboos, and rituals, The Darkness That Comes Before has drawn comparison to J.R.R. Tolkien’s The Lord of the Rings and Frank Herbert’s Dune. Bakker’s Eärwa is a world scarred by an apocalyptic past, evoking a time both two thousand years past and two thousand years into the future. As untold thousands gather for a crusade, two men and two women are ensnared by a mysterious traveler, Anasûrimbor Kellhus—part warrior, part philosopher, part sorcerous, charismatic presence—from lands long thought dead. The Darkness That Comes Before is a history of this great holy war, and like all histories, the survivors write its conclusion.
The "Ethiope," the "tawny Tartar," the "woman blackamoore," and "knotty Africanisms"—allusions to blackness abound in Renaissance texts. Kim F. Hall's eagerly awaited book is the first to view these evocations of blackness in the contexts of sexual politics, imperialism, and slavery in early modern England. Her work reveals the vital link between England's expansion into realms of difference and otherness—through exploration and colonialism-and the highly charged ideas of race and gender which emerged. How, Hall asks, did new connections between race and gender figure in Renaissance ideas about the proper roles of men and women? What effect did real racial and cultural difference have on the literary portrayal of blackness? And how did the interrelationship of tropes of race and gender contribute to a modern conception of individual identity? Hall mines a wealth of sources for answers to these questions: travel literature from Sir John Mandeville's Travels to Leo Africanus's History and Description of Africa; lyric poetry and plays, from Shakespeare's Antony and Cleopatra and The Tempest to Ben Jonson's Masque of Blackness; works by Emilia Lanyer, Philip Sidney, John Webster, and Lady Mary Wroth; and the visual and decorative arts. Concentrating on the sixteenth and seventeenth centuries, Hall shows how race, sexuality, economics, and nationalism contributed to the formation of a modern ( white, male) identity in English culture. The volume includes a useful appendix of not readily accessible Renaissance poems on blackness.
Spanning the icy streets of Reykjavik, the Icelandic highlands and cold, isolated fjords, The Darkness is an atmospheric thriller from Ragnar Jónasson, one of the most exciting names in Nordic Noir. The body of a young Russian woman washes up on an Icelandic shore. After a cursory investigation, the death is declared a suicide and the case is quietly closed. Over a year later Detective Inspector Hulda Hermannsdóttir of the Reykjavík police is forced into early retirement at 64. She dreads the loneliness, and the memories of her dark past that threaten to come back to haunt her. But before she leaves she is given two weeks to solve a single cold case of her choice. She knows which one: the Russian woman whose hope for asylum ended on the dark, cold shore of an unfamiliar country. Soon Hulda discovers that another young woman vanished at the same time, and that no one is telling her the whole story. Even her colleagues in the police seem determined to put the brakes on her investigation. Meanwhile the clock is ticking. Hulda will find the killer, even if it means putting her own life in danger.
PUBLISHERS WEEKLY AND ECPA BESTSELLER • Once, in a cottage above the cliffs on the Dark Sea of Darkness, there lived three children and their trusty dog, Nugget. NOW AN ANIMATED SERIES • Based on Andrew Peterson’s epic fantasy novels—starring Jody Benson, Henry Ian Cusick, and Kevin McNally. Executive Producer J. Chris Wall with Shining Isle Productions, and distributed by Angel Studios. Janner Igiby, his brother, Tink, and their disabled sister, Leeli, are gifted children as all children are, loved well by a noble mother and ex-pirate grandfather. But they will need all their gifts and all that they love to survive the evil pursuit of the venomous Fangs of Dang, who have crossed the dark sea to rule the land with malice. The Igibys hold the secret to the lost legend and jewels of good King Wingfeather of the Shining Isle of Anniera. Full of characters rich in heart, smarts, and courage, On the Edge of the Dark Sea of Darkness is a tale children of all ages will cherish, families can read aloud, and readers' groups are sure to enjoy discussing for its many layers of meaning.
This ambitious study explores how important darkness--artificial darkness--was, as an actual technology, in producing not just photographs but visual novelties and experiments in cinema in the nineteenth century. The study plays out against a backdrop of urban history, where most scholars have focused on the growth of artificial light and the electrification of cities. Elcott’s study challenges that approach. In considering zones of darkness, it ranges from the sites of production (darkrooms, studios) to those of reception (theaters/cinemas/arcades) that shaped modern media and perceptions. He argues that, in the nineteenth century, the avant-garde was often less interested in the filmed image than in everything surrounding it: the screen, the projected light, the darkness, the experience of disembodiment. He argues that darkness has a history separate from night, evil, or the color black, and has a specifically modern manifestation as a media technology. We are all aware of the "velvet light trap” in photography, but at the heart of this book are technologies of darkness crucial to cinema that were commonly known as "the black screen,” but have, over time, faded from the storied discourse.
Deputy coroner Clay Edison goes to extreme lengths for a forgotten Jane Doe in the new thriller from a father-son team of bestselling authors who write “brilliant, page-turning fiction” (Stephen King). “As for the keen sense of drama, it must be a genetic trait. . . . The Kellermans show compassion for the survivors, including conscientious officials like Edison.”—The New York Times Book Review Former star basketball player Clay Edison is busy. He’s solved a decades-old crime and redeemed an innocent man, earning himself a suspension in the process. Things are getting serious with his girlfriend. Plus his brother’s fresh out of prison, bringing with him a whole new set of complications. Then the phone rings in the dead of night. A wild party in a gentrifying East Bay neighborhood. A heated argument that spills into the street. Gunshots. Chaos. For Clay and his fellow coroners, it’s the start of a long night and the first of many to come. The victims keep piling up. What begins as a community tragedy soon becomes lurid fodder for social media. Then the smoke clears and the real mystery emerges—one victim’s death doesn’t match the others. Brutalized and abandoned, stripped of ID, and left to die: She is Jane Doe, a human question mark. And it falls to Clay to give her a name and a voice. Haunted by the cruelty of her death, he embarks upon a journey into the bizarre, entering a hidden world where innocence and perversity meet and mingle. There, his relentless pursuit of the truth opens the gateway to a dark and baffling past—and brings him right into the line of fire. Praise for A Measure of Darkness “Edison is an interesting protagonist, a good man for whom finding the truth is more important than anything else, including his own safety. He’s gentle and strong, compassionate and ruthless, methodical and impulsive. A strong sequel to Crime Scene that will leave readers wanting to see more of Edison.”—Booklist
