An only child in a lonely valley is the one folks least suspect of arousing treasonous attention merely by the sight of her face or her ears. But when the truth of her heritage is finally revealed to Diana Firathor, treason is not the only risk she must take to seize the opportunity of a lifetime: a throne all her own. Her adventure spins her into a chaotic chase after legends and fame, fleeing from tyranny and enslavement. And as she ventures to lands of which she has never seen nor heard, trusting strangers and estranging friends, she must learn that there is so much more to ruling a people than the mere trifles of state. Her tutors try to teach her, but even such lessons seem to come too late. It is not until she is truly faced with the most difficult choice that she learns what doing the best for the people really means. It takes a little heart, a little more bravery, and a lot more humility and then more bravery.
"St Paul's cathedral stands like a cornered beast on Ludgate hill, taking deep breaths above the smoke. The fire has made terrifying progress in the night and is closing in on the ancient monument from three directions. Built of massive stones, the cathedral is held to be invincible, but suddenly Pegge sees what the flames covet: the two hundred and fifty feet of scaffolding erected around the broken tower. Once the flames have a foothold on the wooden scaffolds, they can jump to the lead roof, and once the timbers burn and the vaulting cracks, the cathedral will be toppled by its own mass, a royal bear brought down by common dogs." (p.9) It is the Great Fire of 1666. The imposing edifice of St. Paul's Cathedral, a landmark of London since the twelfth century, is being reduced to rubble by the flames that engulf the City. In the holocaust, Pegge and a small group of men struggle to save the effigy of her father, John Donne, famous love poet and the great Dean of St. Paul's. Making their way through the heat and confusion of the streets, they arrive at Paul's wharf. Pegge's husband, William Bowles, anxiously scans the wretched scene, suddenly realizing why Pegge has asked him to meet her at this desperate spot. The story behind this dramatic rescue begins forty years before the fire. Pegge Donne is still a rebellious girl, already too clever for a world that values learning only in men, when her father begins arranging marriages for his five daughters, including Pegge. Pegge, however, is desperate to taste the all-consuming desire that led to her parents' clandestine marriage, notorious throughout England for shattering social convention and for inspiring some of the most erotic and profound poetry ever written. She sets out to win the love of Izaak Walton, a man infatuated with her older sister. Stung by Walton's rejection and jealous of her physically mature sisters, the boyish Pegge becomes convinced that it is her own father who knows the secret of love. She collects his poems, hoping to piece together her parents' history, searching for some connection to the mother she barely knew. Intertwined with Pegge's compelling voice are those of Ann More and John Donne, telling us of the courtship that inspired some of the world's greatest poetry of love and physical longing. Donne's seduction leads Ann to abandon social convention, risk her father's certain wrath, and elope with Donne. It is the undoing of his career and the two are left to struggle in a marriage that leads to her death in her twelfth childbirth at age thirty-three. In Donne's final days, Pegge tries, in ways that push the boundaries of daughterly behaviour, to discover the key to unlock her own sexuality. After his death, Pegge still struggles to free herself from an obsession that threatens to drive her beyond the bounds of reason. Even after she marries, she cannot suppress her independence or her desire to experience extraordinary love. Conceit brings to life the teeming, bawdy streets of London, the intrigue-ridden court, and the lushness of the seventeenth-century English countryside. It is a story of many kinds of love — erotic, familial, unrequited, and obsessive — and the unpredictable workings of the human heart. With characters plucked from the pages of history, Mary Novik's debut novel is an elegant, fully-imagined story of lives you will find hard to leave behind.
The Conceit of Humanitarian Intervention rejects, on political, legal, ethical, and strategic grounds, the widespread claim that military force can be used effectively-and on the basis of a universal consensus-to stop mass atrocities. As such, it is an against-the-current treatment of an important practice in world politics.
Richly engaging historical adventure in the vein of The Winter Palace and The Malice of Fortune. Muse is the story of the charismatic woman who was the inspiration behind Petrarch's sublime love poetry. Solange Le Blanc begins life in the tempestuous streets of 14th century Avignon, a city of men dominated by the Pope and his palace. When her mother, a harlot, dies in childbirth, Solange is raised by Benedictines who believe she has the gift of clairvoyance. Trained as a scribe, but troubled by disturbing visions and tempted by a more carnal life, she escapes to Avignon, where she becomes entangled in a love triangle with the poet Petrarch, becoming not only his muse but also his lover. Later, when her gift for prophecy catches the Pope's ear, Solange becomes Pope Clement VI's mistress and confidante in the most celebrated court in Europe. When the plague kills a third of Avignon's population, Solange is accused of sorcery and is forced once again to reinvent herself and fight against a final, mortal conspiracy. Muse is a sweeping historical epic that magically evokes the Renaissance, capturing a time and place caught between the shadows of the past and the promise of a new cultural awakening.
Mark J.P. Wolf’s study of imaginary worlds theorizes world-building within and across media, including literature, comics, film, radio, television, board games, video games, the Internet, and more. Building Imaginary Worlds departs from prior approaches to imaginary worlds that focused mainly on narrative, medium, or genre, and instead considers imaginary worlds as dynamic entities in and of themselves. Wolf argues that imaginary worlds—which are often transnarrative, transmedial, and transauthorial in nature—are compelling objects of inquiry for Media Studies. Chapters touch on: a theoretical analysis of how world-building extends beyond storytelling, the engagement of the audience, and the way worlds are conceptualized and experienced a history of imaginary worlds that follows their development over three millennia from the fictional islands of Homer’s Odyssey to the present internarrative theory examining how narratives set in the same world can interact and relate to one another an examination of transmedial growth and adaptation, and what happens when worlds make the jump between media an analysis of the transauthorial nature of imaginary worlds, the resulting concentric circles of authorship, and related topics of canonicity, participatory worlds, and subcreation’s relationship with divine Creation Building Imaginary Worlds also provides the scholar of imaginary worlds with a glossary of terms and a detailed timeline that spans three millennia and more than 1,400 imaginary worlds, listing their names, creators, and the works in which they first appeared.
Soon-to-be new parents Kiera and her husband, Sebastian Gage, have been hoping for a respite from their inquiries, but murder and mayhem have a startling way of dropping into their laps in the all-new historical mystery in this national bestselling series. Edinburgh, Scotland. March 1832. Kiera and Gage have been eagerly awaiting their bundle of joy but trouble has been brewing in the form of the roguish criminal Bonnie Brock Kincaid. A new book and subsequent play features some of Kincaid's daringly heinous exploits, although he swears he had nothing to do with it or the characters which are obvious representations of Kiera and Gage. While the scoundrel's fury seems genuine, as well as his determined quest to uncover the real identity of the author, the Gages still hold doubts about his innocence. A rash of crimes break out across the city, seemingly inspired by the play and book. When the publisher is found brutally murdered--in an imitation of a gruesome scene--the finger not only points to Bonnie Brock as the possible culprit, but also the Gages, who have been outspoken in their condemnation of the tale. Now, the Gages are on a hunt to unmask the killer. Between the infamy garnered by the play, the cholera outbreak still wreaking havoc throughout the city, and the impending birth of their child, they will need all the resources they can garner. But family quarrels and the revelation of a secret Kiera has been keeping from Sebastian threaten to undermine everything they have overcome. When they find themselves in the crosshairs of the killer, trapped in the squalid underground vaults of the city, they will soon discover that the truth does not always set you free, and death can lurk around any corner.
This careful analysis of early Buddhist thought opens out a perspective in which no permanent Self is accepted, but a rich analysis of changing and potent mental processes is developed. It explores issues relating to the not-Self teaching: self-development, moral responsibility, the between-lives period, and the 'undetermined questions' on the world, on the 'life principle' and on the liberated one after death. It examines the 'person' as a flowing continuity centred on consciousness or discernment (vinnana) configured in changing minds-sets (cittas). The resting state of this is seen as 'brightly shining' - like the 'Buddha nature' of Mahayana thought - so as to represent the potential for Nirvana. Nirvana is then shown to be a state in which consciousness transcends all objects, and thus participates in a timeless, unconditioned realm.
Renowned scholar-monk writes accessibly on some of the most contentious topics in Buddhism—guaranteed to ruffle some feathers. Armed with his rigorous examination of the canonical records, respected scholar-monk Bhikkhu Analayo explores—and sharply criticizes—four examples of what he terms “superiority conceit” in Buddhism: the androcentric tendency to prevent women from occupying leadership roles, be these as fully ordained monastics or as advanced bodhisattvas the Mahayana notion that those who don’t aspire to become bodhisattvas are inferior practitioners the Theravada belief that theirs is the most original expression of the Buddha’s teaching the Secular Buddhist claim to understand the teachings of the Buddha more accurately than traditionally practicing Buddhists Ven. Analayo challenges the scriptural basis for these conceits and points out that adhering to such notions of superiority is not, after all, conducive to practice. “It is by diminishing ego, letting go of arrogance, and abandoning conceit that one becomes a better Buddhist,” he reminds us, “no matter what tradition one may follow.” Thoroughly researched, Superiority Conceit in Buddhist Traditions provides an accessible approach to these conceits as academic subjects. Readers will find it not only challenges their own intellectual understandings but also improves their personal practice.
