Patricia A. McKillip0.0 They have lived among us for centuries—distant, separate, just out of sight. They fill our myths, our legends, and the stories we tell our children in the dark of night. They come from the air, from water, from earth, and from fire. What are these creatures that enjoin out imagination? Faeries. Something Rich and Strange creates a faerie story that's not to be missed: Megan is an artist who draws seascapes. Jonah owns a shop devoted to treasures from the deep. Their lives, so strongly touched by the ocean, become forever intertwined when enchanting people of the sea lure them further into the underwater world—and away from each other.
Памела Дин0.0 Receiving an enormous responsibility as Physici for her people, the only individual in the Dubious Hills capable of experiencing and understanding pain, fourteen-year-old Arry seeks to protect her world from a wolf invasion.
Robert Holdstock0.0 A highly imaginative child, left brain-dead after a bizarre attack, vanishes without a trace. Months later, a body is discovered on the edge of a strange forest that is home to phantoms and mythagos. Now the boy's father must journey into these woods--and into his son's dreams--to save him.
Rachel Pollack0.0 When I was fourteen, a cousin of mine angered a Malignant One. It was a big case, a genuine scandal. Maybe you remember it. At the time, when it ended, I just wanted to forget about the whole thing. But a couple of years have passed and I guess maybe it's time to think about it again. Thus begins Ellen Pierson's story of how she helped her cousin Paul contend with the Malignant One running a temp agency in the office building where he worked. Ellen's story is a bright and moving tale set in the same fabulous, fantastic America as that of Rachel Pollack's award-winning Unquenchable Fire. Funny and frantic, poignant and powerful, Temporary Agency is an enduring fable from a writer whose work, in the words of Orson Scott Card, "like a river in flood, resists the well-channeled ways, cutting its own channel through the fictional terrain."
Patrice Kindl4.2 I am in love with Mr. Lindstrom, my science teacher. I found out where he lives and every night I perch on a tree branch outside his bedroom window and watch him sleep. He sleeps in his underwear: Fruit of the Loom, size 34.
Owl Tycho, the shape-shifting daughter of "simple witches", is a high school student by day and owl by night. When her nightly vigil over her science teacher is interrupted by the appearance of a mysterious, starving, wild-eyed boy and the inept behavior of a new owl, she soon finds her affections beginning to shift.
Пени Р. Гриффин0.0 Two twelve-year-old girls in San Antonio, Texas, Ada in 1891 and Amber in 1991, switch places through a magic well and try desperately to return to their own times.
Робин Мак-Кинли0.0 Lily. A woman with power to heal, but no powers of speech. Then she meets a mage — a man who can hear the words she forms only in her mind. Will he help her find her voice?
Ruen. A princess whose uncle leaves her deep in a cave to die at the hands of a stagman. But when she meets the stagman at last, Ruen discovers fate has a few surprises in store for her.
Erana, As a baby, she is taken be a witch in return for the healing herbs her father stole from the witch's garden. Raised along side the witch's troll son, Erana learns that love comes in many forms.
Coral. A beautiful young newcomer who catches the eye of an older widowed farmer. He can't believe his good fortune when Coral consents to be his wife. But then the doubts set in — what is it that draws Coral to Butter Hill?
Annabelle. When her family moves, the summer before her junior year of High School, Annabelle spends all her time in the attic of their new house — until she finds the knot in the gain which leads her on a magical mission.
Джейн Йолен0.0 Stone angels stand tall on the cathedral walls; gargoyles squat on its ledges. They don't agree on much--certainly not on Griselle, who lives nearby, is a truly good woman. Griselle shares every bit of her food, she never complains, and she tenderly cares for stray animals. The angels her praises, but anyone,grumble the gargoyles, can be good when it comes to the feeding of cats and birds; "We must test this Good Griselle with something far more difficult."
The angels agree to a wager and thus, on Christmas Eve, Griselle hears a pitiful wailing and opens hears a pitiful wailing and opens her door to find the ugliest child she's ever seen.
Дорис Т. Майерс0.0 Although C. S. Lewis (1898-1963) achieved a level of popularity as a fiction writer, literary scholars have tended to view him as a minor figure working in an insignificant genre-science fiction-or have pigeonholed him as a Christian apologist and moralist. In C. S. Lewis in Context, Doris T. Myers places his work in the literary milieu of his times and the public context of language rather than in the private realm of personal habits or relationships. A central debate early in the 20th century concerned the nature of language: was it primarily objective and empirical, as Charles K. Ogden and Ivor A. Richards argued in The Meaning of Meaning, or essentially metaphorical and impressionistic, the approach of Owen Garfield in Poetic Diction? Lewis espoused the latter theory and integrated it into the purpose and style of his fiction. Myers therefore argues that he was not “out of touch with his time:’ as some critics claim, but a 20th-century literary figure engaged in the issues of his day. New readings of many of Lewis’s best known works reflect this linguistic approach. For example, Myers analyzes The Pilgrim’s Regress (1933) in terms of a distinction between archetypal and individual metaphor to highlight the work’s strengths and weaknesses. Instead of interpreting That Hideous Strength (1945) conventionally as a defense of Christianity, she reformulates the debate as that of language the facilitator of rule versus language the instrument of tyranny. She also draws a new parallel between the Chronicles of Narnia and Spenser’s Faerie Queen, showing that they are modeled on similar heroic ideals and narrative technique. Out of the Silent Planet (1938), Perelandra (1943), and Till We Have Faces (1956) are discussed in a new light as well. By approaching Lewis’s fiction through the linguistic controversies of his day, Myers not only develops a new framework within which to evaluate his works, but also clarifies his literary contributions. This valuable study will appeal to literary and linguistic scholars as well as to general enthusiasts of Lewis’s fiction.
Кэт Филмер0.0 This book examines the way in which the fictional writings of C.S. Lewis reveal much about the man himself and his quest for psychological and spiritual wholeness. There is new material dealing with C.S. Lewis's political writings, especially the correspondences between his thriller, That Hideous Strength and George Orwell's Nineteen Eighty-Four, and some new insights into Lewis's attitudes to women.
Колин Мэнлав0.0 The well-known and well-loved books that make up C.S. Lewis's "Chronicles of Narnia" have long held a prominent place on many a child's (and adult's) bookshelf. Since their publication in the 195Os, the books' depiction of the fantasy land of Narnia has inspired the wonder, delight, and imaginations of children around the world. More than just fairy tales, the stories show readers that all is not as it seems, that perseverance can bring forth great rewards, and that growth is a continual and unpredictable process. Most important, arguably, is the ongoing struggle between good and evil depicted in the "Chronicles." These themes are displayed amid the experiences of several children, particularly Lucy, Edmund, Susan, and Peter Pevensie. Beginning with the first book of the series, The Lion, the Witch and the Wardrobe (1950), we follow the children as they magically enter the kingdom of Narnia for the first of many adventures there, including their meeting the memorable lion, Aslan. In the sequel, Prince Caspian, they help the prince and his army of Talking Beasts conquer the usurping Telemarines; the following novel, The Voyage of the "Dawn Treader," continues Caspian's story by recounting his voyage to the End of the World. The fourth book, The Silver Chair, returns to the theme of an evil witch, first explored in The Lion, while The Horse and His Boy details Narnia's near-invasion by the Calormenes. The Magician's Nephew accounts for the creation of Narnia, and the seventh tale, The Last Battle (1956), tells of Narnia's final days. Colin Manlove has carefully studied the tales and shows that they are patterned narratives with many complex, intertwined threads. He relates these narratives to Lewis's views on stories, and also sets Lewis's books in their literary context, both juvenile and adult. After a discussion of the critical receptions of the tales, Manlove supplies a full chapter on each book for in-depth analysis.
Брайан Розбури0.0 Few attempts have been made to arrive at a sober assessment of Tolkien's achievement as a literary artist, and even fewer to define a place for him in twentieth-century literature. This book is a comprehensive and discriminating introduction to Tolkien's work which also aims to redress these deficiencies in earlier criticism. Two chapters are devoted to The Lord of the Rings: a third explores the bewildering profusion of shorter works; the last considers the significance of Tolkien's life and career in the century of modernism.
Джеймс Рой Кинг0.0 This guidebook to the Bright-Shadow World develops three closely related issues. The first is the position that fairytales and folktales are of value today because they encourage the growth of capabilities important in our postmodern world. Each of us, like the fairytale hero, sets out on his/her own quests, seeks his/her own identity, faces his/her own dilemmas with few resources but wit, imagination, and a certain power of improvisation. King develops the implications of this situation for such common fairytale problems as learning to read the world productively; navigating various kinds of "edges;" exploiting power sources; developing highly personal moral commitments; problem solving; and data collecting.
The second concern of this book is with the development of a system for analyzing narrative structure. The formula offered here involves an examination of interactions among actors, physical settings, lines of force, and power sources as a narrative moves toward its denouement. This system facilitates the classifying, and contrasting of narratives, and illuminates the structure of both narrative and lived experience.
Finally, this book is concerned with myth-making or world-making processes. It is shown that traditional narrative actually points to and delineates another dimension of existence (here called "the Bright-Shadow World") that operates by rules of its own and may be penetrated by individuals from our ordinary world. Inferences about the Bright-Shadow World drawn from traditional narrative are described and evaluated.
