"A King's Comrade" by Charles W. Whistler. Published by Good Press. Good Press publishes a wide range of titles that encompasses every genre. From well-known classics & literary fiction and non-fiction to forgotten−or yet undiscovered gems−of world literature, we issue the books that need to be read. Each Good Press edition has been meticulously edited and formatted to boost readability for all e-readers and devices. Our goal is to produce eBooks that are user-friendly and accessible to everyone in a high-quality digital format.

Northern Europe, AD 1107 Aela, the brave and beautiful teen set on joining the ranks of the Valkyries. Ivar, a young and innocent teen, tried and punished for doing what he thought was right. Once both inseparable in their small warrior village of Vassa. Now they are only memories to each other as Ivar runs away to find a better life for himself in a world he doesn’t know or understand. All the while, Aela remains behind to achieve her dreams as a shield-maiden. But as the threat of the cruel and mysterious western king draws ever nearer, both of their worlds will change. As Aela’s world seems to fall apart at the hands of a village she thought she knew, Ivar will come face-to-face with dangerous encounter after dangerous encounter in a deadly new environment. Can they find the strength to overcome these obstacles? Will Aela learn that winning a fight doesn’t make you righteous? Will Ivar hold on to the innocent young man or succumb to a world where injustice seems to thrive? Will Aela ever see her once best friend again, or will he merely be a memory to hold on to? Will Ivar die as the runaway orphan, or will he become something more? This story spans a continent in the early stages of war. It will see characters change and die as mistakes are made and lessons are learned. A story that will see cities rise and kingdoms fall. A story of a young wolf and a brave Valkyrie who will change the world around them.

Service offers a history of communism, drawing the uncomfortable conclusion that the poverty and injustice that enabled its rise are still dangerously alive. Unsettling and compelling, this is a comprehensive study of one of the most important movements of the modern world.

Hercules is a tragedy of great theatrical, poetic, and cultural value. Written probably at the intersection of the principates of Claudius and Nero, it addresses central issues of early imperial Rome, even as it speaks profoundly to our times. Among its concerns are violence and madness; imperatives of family and self; Rome, identity and place; the nature of virtue; the longing for immortality; the theatre of rage; and the empire of death. The play is dramatically innovative, spectacular, and arresting: from its fiery, monumental god-prologue (the only one in Senecan tragedy), through meditative soliloquies, impassioned speeches, trenchant dialogue, a failed wooing scene with an impressive after-life in Tudor drama, a stunning entrance for Hercules and his captured hellhound, Theseus' ecphrastic narrative of the hero's infernal 'labour', to a familicidal madness scene and an emotionally turbulent, non-violent finale, in which the instinct for self-punitive suicide is thwarted by the claims of kinship and the acceptance of intolerable suffering. The whole is bound together by some of Seneca's most affective choral lyrics, as intellectually engaging as they are emotionally potent. Hercules is A. J. Boyle's sixth, full-scale edition for OUP of a play by or attributed to Seneca. It offers a comprehensive introduction, newly edited Latin text, English verse translation designed for both performance and academic study, and a detailed exegetic, analytic, and interpretative commentary. The aim has been to elucidate the text dramatically as well as philologically, and to locate the play firmly in its contemporary historical and theatrical context and the ensuing literary and dramatic tradition. As such, its substantial influence on European drama from the sixteenth to the twenty-first centuries is given emphasis throughout; this and the accessibility of the commentary to Latinless readers make the edition particularly useful to scholars and students not only of classics, but also of comparative literature and drama, and to anyone interested in the cultural dynamics of literary reception and the interplay between theatre and history.

This book addresses the problem of fully explaining Socrates’ motives for philosophic interlocution in Plato’s dialogues. Why, for instance, does Socrates talk to many philosophically immature and seemingly incapable interlocutors? Are his motives in these cases moral, prudential, erotic, pedagogic, or intellectual? In any one case, can Socrates’ reasons for engaging an unlikely interlocutor be explained fully on the grounds of intellectual self-interest (i.e., the promise of advancing his own wisdom)? Or does his activity, including his self-presentation and staging of his death, require additional motives for adequate explanation? Finally, how, if at all, does our conception of Socrates’ motives help illuminate our understanding of the life of reason as Plato presents it? By inviting a multitude of authors to contribute their thoughts on these question—all of whom share a commitment to close reading, but by no means agree on the meaning of Plato’s dialogues—this book provides the reader with an excellent map of the terrain of these problems and aims to help the student of Plato clarify the tensions involved, showing especially how each major stance on Socrates entails problematic assumptions that prompt further critical reflection.