Darkenesses, book two of the Corean Chronicles, continues the epic fantasy series by L. E. Modesitt, Jr., author of the bestselling Saga of Recluce. Enter this new and exciting world. Millennia ago, a magical disaster caused the fall of a civilization, the end of a golden age. New civilizations emerged from the ancient destruction and chaos, knowing little of the past or the disaster. Corus today is a world of contending countries, humans, and supernatural creatures. It is a place of magical powers, and of a few people who are talented enough to use them. Alusius, a captain of the Twenty-first Company, faces new challenges, both military and magical. A would-be conqueror has somehow revived sorcerous creatures of legend to assist in his crusade to reunite the continent under his rule. Neither the officers above him nor the men under him know it, but Alusius's Talent is their only hope for victory, or even survival. The Corean Chronicles Legacies Darknesses Scepters Alector’s Choice Cadmian’s Choice Soarer’s Choice The Lord-Protector’s Daughter Lady-Protector Other series by this author: The Saga of Recluce Imager Portfolio The Spellsong Cycle The Ghost Books The Ecolitan Matter At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.

It's been a year since Oasis stumbled away from Blessed Falls with wings carved into her back and too many scars to count. Enter Laura, the mesmerizing stranger who claims to hear Oasis' heartbeat... Laura is the most recent face of the eternal Count Dracula, ruler of the shadows, chimera of the Devil, and an embittered victim of libel. The Van Helsing Institute has been waiting for a glimpse of the dragon's underbelly, and eagerly approach Oasis for her help in a ploy to kill Dracula for good. But not every wound from Blessed Falls has cicatrized, and Oasis realizes she may be a danger to Laura-and to herself. Yet no one is as dangerous as Laura-the first vampire, the Devil's plaything, and the person with whom Oasis finally feels human. Oceans of time have passed since she last had a drink, and she will not let Oasis go easily.

What is the difference between writing a novel about the Holocaust and fabricating a memoir? Do narratives about the Holocaust have a special obligation to be 'truthful'--that is, faithful to the facts of history? Or is it okay to lie in such works? In her provocative study A Thousand Darknesses, Ruth Franklin investigates these questions as they arise in the most significant works of Holocaust fiction, from Tadeusz Borowski's Auschwitz stories to Jonathan Safran Foer's postmodernist family history. Franklin argues that the memory-obsessed culture of the last few decades has led us to mistakenly focus on testimony as the only valid form of Holocaust writing. As even the most canonical texts have come under scrutiny for their fidelity to the facts, we have lost sight of the essential role that imagination plays in the creation of any literary work, including the memoir. Taking a fresh look at memoirs by Elie Wiesel and Primo Levi, and examining novels by writers such as Piotr Rawicz, Jerzy Kosinski, W.G. Sebald, and Wolfgang Koeppen, Franklin makes a persuasive case for literature as an equally vital vehicle for understanding the Holocaust (and for memoir as an equally ambiguous form). The result is a study of immense depth and range that offers a lucid view of an often cloudy field.

On the alien, sunless planet they call Eden, the 532 members of the Family shelter beneath the light and warmth of the Forest’s lantern trees. Beyond the Forest lie the mountains of the Snowy Dark and a cold so bitter and a night so profound that no man has ever crossed it. The Oldest among the Family recount legends of a world where light came from the sky, where men and women made boats that could cross the stars. These ships brought us here, the Oldest say—and the Family must only wait for the travelers to return. But young John Redlantern will break the laws of Eden, shatter the Family and change history. He will abandon the old ways, venture into the Dark…and discover the truth about their world. Already remarkably acclaimed in the UK, Dark Eden is science fiction as literature; part parable, part powerful coming-of-age story, set in a truly original alien world of dark, sinister beauty--rendered in prose that is at once strikingly simple and stunningly inventive.

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.

‘I’m looking for the words and writing for those who can’t imagine the words.’ Mark Meynell articulates a heart pain that most of us simply couldn’t express. He connects strongly and immediately with fellow cave dwellers. We relive significant moments from boarding school, Uganda, Berlin and London. We visit the Psalms, Job and The Pilgrim's Progress. If you're after neat conclusions and a fair-weather faith, this is not for you. This book serves up gritty reality and raw honesty, but also the heartfelt hope that the author's brokenness 'can somehow contribute to another person's integration' and 'inspire their clinging while beset by darkness or fog or blizzards'. Contents 1 The mask 2 The volcano 3 The cave 4 The weight 5 The invisibility cloak 6 The closing 7 The way 8 The fellow-traveller 9 The gift Appendix 1 Managing the symptoms Appendix 2 Unexpected friends in the cave Appendix 3 Some words from inside the cave

In one series, the original writings of the universally acknowledged teachers of the Catholic, Protestant, Eastern Orthodox, Jewish, and Islamic traditions have been critically selected, translated, and introduced by internationally recognized scholars and spiritual leaders. Miguel de Molinos (c. 1628-1696) was one of the most important figures in the religious controversy known as Quietism. Spanish by birth, he spent nearly his entire adult life in Rome, where he attracted wide fame as a spiritual director and gained the favor of several prominent figures. His Spiritual Guide (1675) recommended a life of spiritual simplicity and promoted what became known as the prayer of quiet. On publication it was an immediate bestseller, but the Guide's fame came to an abrupt end in 1685 when Molinos was accused of heresy and sentenced to life imprisonment. He died in prison in 1696. This Classics of Western Spirituality edition of the Spiritual Guide was translated from the new critical edition of José Ignacio Tellechea Idígoras. It provides an unabridged translation in modern English along with a historical introduction by the translator and a theological introduction by the eminent scholar Bernard McGinn. Book jacket.