The year is 4085. Aoire, a young woman with a veiled past, is living in secret in the underground cavern City of End. A great evil has been growing, waging war on the human race since the day of the nuclear holocaust. It has the Tree of Life under its control, a powerful artifact that will turn the tide of the war. Now on End’s most important day of the year, Aoire must reveal herself not only to all of End, but to the dark forces as well. She must find a way to save the Tree of Life and end the war on the human race.

"It is a king's decision," said Brion. "It will not be you who deceives and delivers the lamb to the butcher's block," retorted Eimhir. True evil is a persistent and tenacious beast. Its desire for existence is eternal and insatiable. It needs to infect only one mind for its insidious philosophy to take root and spread. It is 394 B.C. At a remote loch in the highlands of Northern Albu, a priest sacrifices nine innocents. Below the water's surface, a shape feeds on their blood and begins to take form. Soon, it becomes sentient and begins to hunt. Sidheag has risen. Humans cannot defeat the abomination. Neither can Mongfhionn, the powerful demi-goddess of the Aes Sídhe. The only remedy is the Blood Queen, and Gràinne is the reluctant heir to that throne. Will the Blood Queen stand alongside Mongfhionn to confront Sidheag? The cost for Gràinne may be too much—unless her daughter, Brianag, is in jeopardy. Passions, always near the surface of the Gaels, burst into flames in The Blood Queen, where father is pitted against son, mother against daughter, sister against sister, brother against sister, and father against daughter. The Blood Queen contains scenes of sex and violence and uses language appropriate to the period in which it is set, i.e., 400 B.C. It is not recommended for those under 14 without parental consent.

Myra Munro is devastated beyond words when her twin, Jaime, is killed in the service of the King. Her parents, strong in their grief, urge her to do honour to her brother’s memory and nurse his best friend Ewan back to health. Ewan has not only lost his best friend but needs time and space while recovering from his injuries. Suffering himself, he understands that Myra is numbed with grief, but in the long road back to health, Jaime’s twin Myra is the one bright light in his world. He cannot deny his feelings for her. But Ewan has a secret: a sacred trust. While dying on the battlefield, Jaime gave Ewan a Christmas gift he has been carrying with him to give to his beloved twin sister. But before Ewan can find the right time to speak with her about it, they find themselves in mortal danger…

Focusing on representations of Celtic motifs and traditions in post-1980s adult fantasy literature, this book illuminates how the historical, the mythological and the folkloric have served as inspiration for the fantastic in modern and popular culture of the western world. Bringing together both highly-acclaimed works with those that have received less critical attention, including French and Gaelic fantasy literature, Imagining the Celtic Past in Modern Fantasy explores such texts as Susanna Clarke's Jonathan Strange & Mr Norrell, Alan Garner's Weirdstone trilogy, the Irish fantasies of Jodi McIsaac, David Gemmell's Rigante novels, Patricia Kennealy-Morrison Keltiad books, as well as An Sgoil Dhubh by Iain F. MacLeòid and the Vertigen and Frontier series by Léa Silhol. Lively and covering new ground, the collection examines topics such as fairy magic, Celtic-inspired worldbuilding, heroic patterns, classical ethnography and genre tropes alongside analyses of the Celtic Tarot in speculative fiction and Celtic appropriation in fan culture. Introducing a nuanced understanding of the Celtic past, as it has been informed by recent debates in Celtic studies, this wide-ranging and provocative book shows how modern fantasy is indebted to medieval Celtic-language texts, folkloric traditions, as well as classical sources.