Caina Amalas cheated death and escaped certain doom. So did her mortal enemy, the sorcerer Cassander Nilas. Now the city of Istarinmul teeters on the brink of civil war and sorcerous annihilation. Unless Caina summons all her bravery and cunning, Cassander's dark spell will kill millions of people. Starting with the people she loves...

Kylon of House Kardamnos was once a lord and Archon of the Kyracian people. Now he is a homeless exile, aiding the Ghosts in their fight against the evil of Grand Master Callatas. The woman he loves lies suspended between life and death. And unless Kylon can defeat the nagataaru that hunt her, Caina Amalas might never awaken…

The Penderwicks meets Howl’s Moving Castle in this thrilling middle grade fantasy adventure about a trio of royal siblings who unlock a long-forgotten magical language in their bid to reclaim their stolen throne—from Ember and the Ice Dragons author Heather Fawcett. Perfect for fans of Kelly Barnhill and Robert Beatty. Forced into exile on an enchanted, moving island, ex-princess Noa Marchena has two missions: reclaim her family’s stolen throne and ensure that the dark powers her older brother, Julian, possesses don’t go to his head in the process. But between babysitting her annoying little sister, Mite, and keeping an eye on the cake-loving sea monster that guards the moving island, Noa has her hands full. When the siblings learn that their enemies are searching for a weapon capable of defeating Julian—whose legendary spell weaving is feared throughout the kingdom—once and for all, they vow to get to it first. To everyone’s surprise, the key to victory turns out to be a long-lost magical language—and only Noa can speak it. But what if by helping her brother, Noa ends up losing him?

The fast-growing body of postcolonial drama is progressively gaining its just recognition in the twentieth-century canon of English-language plays. From the vantage point of various samplings along the Trans-Pacific axis linking English Canada, Australia and New Zealand, this monograph seeks to document the significance of this emerging postcolonial theater. More specifically, it examines the myriad ways in which, over the last two decades, representative mainstream, ethnic and First Nations playwrights have dramatized Europe's «Other» in its multiple guises. In their efforts to match new content with innovative form, these artists have followed transgressive itineraries, redrawing the boundaries of conventional Western stage realism. Their new aesthetics often relies on techniques akin to Homi Bhabha's notions of hybridity and mimicry. The present study offers detailed analyses of the modes of hybridization through which Judith Thompson, Louis Nowra, Tomson Highway, Jack Davis, Hone Kouka, and other prominent writers have articulated subtle forms of psychic, grotesque, and mythic magic realism. Their legacy will undoubtedly affect the postcolonial dramaturgies of the twenty-first century.