A collection of Fitzgerald's writings for high school and Princeton University magazines.

Bestselling author Jennifer Estep returns to her Crown of Shards world with an all-new trilogy and a bold new heroine who protects her kingdom from magic, murder, and mayhem by moonlighting as a spy. Gemma Ripley has a reputation for being a pampered princess who is more interested in pretty gowns, sparkling jewelry, and other frivolous things than learning how to rule the kingdom of Andvari. But her carefully crafted persona is just an act to hide the fact that Gemma is a powerful mind magier—and a spy. Gemma is undercover, trying to figure out who is stealing large amounts of tearstone from one of the Ripley royal mines when she encounters Prince Leonidas Morricone of Morta—her mortal enemy. Gemma tries to steer clear of the handsome prince, but when she finds herself behind enemy lines, she reluctantly joins forces with Leo. Also coming to Gemma’s aid is Grimley, her beloved gargoyle. Despite the fact that Andvari and Morta are old, bitter enemies, a dangerous attraction sparks between Gemma and Leo. Further complicating matters is Leo’s murderous family, especially Queen Maeven Morricone, the mastermind behind the infamous Seven Spire massacre. The closer Gemma gets to the stolen tearstone, the more deadly plots she uncovers. Everyone is trying to capture the crown, but only one queen can sit on the throne …

This ambitious and vivid study in six volumes explores the journey of a single, electrifying story, from its first incarnation in a medieval French poem through its prolific rebirth in the nineteenth and twentieth centuries. The Juggler of Notre Dame tells how an entertainer abandons the world to join a monastery, but is suspected of blasphemy after dancing his devotion before a statue of the Madonna in the crypt; he is saved when the statue, delighted by his skill, miraculously comes to life. Jan Ziolkowski tracks the poem from its medieval roots to its rediscovery in late nineteenth-century Paris, before its translation into English in Britain and the United States. The visual influence of the tale on Gothic revivalism and vice versa in America is carefully documented with lavish and inventive illustrations, and Ziolkowski concludes with an examination of the explosion of interest in The Juggler of Notre Dame in the twentieth century and its place in mass culture today. Volume 3: The American Middle Ages hinges upon two figures influenced by the juggler: Henry Adams, scion of Presidents and distinguished cultural historian whose works contributed to the rise of medievalism in America during the Gilded Age, and Ralph Adams Cram, the architect whose vision of Gothic accounts directly or indirectly for the campuses of West Point, Princeton, Yale, Chicago, Notre Dame, and many other universities across America. The Juggler of Notre Dame and the Medievalizing of Modernity is a rich case study for the reception of the Middle Ages in modernity. Spanning centuries and continents, the medieval period is understood through the lens of its (post)modern reception in Europe and America. Profound connections between the verbal and the visual are illustrated by a rich trove of images, including book illustrations, stained glass, postage stamps, architecture, and Christmas cards. Presented with great clarity and simplicity, Ziolkowski's work is accessible to the general reader, while its many new discoveries will be valuable to academics in such fields and disciplines as medieval studies, medievalism, philology, literary history, art history, folklore, performance studies, and reception studies.

Succumb to one churchman's apocalyptic vision in this prophetic tale by the radical Nobel Laureate and author of Lord of the Flies, William Golding (recorded by Benedict Cumberbatch as an audiobook). There were three sorts of people. Those who ran, those who stayed, and those who were built in. Dean Jocelin has a vision: that God has chosen him to erect a great spire. His master builder fearfully advises against it, for the old cathedral was miraculously built without foundations. But Jocelin is obsessed with fashioning his prayer in stone. As his halo of hair grows wilder and his dark angel darker, the spire rises octagon upon octagon, pinnacle by pinnacle, watched over by the gargoyles - until the stone pillars shriek, the earth beneath creeps, and the spire's shadow falls like an axe on the medieval world below ... 'Astounding ... So recklessly beautiful, so sad and so strange ... Holds such a place in my soul that it's more or less a sacred text.' Sarah Perry 'A kind of miracle ... Genius.' Guardian ' Quite simply, a marvel.' NYRB ' Superb ... A classic.' Rebecca West 'A master fabulist .. An iconoclast.' John Fowles 'A visionary ... His masterwork [of] faith, folly and desperate desire ... Golding at his best.' Benjamin Myers

Reproduction of the original: This Side of Paradise by F. Scott Fitzgerald