This is the final book in the Stolen Child Series that was written to bring our tale to its conclusion. It begins again where the last book has left off, and takes the reader through the undersea world where Kashandarhh the Witch, has been stolen by the Mermaid and wakes up in an undersea cave deep in the Ocean of Souls. It is here she finds another creature, who also has been held against her will and is introduced to Snickann-Freymyi - a Valkyrji. As she fights to get free, something extraordinary happens to her; while she continues to search for a way out, she accidentally duplicates herself and is forced to use majik, in order to move between worlds. It is here, she discovers the life that lives beneath the surface of this planet, while she tries to maintain some semblance of order with her new Elemental sisters, in an attempt to reach the surface world far above. Meanwhile, Sibrey the Shapeshifter has finally caught up with Symbya - who has been relentlessly hunting her. She accidentally gets too close and becomes stung by his poisonous barbs, while Tamerk races to save her from death with the help of her Fey family and several hundred Elementals, who then force the Sling called Symbya to come out of the dark and face the others in battle - revealing the Stolen Child that lives among them....

This is the second novel that belongs to the Stolen Child Tale. This book finds us where book-one has left off and takes us into the Realm of the Space In-Between; the Land of the Selkies and their unusual World where Kashandarhh the Witch's father lives. It is here she travels to warn him of the Sling's arrival back into their land and to ask him to help her bring the Ka afrey Covens together - to keep the creature away from finding the last two remaining offspring of the Tuatha De Danann. Meanwhile, Sibrey who has been able to escape the Tracker who was hunting her, has been taken into the Kingdom of the Sky People, while the Dragon Lords sent to protect her have started to go missing along the edges of their home-land. This tale also introduces you to the Dark-Sidhe Queen, who has taken two of the Dragon Lords prisoner - down below in her Dark-World, just as the Dragons themselves start to disappear from the Continent of Water's Deep....

A Study Guide for William Butler Yeats's "The Stolen Child," excerpted from Gale's acclaimed Poetry for Students. This concise study guide includes plot summary; character analysis; author biography; study questions; historical context; suggestions for further reading; and much more. For any literature project, trust Poetry for Students for all of your research needs.

The Stolen Child is the second and final book in the Wild Mountain duology. Part I, Back to the Garden, is also available through Ingram Spark. In The Stolen Child, we'll find a world unrecognizable to those of us in living in the early to mid-21st century. Fran and Leo's youngest child, Fae, goes missing after extreme wildfires force the family off their Idaho mountain. Fae's story is told in short interludes, which contrast with the first person narratives written by the adults around her, as her life is upended and she ends up in Schull, Ireland, the home of the "last wolf in Ireland." As her family sails through new waters in Canada, and then across the Atlantic, to find her, a romance grows between Fae's older brother Alejandro and his best friend Kristy. Yet, the backdrop to the blossoming relationship is a journey to find the missing child, sinister and full of mystery, speculative about an even more drastically climate-changed time than the one we're experiencing now and one in which false narratives and dangerous ideologies continue to flourish. The Stolen Child is inspired by WB Yeats' poem of the same name, and by Fae's mother Fran's childhood interest in Irish mythology. Fae's story reflects the literal stolen child. The story also follows her family and friends as they go to the ends of the world-the waters and the wild-in their search for her, so the story also recognizes the figurative trappings of the modern world.

In this first book-length study of Les Misérables, Kathryn M. Grossman, with an authoritative command of Hugo’s work and Hugo criticism, situates the novelist’s masterpiece in relation both to his earlier novels—up to and including Notre-Dame de Paris— and to the poetry published during his exile under the Second Empire. Drawing on Paul Ricoeur’s theory of metaphor and on Thomas Weiskel’s analysis of the romantic sublime, Grossman illustrates how the novel’s motifs and structures correspond to a closely connected set of ethical, spiritual, political, and aesthetic concerns. The religious motifs in Les Misérables identify the sublime not just with utopian ideals (and the overthrow of Napoleon III’s grotesque Second Empire) but with artistic death and resurrection. Examining the ways the novel is largely concerned with the monstrous "brutalities of progress" called revolutions that must precede the advent of heaven on earth, Grossman traces that link to a mythos of sin and redemption and shows how the moral concerns of the plot also illuminate Hugo’s aesthetics. Les Misérables explores the tensions between heroes and scoundrels, chaos and order, law and lawlessness. Grossman painstakingly follows the novel’s ethical hierarchy from the grotesque (criminality) to the conventional (bourgeois complacency) and the sublime (sainthood), demonstrating how that hierarchy corresponds to two other hierarchies: the literary and the political.

Carrying a story to tell is the “ancient burden” of craftsmen, and it is one of the characteristics of the quest to find oneself, since a journey requires recognition of the aspects of self and anti–self. Like the speaker of his poems, W.B. Yeats has something to tell. His poetry draws nourishment from the battle between the dichotomies of self and anti–self, human and divine, mind and intellect, past and present, and body and soul. This book covers a selection of Yeats’s poems from 1889 to 1939, discussing them within the frame of the quest to find oneself and its gyroscopic transformation. The book illustrates that self is not a single entity, but has multiple layers, and it can be found within the quest in which it experiences a simultaneous transformation with every phase of the antithetical structure of gyroscopic movements. In addition, the way of the quest is cyclical; however, it is not a vicious cycle, since, in life, every end is a phase of a beginning and every beginning is a phase of an end.