Enter the Afterlife Academy and learn how to be a valkyrie in this complete urban fantasy academy featuring mythical beings from all over the world, a fearsome dusk wolf familiar, an epic quest, and a sapphic romantic sub-plot. Death always comes with a price, but is Ylva willing to pay? The war of souls has begun against the Midnight Ravens. As an inexperienced Valkyrie, Ylva has to catch up or go under. After all, the reputation and future of Valhalla is at stake. **** REST IN SERIES: #1 Valkyrie 101: The Missing Dusk Wolves #2 Valkyrie 102: The Forest Of Illusions #3 Valkyrie 103: The Afterlife Alliance #4 Valkyrie 104: The Bonds Of Valkyries

As a rare halfblood among a race of witches and shifters, Freya has enjoyed living a quiet life away from the royal court of Lindoroth and among those who know little about her. She's had the freedom to make her own choices, and fighting alongside the local marshals is just an added bonus. When obligation arrives on her doorstep to remind her of promises made long ago, her quiet life comes to an end. With hardly time to say goodbye, Freya is whisked off to the capital city of Iladel to attend a prestigious royal academy with her peers, where appearances can be deceiving and connections are everything. While there, she'll be reunited with her childhood friend, Prince Aerelius, and begin to experience life at the royal court in ways she never did as a girl. As Freya and the prince dive into old routines and explore new feelings, they uncover the secrets and schemes that lurk below the court's surface. When a secret is unveiled that changes everything, they must do whatever is necessary to ensure the safety of their kingdom. If they fail, long-held alliances will shatter and war will come to the shores of their land, threatening all they hold dear.

Cruelty. Deception. Wrath. The gods will claim what they are owed. I’ve finally found my family. Some blood. Some chosen. They’ve stood by my side through everything, never faltering. But what I’ve feared has finally come to pass—my love for them has made them targets. The vampires have taken Cian, and new powerful threats are rising from their ranks. Making matters worse, Dante’s secret has been revealed. The gods know he is really Hades, and they have seized him to unleash their vengeance. As I fight to save my brother and his mate, dark truths and abilities emerge that threaten the bonds of my misfit family. And something is happening between me and Mikhail… something I don’t understand but can’t ignore for much longer. But in the treacherous domain of gods & vampires, there is no time to dwell on any of this. If we want to survive, we’ll have to challenge the immortality of the gods. And sacrifices will have to be made…

The romance burns fast and hot in this story full of valkyries and fae by romantasy author Maddox Grey. War. Betrayal. Exile. I sacrificed everything to end a war that was tearing my home apart. My reward? Being seen as an abomination in the eyes of the people I’d fought so hard to save. After centuries of isolation, I find myself thrust back into the chaos of life because my friends need me and I won’t let them down. Another war is brewing, and this one has the potential to destroy all the realms. But my past isn’t ready to let me go just yet. As I hunt for answers about what the exiled king is plotting in a foreign realm, two complications arise. One an ancient enemy who wants a piece of soul. And the other… Niall. A fae warrior with a jaded past and dark secrets that rival my own. To accomplish my task, I’m forced to ally with him. But a fae bargain is never simple. And I can’t help but fear that fate is once again leading me to ruin. A Shift in Wings is the fifth story of the Lost Legacies fantasy romance series. For fans of LJ Andrews, Raven Kennedy, or Amber V. Nicole, this is a fast-burning love story full of action and second chances between two immortal warriors. Things are going to get a little steamy...

Nothing ever happens in Norway. But at least Ellie knows what to expect when she visits her grandmother: a tranquil fishing village and long, slow summer days. And maybe she'll finally get out from under the shadow of her way-too-perfect big brother, Graham, while she's there. What Ellie doesn't anticipate is Graham's infuriating best friend, Tuck, tagging along for the trip. Nor did she imagine boys going missing amid rumors of impossible kidnappings. Least of all does she expect that something powerful and ancient will awaken in her and that strange whispers will urge Ellie to claim her place among mythological warriors. Instead of peace and quiet, suddenly there's a lot for a girl from L.A. to handle on a summer sojourn in Norway! And when Graham vanishes, it's up to Ellie—and the ever-sarcastic, if undeniably alluring, Tuck—to uncover the truth about all the disappearances and thwart the nefarious plan behind them. Deadly legends, hidden identities, and tentative romance swirl together in one girl's unexpectedly epic coming-of-age.

Mark Berry explores the political and religious ideas expounded in Wagner's Ring through close attention to the text and drama, the multifarious intellectual influences upon the composer during the work's lengthy gestation and composition, and the wealth of Wagner source material. Many of his writings are explicitly political in their concerns, for Wagner was emphatically not a revolutionary solely for the sake of art. Yet it would be misleading to see even the most 'political' tracts as somehow divorced from the aesthetic realm; Wagner's radical challenge to liberal-democratic politics makes no such distinction. This book considers Wagner's treatment of various worlds: nature, politics, economics, and metaphysics, in order to explain just how radical that challenge is. Classical interpretations have tended to opt either for an 'optimistic' view of the Ring, centred upon the influence of Young Hegelian thought - in particular the philosophy of Ludwig Feuerbach - and Wagner's concomitant revolutionary politics, or for the 'pessimistic' option, removing the disillusioned Wagner-in-Swiss-exile from the political sphere and stressing the undoubtedly important role of Arthur Schopenhauer. Such an 'either-or' approach seriously misrepresents not only Wagner's compositional method but also his intellectual method. It also sidelines inconvenient aspects of the dramas that fail to 'fit' whichever interpretation is selected. Wagner's tendency is not progressively to recant previous 'errors' in his oeuvre. Radical ideas are not completely replaced by a Schopenhauerian world-view, however loudly the composer might come to trumpet his apparent 'conversion'. Nor is Wagner's truly an Hegelian method, although Hegelian dialectic plays an important role. In fact, Wagner is in many ways not really a systematic thinker at all (which is not to portray him as self-consciously unsystematic in a Nietzschean, let alone 'post-modernist' fashion).