Donegal, 1976 When a dolphin takes up residence in Carrig Cove, Emer and her best friend, Fee, feel like they have an instant connection with it. Then Dog Cullen and his sidekick, Kit, turn up, and the four friends begin to sneak out at midnight to go down to the beach, daring each other to swim closer and closer to the creature . . . But the fame and fortune the dolphin brings to their small village builds resentment amongst their neighbours across the bay, and the summer days get longer and hotter . . . There is something wild and intense in the air. Love feels fierce, old hatreds fester, and suddenly everything feels worth fighting for. In this beautiful, epic coming-of-age novel, an old tale is rewoven as a stunning YA story by well-known Irish author/illustrator Marie-Louise Fitzpatrick.

Mythology is usually reserved for non-Christian religions. However, the adoption of Christianity in Northern and East-Central Europe between c. 1000 and 1300 can be adequately described as a myth-making process: local saints were added to the Christian pantheon in all regions entering Latin Europe. The present collection explores the links between local sanctity and the making of national myths in medieval historical writing. By bringing together specialists in history and literature of the European periphery in question, the case is made that the writing of history and saints lives from this pioneering period should been analysed together as mainly successful attempts at creating cultural foundation myths.

Religion is an essential part of our humanity. We all follow some form of religion, in the original meaning of the word. But organized religion establishes definitions, boundaries and hierarchies which the founders would be amazed by. This is perhaps more true of Christianity than most other religions, due to the short life of Jesus, his sudden death, the lack of any contemporary records. His teaching about the kingdom of God is great; it could see us through our time on earth. But his followers watered it down and soon lost it altogether. It became a kingdom in heaven for the few, rather than one here and now for everyone. The Church, or Churches, that resulted became increasingly irrelevant, even a hindrance, to seeing it realized. Many will always find security and truth in the traditions that developed, and good for them. But for those who can't, for those who have given up on religion or never thought it worth considering, the original teachings are worth another look. If we could recover them and live by them, we could change ourselves and the world for the better. We could bring God up to date.

Nearly 200 stunningly realistic paintings and drawings bring the greatest fantasy epic of all time to life. Classical realism unites with contemporary storytelling as artist Donato Giancola explores the mythic grandeur and the iconic characters of J.R.R. Tolkien's The Lord of the Rings saga. Donato has made it his life's work to translate Tolkien's words into compelling visuals, with gorgeous oil paintings and drawings reminiscent of Rembrandt and Caravaggio. His interpretations of Middle-earth span his entire career, from private commissions to the 2001 edition of the graphic novel adaptation of The Hobbit, all collected in this massive compendium--a must-have for collectors of Tolkien and fantasy "What struck me about J.R.R. Tolkien's work was how he filled Middle-earth with a wealth of history," says Author Donato Giancola. "From the simple beginnings of Bilbo and the dwarves in The Hobbit, to the personal trials of Frodo and the Fellowship in The Lord of the Rings, to the epic tragedies in The Silmarillion, these tales are woven together by a grand fabric of unifying mythologies, bringing depth to the cultures and characters within." "Amazing work from an astounding talent." - George R.R. Martin

With The Modern Myths, brilliant science communicator Philip Ball spins a new yarn. From novels and comic books to B-movies, it is an epic exploration of literature, new media and technology, the nature of storytelling, and the making and meaning of our most important tales. Myths are usually seen as stories from the depths of time—fun and fantastical, but no longer believed by anyone. Yet, as Philip Ball shows, we are still writing them—and still living them—today. From Robinson Crusoe and Frankenstein to Batman, many stories written in the past few centuries are commonly, perhaps glibly, called “modern myths.” But Ball argues that we should take that idea seriously. Our stories of Dracula, Dr. Jekyll and Mr. Hyde, and Sherlock Holmes are doing the kind of cultural work that the ancient myths once did. Through the medium of narratives that all of us know in their basic outline and which have no clear moral or resolution, these modern myths explore some of our deepest fears, dreams, and anxieties. We keep returning to these tales, reinventing them endlessly for new uses. But what are they really about, and why do we need them? What myths are still taking shape today? And what makes a story become a modern myth? In The Modern Myths, Ball takes us on a wide-ranging tour of our collective imagination, asking what some of its most popular stories reveal about the nature of being human in the modern age.

The 1943 battle to free the Soviet Black Sea port of Novorossiisk from German occupation was fought from the beach head of Malaia zemlia, where the young Colonel Leonid Brezhnev saw action. Despite widespread scepticism of the state's appropriation and inflation of this historical event, the heroes of the campaign are still commemorated in Novorossiisk today by an amalgam of memoir, monuments and ritual. Through the prism of this provincial Russian town, Vicky Davis sheds light on the character of Brezhnev as perceived by his people, and on the process of memory for the ordinary Russian citizen. Davis analyses the construction and propagation of the local war myth to link the individual citizens of Novorossiisk with evolving state policy since World War II and examines the resultant social and political connotations. Her compelling new interdisciplinary evidence reveals the complexity of myth and memory, challenging existing assumptions to show that there is still scope for the local community - and even the individual - in memory construction in an authoritarian environment. This book represents a much-needed departure from the study of myth and memory in larger cities of the former Soviet Union, adding nuance to the existing portrait of Brezhnev and demonstrating the continued importance of war memory in Russia today.