"The realization hits: We're not going to win. It's why I couldn't defeat Draewulf in Bron--because this power was never mine anyway." After a fierce battle with Draewulf, Nym barely escaped with her life. Now, fleeing the scorched landscape of Tulla, her storm-summoning abilities are returning; only . . . the dark power is still inside her. Broken and bloodied, Nym needs time to recover, but when the full scope of the shapeshifter's horrific plot is revealed, the strong-willed Elemental must race across the Hidden Lands and warn the other kingdoms before Draewulf's final attack. From the crystalline palaces of Cashlin to the legendary Valley of Origin, Nym scrambles to gather an army. But even if she can, will she be able to uncover the secret to defeating Draewulf that has eluded her people for generations? With a legion of monsters approaching, and the Hidden Lands standing on the brink of destruction, the stage is set for a battle that will decide the fate of the world. This time, will the Siren's Song have the power to save it? "A riveting tale from start to finish."--Marissa Meyer, New York Times bestselling author of The Lunar Chronicles of Storm Siren The last in the low-spice, YA romantasy trilogy Series best read in order: Book 1: Storm Siren Book 2: Siren's Fury Book 3: Siren's Song Full-length book Includes discussion questions for book clubs

The autobiography of America’s greatest record man: the founder of Sire Records and spotter of rock talent from the Ramones to Madonna. Seymour Stein was America's greatest record man. Not only did he sign and nurture more important artists than anyone alive, after over sixty years in the game, he was still the hippest label head, travelling the globe in search of the next big thing. Since the late fifties, he had been wherever was happening: Billboard, Tin Pan Alley, The British Invasion, CBGB, Studio 54, Danceteria, the Rock n Roll Hall of Fame, the CD crash. Along that winding path, he discovered and broke out a skyline full of stars: Madonna, The Ramones, Talking Heads, Depeche Mode, Madonna, The Smiths, The Cure, Ice-T, Lou Reed, Seal, and many others. Brimming with hilarious scenes and character portraits, Siren Song’s wider narrative is about modernity in motion, and the slow acceptance of diversity in America – thanks largely to daring pop music. Including both the high and low points in his life, Siren Song touches on everything from his discovery of Madonna to his wife Linda Stein's violent death. Ask anyone in the music business, Seymour Stein was a legend. Sung from the heart, Siren Song will etch his story in stone.

It has long been argued that opera is all about sex. Siren Songs is the first collection of articles devoted to exploring the impact of this sexual obsession, and of the power relations that come with it, on the music, words, and staging of opera. Here a distinguished and diverse group of musicologists, literary critics, and feminist scholars address a wide range of fascinating topics--from Salome's striptease to hysteria to jazz and gender--in Italian, English, German, and French operas from the eighteenth to the twentieth centuries. The authors combine readings of specific scenes with efforts to situate these musical moments within richly and precisely observed historical contexts. Challenging both formalist categories of musical analysis and the rhetoric that traditionally pits a male composer against the female characters he creates, many of the articles work toward inventing a language for the study of gender and opera. The collection opens with Mary Ann Smart's introduction, which provides an engaging reflection on the state of gender topics in operatic criticism and musicology. It then moves on to a foundational essay on the complex relationships between opera and history by the renowned philosopher and novelist Catherine Clément, a pioneer of feminist opera criticism. Other articles examine the evolution of the "trouser role" as it evolved in the lesbian subculture of fin-de-siècle Paris, the phenomenon of opera seria's "absent mother" as a manifestation of attitudes to the family under absolutism, the invention of a "hystericized voice" in Verdi's Don Carlos, and a collaborative discussion of the staging problems posed by the gender politics of Mozart's operas. The contributors are Wye Jamison Allanboork, Joseph Auner, Katherine Bergeron, Philip Brett, Peter Brooks, Catherine Clement, Martha Feldman, Heather Hadlock, Mary Hunter, Linda Hutcheon and Michael Hutcheon, M.D., Lawrence Kramer, Roger Parker, Mary Ann Smart, and Gretchen Wheelock.

Inside an ordinary middle school in an ordinary city, a small redheaded eighth grader is doing something very ordinary, indeed. Ever since Charlotte Mielswetzski and her cousin, Zee, saved the world, life has been rather ordinary. Ordinary, that is, if you call being ultramegagrounded (in Charlotte's case) or treated as if you might fall to pieces (in Zee's case) ordinary. Either way, heroes deserve better. Of course, no one knows Charlotte and Zee are heroes. It's not like they can simply announce that Greek myths are real or proclaim they have returned from the Underworld, where they rescued all of mankind from Philonecron, a deranged demigod with delusions of grandeur. Instead, they are forced to keep this terrible knowledge to themselves, and are stuck in a state of extraordinary ordinariness. But things aren't quite as ordinary as they seem. For Philonecron is the grandson of Poseidon, and you don't mess with the progeny of the second most powerful god in the universe. And Philonecron himself isn't so happy about having all of his delicious plans thwarted by mortal children. He wants revenge, and with his grandfather to help him, he is going to get what he wants. For Charlotte and Zee, their not-so-ordinary lives are about to be disrupted once again. This time it's not the world they must save -- it's themselves. In the thrilling second installment of the Cronus Chronicles trilogy, author Anne Ursu brings her trademark wit to a spectacular adventure on the high seas.

A feminist critique of the Odyssey

Still on a mission to find the legendary Sword of Cortâes, the crew of the Barnacle becomes entranced by an ethereal song that pulls them away from their mission, leaving Captain Jack Sparrow to find the source behind the dark spell.

Increasing scarcity, conflict, and environmental damage are critical features of the global water crisis. As governments, international organizations, NGOs, and corporations have tried to respond, Chilean water law has seemed an attractive alternative to older legislative and regulatory approaches. Boldly introduced in 1981, the Chilean model is the worlds leading example of a free market approach to water law, water rights, and water resource management. Despite more than a decade of international debate, however, a comprehensive, balanced account of the Chilean experience has been unavailable. Siren Song is an interdisciplinary analysis combining law, political economy, and geography. Carl Bauer places the Chilean model of water law in international context by reviewing the contemporary debate about water economics and policy reform. He follows with an account of the Chilean experience, drawing on primary and secondary sources in Spanish and English, including interviews with key people in Chile. He presents the debate about reforming the law after Chile‘s 1990 return to democratic government, as well as emerging views about how water markets have worked in practice. The resulting book provides insights about law, economics, and public policy within Chile and lessons for the countries around the world that are wrestling with the challenges of water policy reform.