The Music Box Claire de Lune was our tune our embrace a faded trace your music is missing i twirl alone no companion im on my own Yang went Yin stayed You left and I died

Penelope’s big-city dreams aren’t turning out exactly as she planned. When she moved away from her family and their small business, she envisioned a life creating fantastical events and taking advantage of all the things New York has to offer. She certainly didn’t see herself making collection calls and being yelled at all day, but she has to do something to pay the rent. She has one good friend at the office, Stella, and they come to the realization that in order for them to make their fantasies a reality, they must take their futures into their own hands. They make a pact that they will get out of this dead-end job and finally strike out to their desired careers. On that same day, Penny has a chance encounter with a kind man and woman on the subway—a couple she has admired on her daily, monotonous commute because they express so much love and affection for one another. She chases after them when they leave an item on the subway car, and in return, they invite her for dinner, which turns into offers of so much more. A career, a chance at love, and an opportunity to show her true self to the world. But is Penny brave enough to step out of the darkness and into the light?

Can the haloxias survive in a brand-new world? When they arrive at their destination, they must start from square one. Everything is new to them: even the basic tenets of survival feel out of reach. Their number one goal is to stay alive. The longer they spend on earth, the more in tune they become with the humans that inhabit it. There is evil all around, but there is also good. While some creatures want only to abuse others, other creatures seek out and consume these evil people to rid the world of their energy. In this ongoing battle between good and evil, will the haloxias be able to find their place? More than that—will they live to see the outcome?

Between 1550 and 1650, Europe was swept by a fascination with wondrous accounts of monsters and other marvels - of valiant men slaying dragons, women giving birth to animals, young girls growing penises, and all manner of fantastic phenomena. Known as 'fairy tales,' these stories had many guises and inhabited a variety of literary texts. The first two collections of such fairy tales published on the continent, Giovan Francesco Straparola's Le piacevoli notti and Giambattista Basile's Lo cunto de li cunti, were greeted with much enthusiasm at home and abroad and essentially established a new literary genre. Contrary to popular thought, Italy, not Germany or France, was the birthplace of the literary fairy tale. This fascination with the marvellous also extended to the worlds of science, medicine, philosophy, and religion, and many treatises from the period focused on discussions of monsters, demons, magic, and witchcraft. In Fairy-Tale Science Suzanne Magnanini looks at these 'science fictions' and explores the birth and evolution of the literary fairy tale in the context of early modern discourses on the monstrous. She demonstrates how both the normative literary theories of the Italian intellectual establishment and the emerging New Science limited the genre's success on its native soil. Natural philosophers, physicians, and clergymen positioned the fairy tale in opposition in opposition to science, fixing it as a negative pole in a binary system, one which came to define both a new type of scientific inquiry and the nascent literary genre. Magnanini also suggests that, by identifying their literary production with the monstrous and the feminine, Straparola and Basile contributed to the marginalization of the new genre. A wide-ranging yet carefully crafted study, Fairy-Tale Science investigates the complex interplay between scientific discourse and an emerging literary genre, and expands our understanding of the early modern European imagination.

Fairy Tales, Natural History and Victorian Culture examines how literary fairy tales were informed by natural historical knowledge in the Victorian period, as well as how popular science books used fairies to explain natural history at a time when 'nature' became a much debated word.

Nine charming, sensitive stories: "The Happy Prince," "The Selfish Giant," "The Star-Child," "The Nightingale and the Rose," "The Birthday of the Infanta," "The Remarkable Rocket," "The Devoted Friend," more.