Foley presents The Gryphon Chronicles, a new series of historical fantasy adventures that's as much fun for grownups as it is for kids!Strange new talents...Jake is a scrappy orphaned pickpocket living by his wits on the streets of Victorian London. Lately he's started seeing ghosts, and discovers he can move solid objects with his mind! He has no idea why. Next thing he knows, a Sinister Gentleman and his minions come hunting him. On the run for his life, Jake is plunged headlong into a mysterious world full of magic and deadly peril. A world that holds the secret to who he really is: the long-lost heir of an aristocratic family-with magical powers!But with treacherous enemies closing in, it will take all of his wily street instincts and the help of his friends-both human and magical-to solve the mystery of what happened to his parents, and defeat the foes who never wanted the Lost Heir of Griffon to be found..."A wonderful novel in the same vein as Harry Potter, full of nonstop action, magical creatures, and the reality that was Queen Victoria's England." The Reading CafeOptioned For A Movie!The Complete Gryphon Chronicles Series: Book 1 - THE LOST HEIRBook 2 - JAKE & THE GIANTBook 3 - THE DARK PORTALBook 3.5 - JAKE & THE GINGERBREAD WARSBook 4 - RISE OF ALLIESBook 5 - SECRETS OF THE DEEPBook 6 - THE BLACK FORTRESS

    . . with the walking dead. This fast-paced thriller reimagines the historical events of the fateful Titanic voyage through the lens of zombie mayhem. Captain Edward Smith and his inner circle desperately try to contain a weaponized zombie virus smuggled on board with the 2,200 passengers sailing to New York. Faced with an exploding population of lumbering, flesh-hungry undead, Smith's team is forced into bloody hand-to-hand combat down the narrow halls of the huge steamer. In its few short days at sea, the majestic Titanic turns into a Victorian bloodbath, steaming at top speed toward a cold, blue iceberg. A creepy, tense page-turner, Deck Z will thrill zombie fans and Titanic buffs alike.

    Is his uncanny ability to tie perfect knots and render boots spotless a sign of his own magical talent, or the work of Billy Bly, the brownie who has been secretly watching over him since he was little? No matter, for the wizard has banished all magical creatures from his holdings. But Billy Bly isn't going anywhere, and when he discovers a curse upon the manor house, it's up to Frederick and Billy Bly to keep the lord's new baby safe and rid the Schofield family of the curse forever.

    Consisting of a series of episodes in the story of the English outlaw Robin Hood and his band of Merry Men, the novel compiles traditional material into a coherent narrative in a colorful, invented "old English" idiom that preserves some flavor of the ballads, and adapts it for children. The novel is notable for taking the subject of Robin Hood, which had been increasingly popular through the 19th century, in a new direction that influenced later writers, artists, and filmmakers through the next century.[1]Pyle had been submitting illustrated poems and fairy tales to New York publications since 1876, and had met with success. The Merry Adventures of Robin Hood was the first novel he attempted. He took his material from Middle Age ballads and wove them into a cohesive story, altering them for coherence and the tastes of his child audience. For example, he included "Robin Hood and the Curtal Friar" in the narrative order to reintroduce Friar Tuck. He needed a cooperative priest for the wedding of outlaw Allan a Dale (Pyle's spelling of the original Alan-a-Dale) to his sweetheart Ellen. In the original "A Gest of Robyn Hode", the life is saved of an anonymous wrestler who had won a bout but was likely to be murdered because he was a stranger. Pyle adapted it and gave the wrestler the identity of David of Doncaster, one of Robin's band in the story "Robin Hood and the Golden Arrow." In his novelistic treatment of the tales, Pyle thus developed several characters who had been mentioned in only one ballad, such as David of Doncaster or Arthur a Bland. Pyle's book continued the 19th-century trend of portraying Robin Hood as a heroic outlaw who robs the rich to feed the poor; this portrayal contrasts with the Robin Hood of the ballads, where the protagonist is an out-and-out crook, whose crimes are motivated by personal gain rather than politics or a desire to help others.[1] For instance, he modified the ballad "Robin Hood's Progress to Nottingham", changing it from Robin killing fourteen foresters for not honoring a bet to Robin defending himself against a band of armed robbers. Pyle has Robin kill only one man, who shoots at him first. Tales are changed in which Robin steals all that an ambushed traveler carried, such as "Robin Hood and the Bishop of Hereford", so that the victim keeps a third and another third is dedicated to the poor. Pyle did not have much concern for historical accuracy, but he renamed the queen-consort in the story "Robin Hood and Queen Katherine" as Eleanor (of Aquitaine). This made her compatible historically with King Richard the Lion-Hearted, with whom Robin eventually makes peace. The novel was first published by Scribner's in 1883, and met with immediate success,[1] ushering in a new era of Robin Hood stories. It helped solidify the image of a heroic Robin Hood, which had begun in earlier works such as Walter Scott's 1819 novel Ivanhoe. In Pyle's wake, Robin Hood has become a staunch philanthropist protecting innocents against increasingly aggressive villains.[1] Along with the publication of the Child Ballads by Francis James Child, which included most of the surviving Robin Hood ballads, Pyle's novel helped increase the popularity of the Robin Hood legend in the United States. The Merry Adventures also had an effect on subsequent children's literature. It helped move the Robin Hood legend out of the realm of penny dreadfuls and into the realm of respected children's books.[2] After Pyle, Robin Hood became an increasingly popular subject for children's books: Louis Rhead's Bold Robin Hood and His Outlaw Band (1912) and Paul Creswick's Robin Hood (1917), illustrated by Pyle's pupil N. C.