A scrying bowl allows her to experience the final moments of the deceased. She brings closure to grief-stricken war widows and mourning families.For Letitia, it is a penance. She knows no such peace.For Alasdair Driscoll, it may be the only way to save his niece, Finola, from her growing night terrors. But when Letitia sees a shadowy figure attached to the household, it rouses old fears of her unspeakable past in England.When a man comes to her about his missing daughter, the third girl to go missing in as many months, Letitia can’t help him when she can’t see who’s taken them.As a darkness haunts Letitia’s vision, she may not be given a choice in helping the determined Mr Driscoll, or stop herself falling in love with him. But to do so risks a part of herself she locked away, and to release it may cost Letitia her sanity and her heart.

    A wily cat, a strange romance, detestable daughters: the great American poet Marianne Moore retells three stories originally written by Charles Perrault to amuse the niece of Louis XIV.Modern readers may be surprised to find that the prince does not wake Sleeping Beauty with a kiss - the more he cares, the less willing he is to intrude - and that his mother is descended from ogres.Characterised by vivid imagery, uncluttered prose, inventive alliteration and a sly sceptic's wit, Moore's versions do more than tell a tale: 'Having seen a problem solved,' she writes, each one leaves 'a pattern of order in the mind.'Bringing together past, present and future in our ninetieth year, Faber Stories is a celebratory compendium of collectable work.

    Its proponents cite ancient Greek and Latin texts to support their claims--arguing that they articulate a model of masculinity that sustained generations but is now under siege.Donna Zuckerberg dives deep into the virtual communities of the far right, where men lament their loss of power and privilege, and strategize about how to reclaim them. She finds, mixed in with weightlifting tips and misogynistic vitriol, the words of the Stoics deployed to support an ideal vision of masculine life. On other sites, pickup artists quote Ovid's Ars Amatoria to justify ignoring women's boundaries. By appropriating the Classics, these men lend a veneer of intellectual authority and ancient wisdom to their project of patriarchal white supremacy. In defense or retaliation, feminists have also taken up the Classics online, to counter the sanctioning of violence against women.Not All Dead White Men reveals that some of the most controversial and consequential debates about the legacy of the ancients are raging not in universities but online.

    Alice Oswald has won several literary awards.

            The stories are divided into three sections: The Age of Fable or Stories of Gods and Heroes (first published in 1855); The Age of Chivalry (1858), which contains King Arthur and His Knights, The Mabinogeon, and The Knights of English History; and Legends of Charlemagne or Romance of the Middle Ages (1863). For the Greek myths, Bulfinch drew on Ovid and Virgil, and for the sagas of the north, from Mallet's Northern Antiquities. He provides lively versions of the myths of Zeus and Hera, Venus and Adonis, Daphne and Apollo, and their cohorts on Mount Olympus; the love story of Pygmalion and Galatea; the legends of the Trojan War and the epic wanderings of Ulysses and Aeneas; the joys of Valhalla and the furies of Thor; and the tales of Beowulf and Robin Hood. The tales are eminently readable. As Bulfinch wrote, "Without a knowledge of mythology much of the elegant literature of our own language cannot be understood and appreciated. . . . Our book is an attempt to solve this problem, by telling the stories of mythology in such a manner as to make them a source of amusement."Thomas Bulfinch, in his day job, was a clerk in the Merchant's Bank of Boston, an undemanding position that afforded him ample leisure time in which to pursue his other interests. In addition to serving as secretary of the Boston Society of Natural History, he thoroughly researched the myths and legends and copiously cross-referenced them with literature and art. As such, the myths are an indispensable guide to the cultural values of the nineteenth century; however, it is the vigor of the stories themselves that returns generation after generation to Bulfinch.

    You can download it here:https://drive.google.com/file/d/1Ww9m...This is a coming of age story. This is about closing your eyes, shedding your skin, finding yourself, and touching your soul. In the Underworld, Persephone looks her Death in the face.

    As Aeneas journeys closer to his goal, he must first prove his worth and attain the maturity necessary for such an illustrious task. He battles raging storms in the Mediterranean, encounters the fearsome Cyclopes, falls in love with Dido, Queen of Carthage, travels into the Underworld and wages war in Italy.

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    But when Xingyin’s magic flares and her existence is discovered, she is forced to flee her home, leaving her mother behind.Alone, powerless, and afraid, she makes her way to the Celestial Kingdom, a land of wonder and secrets. Disguising her identity, she seizes an opportunity to learn alongside the emperor's son, mastering archery and magic, even as passion flames between her and the prince.To save her mother, Xingyin embarks on a perilous quest, confronting legendary creatures and vicious enemies across the earth and skies. But when treachery looms and forbidden magic threatens the kingdom, she must challenge the ruthless Celestial Emperor for her dream—striking a dangerous bargain in which she is torn between losing all she loves or plunging the realm into chaos.Daughter of the Moon Goddess begins an enchanting, romantic duology which weaves ancient Chinese mythology into a sweeping adventure of immortals and magic—where love vies with honor, dreams are fraught with betrayal, and hope emerges triumphant.

    Beginning with a poem about the teenage dawning of sexuality, Vertigo & Ghost pitches quickly into a long sequence of graphic, stunning pieces about Zeus as a serial rapist, for whom woman are prey and sex is weaponised. These are frank, brilliant, devastating poems of vulnerability and rage, and as Zeus is confronted with aggressions both personal and historical, his house comes crumbling down. A disturbing contemporary world is exposed, in which violent acts against women continue to be perpetrated on a daily – hourly – basis.The book shifts, in its second half, to an intimate and lyrical document of depression and family life. It sounds out the complex and ambivalent terrain of early motherhood – its anxieties and claustrophobias as well as its gifts of tenderness and love – reclaiming the sanctuary of domestic private life, and the right to raise children in peace and safety.Vertigo & Ghost is an important, necessary book, hugely impressive in its range and risk, and dramatic in its currency: a collection that speaks out with clarity, grace and bravery against the abuse of power.

    Or do we?As rumors about the cruel upbringing of beautiful newlywed Princess Cinderella roil the kingdom, her stepmother, Agnes, a woman who knows all too well about hardship, privately records the true story. But what unfolds is not the princess's history. The tale Agnes recounts is her own.A peasant born into serfdom, Agnes is separated from her family and forced into servitude as a laundress’s apprentice at Aviceford Manor when she is just ten years old. Alone, friendless, and burdened with a grueling workload, Agnes carves a place for herself in this cold place that is home to Sir Emont Vis-de-Loup, a melancholic and capricious drunkard. Using her wits and ingenuity, Agnes eventually escapes and makes her way toward a hopeful future, serving as a housemaid for the powerful Abbess Elfilda. But life once again holds unexpected, sometimes heartbreaking twists that lead Agnes back to Aviceford Manor, where she becomes nursemaid to Ella, Emont's sensitive, otherworldly daughter. Though she cares for Ella, Agnes struggles to love this child, who in time becomes her stepdaughter and, ultimately, the celebrated princess who embodies all our unattainable fantasies. Familiar yet fresh, tender as well as bittersweet, the story of Agnes and Ella's relationship reveals that beauty is not always desirable, that love may take on many guises, and that freedom is not always something we can choose.Danielle Teller's All the Ever Afters challenges our assumptions and forces us to reevaluate what we think we know. Exploring the hidden complexities that lie beneath classic tales of good and evil, this lyrically told, emotionally evocative, and brilliantly perceptive novel shows us that how we confront adversity reveals a more profound—and ultimately more precious—truth about our lives than the ideal of “happily ever after.”

    Now, only a goddess can tell the truth. Persephone has everything a daughter of Zeus could want--except for freedom. She lives on the green earth with her mother, Demeter, growing up beneath the ever-watchful eyes of the gods and goddesses on Mount Olympus. But when Persephone meets the enigmatic Hades, she experiences something new: choice. Zeus calls Hades "lord" of the dead as a joke. In truth, Hades is the goddess of the underworld, and no friend of Zeus. She offers Persephone sanctuary in her land of the dead, so the young goddess may escape her Olympian destiny. But Persephone finds more than freedom in the underworld. She finds love, and herself.

    Perched on a mountain in a land of ancient forests is a village, rife with secrets. Cut off from the outside world it is run by the elders, men to whom tradition is all.Edith lives alone with her alcoholic father who is forcing her to marry the village butcher. But she is in love with a shepherd who promised to return to her.As the village becomes isolated in a sea of snow, Edith loses her power of speech. And it is this enchantment that will have far-reaching consequences, not only for Edith but for the whole village.

    Classical Greek drama is brought vividly to life in this series of new translations. Students are encouraged to engage with the text through detailed commentaries, including0 suggestions for discussion and analysis. In addition, numerous practical questions stimulate ideas on staging and encourage students to explore the play's dramatic qualities. Agamemnon is suitable for students of both Classical Civilisation and Drama. Useful features include full synopsis of the play, commentary alongside translation for easy reference and a comprehensive introduction to the Greek Theatre. Agamemnon is aimed primarily at A-level and undergraduate students in the UK, and college students in North America.

    While the US starts sending troops to the front, the March family of Concord, Massachusetts grieves their own enormous loss: the death of their daughter, Beth.Under the strain of their grief, Beth's remaining sisters fracture, each going their own way with Jo nursing her wounds and building planes in Boston, Meg holding down the home front with Marmee, and Amy living a secret life as a Red Cross volunteer in London--the same city where one Mr. Theodore Laurence is stationed as an army pilot.Each March sister's point of view is written by a separate author, three in prose and Beth's in verse, still holding the family together from beyond the grave. Woven together, these threads tell a story of finding one's way in a world undergoing catastrophic change.