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.

    When all was said and done, Gilbert Joseph Bland, Jr., had become the Al Capone of cartography. 20 illustrations throughout.

    how they found him, where they took him, what they did to him and why...Believe it. Or don't believe it. But read it -- for this gripping story will move you like no other... will fascinate you, terrify you, and alter the way you experience your world.

    The famous Journal he kept during the next nine months is an intimate account of his encounters with the high-life and the low-life in London. Frank and confessional as a personal portrait of the young Boswell, the Journal is also revealing as a vivid portrayal of life in eighteenth-century London. This new edition includes an introduction by Peter Ackroyd, which discusses Boswell’s life and achievement.“Boswell was the most charming companion in the world, and London becomes his dining-room and his playground, his club and his confessional. No celebrant of the London world can ignore his book.”—Peter Ackroyd, from the introduction. “Boswell was the most charming companion in the world, and London becomes his dining-room and his playground, his club and his confessional. No celebrant of the London world can ignore his book.”—Peter Ackroyd, from the Introduction. Praise for the earlier edition:"[The journal is] more perceptive and uninhibited and magically alive than one could have hoped. . . . Boswell transforms the most trifling occurrences into adventures, and imparts to the reader his own surpassing lust for experience and his keen sense of the fascination of life."—Austin Wright, Virginia Quarterly Review  "The journal is admirably edited and annotated.”—W. H. Auden, New Yorker  The late Frederick Pottle, Sterling Professor of English Emeritus at Yale University, was editor, bibliographer, and biographer of James Boswell. Peter Ackroyd is the author of London: The Biography, The Life of Thomas More, Albion: The Origins of the English Imagination, and many other books.

    Yet, inexplicably, in the light of astonishing intellectual and technological advancement, Man's progress has been halted in one crucial area; he still indulges the primitive beast within and makes war upon his neighbors.As a result of seven years of intense research, William Bramley has uncovered the sinister thread that links humanity's darkest events -- from the wars of the ancient pharaohs to the assassination of JFK. In this remarkable, shocking and absolutely compelling work, Bramley presents disturbing evidence of an alien presence on Earth -- extraterrestrial visitors who have conspired to dominate Humankind through violence and chaos since the beginning of time...a conspiracy which continues to this very day.

    A city of gas lamps, cobblestone streets, and horse-drawn carriages—and home to the controversial surgeon Dr. Spencer Black. The son of a grave robber, young Dr. Black studies at Philadelphia’s esteemed Academy of Medicine, where he develops an unconventional hypothesis: What if the world’s most celebrated mythological beasts—mermaids, minotaurs, and satyrs—were in fact the evolutionary ancestors of humankind?  The Resurrectionist offers two extraordinary books in one. The first is a fictional biography of Dr. Spencer Black, from a childhood spent exhuming corpses through his medical training, his travels with carnivals, and the mysterious disappearance at the end of his life. The second book is Black’s magnum opus: The Codex Extinct Animalia, a Gray’s Anatomy for mythological beasts—dragons, centaurs, Pegasus, Cerberus—all rendered in meticulously detailed anatomical illustrations. You need only look at these images to realize they are the work of a madman. The Resurrectionist tells his story.

    The fascinating story of the first ever railway murder.

    It’s 1926, and New York is filled with speakeasies, Ziegfeld girls, and rakish pickpockets. The only catch is that she has to live with her uncle Will and his unhealthy obsession with the occult. Evie worries her uncle will discover her darkest secret: a supernatural power that has only brought her trouble so far. But when the police find a murdered girl branded with a cryptic symbol and Will is called to the scene, Evie realizes her gift could help catch a serial killer. As Evie jumps headlong into a dance with a murderer, other stories unfold in the city that never sleeps. A young man named Memphis is caught between two worlds. A chorus girl named Theta is running from her past. A student named Jericho is hiding a shocking secret. And unknown to all, something dark and evil has awakened…

    Authors John Marlowe and Charlotte Greig present a carefully chosen cross-section of history's most infamous criminals, whose fascinating life stories are viewed with an unflinching gaze, making for a chilling, but engrossing read.

    Like the first two, this new thriller combines gripping contemporary suspense with a high-concept mystery rooted in history, philosophy, religion, and science. And like those novels, it is bound for bestseller lists nationwide. In Antarctica, a scientific expedition drops anchor for a live news feed. As the CNN journalist begins her report, a massive, shimmering sphere of light suddenly appears in the sky, enveloping the ship in luminous white light before disappearing as mysteriously as it arrived, the entire event witnessed by an incredulous world audience.Meanwhile in a dusty bar in Egypt, a dozen men are lazily discussing the state of the world when the brilliant, glowing symbol on the television stops them cold. One man breaks out in a sweat, crosses himself repeatedly, and rushes out of the bar muttering the same phrase over and over again: It can't be.Across the Internet and around the globe, a stunning controversy threatens to consume the world: Has God finally decided to reveal himself? Or is something more sinister at hand? Raymond Khoury/Steve Berry interview STEVE BERRY: Your new thriller, THE SIGN. I'm gonna come right out and say it: I think it's your best one yet. What do you think?RAMOND KHOURY: Tough call. It's my new baby, and much as I adore its elder siblings, it does have that newborn magic to it.STEVE: Trust me, it is. It's also a bit of a departure from your first two books, in that it doesn't have the past-and-present storylines. Knowing how stories kind of take on a life of their own, that wasn't a conscious decision from the get-go, was it?RAYMOND KHOURY: No, it wasn't premeditated. It's just the way the story came out. The whole story happens in the present. It takes place over a few manic days, I think you're familiar with that pacing, right? And it deals with the present, it's about a what if situation that's very today and now, there's a mystery, something to figure out, but there's no throwback to the past, no long lost secret to uncover.STEVE BERRY: It's also very topical. Your editors must be pleased.RAYMOND: I guess it happened that way because the story came out of some very strong feelings I had, feelings about what was going on around the world, in the US and abroad.STEVE: Tell me about that process. Where the story came from.RAYMOND: It's where they all come from, isn't it? That kernel, that one thought or one observation you have that just sticks and triggers a book, the one that bugs you late at night and that you can't shake. This one came to me while watching the news one day, and every item, one after another, it was all bad news. Not just bad, but it was like a lot of people were behaving so insanely in so many places around the world, and, sadly, a lot of it was fuelled by the manipulation or distortion of religious faith.STEVE: By intolerance?RAYMOND: Exactly. Intolerance and closed minds. And it got me thinking. About how divided we are, about how so many people all over the world believe in the absolute infallibility of their faith and how it rules every aspect of their lives, you know what I mean, we're right, everyone else is wrong, that medieval mindset and wondering if anything could ever unite the planet under a single faith.STEVE: One global religion. RAYMOND: Well, imagine if something did happen that convinced everyone that what we had until now, all these different religions that have grown over the last few thousand years, what if something new came along that was so overwhelming that it was impossible to ignore? Would we listen? Would we drop our previous faiths and embrace it?STEVE: But your book's about much more than that. Without wanting to give too much away, it's really a political thriller, isn't it?RAYMOND: It's always so hard to talk about a book without giving too much away.STEVE: It's the fine line we walk.RAYMOND: True. But yes, you're right, it's really about the absolute power something like that would bring, and how it could be abused. Cause above all else, it's a thriller. There's got to be a brilliantly dastardly scheme, right?STEVE: Always. And this one certainly is dastardly. One thing I've noticed, though, in all three of your books so far, they're all, essentially, about the big questions that face us: why we believe, whether or not we have to die. Religion, longevity, life and death, science vs. faith ... Big questions. And in this one, you revisit, though in a completely different way, the power of religion, the good it can bring as well as the bad, something that was also central to The Last Templar. Will this always be your signature genre, books that have a big, central theme at their core?RAYMOND: You asked me earlier about where the story came from. For me, in order to get excited about a book, it has to have a big central theme about how we live at its heart, something I'm interested in exploring. It's got to be about something I care about deeply. That's what drives the story and the characters forward for me. That's what I hope makes the books stand out. That they're not just page-turners, which ain't easy in itself, but that they're also about something. I see it in your books too. A point of view about things, a passion for laying out interesting information about a topic that interests you. Michael Crichton used to do that very successfully. Dan Brown, of course, does it brilliantly. That's what makes the books worth writing, I think.STEVE: And in reading the book, it's clear you still had tons of research to do, even though there isn't a historic mystery to unravel?RAYMOND: Absolutely. Some of it was about history, the monasteries in Egypt, for one. Again, part of the story, organically. Had to be done, and we do love our history, don't we?STEVE: Guilty as charged.RAYMOND: But for this book, I didn't need to do that much of it's nothing like what you did for THE CHARLEMAGNE PURSUIT, for instance. Which I loved, by the way. Particularly since you beat me to using the Voynich Manuscript in a story!STEVE: We do seem to be spookily in sync with our writing as further evidenced by THE SIGN's opening in Antarctica?RAYMOND: I know!STEVE: So tell me, Matt and Gracie. Are we going to see them again?RAYMOND: I don't know. On the one hand, I envy your situation with Cotton Malone, you've got a solid anchor for your books, you're building this great world around him, his son and Stephanie and Henrik and Cassiopeia, who I hope we see again real soon, and it's meaty and it's epic and like the rest of your readers, I'm hooked and I want to know what they do next. You've got that, Lee Child has had it since day one with Reacher, Harlan Coben with Myron Bolitar, the list goes on. Great characters. I'd love to do that one day, but it has to feel right. I wasn't in that frame of mind in my first two books, certainly the world after the end of THE SANCTUARY would be a very different place from the world Mia started out in at the beginning of that book. Tess and Reilly, I could maybe bring back. A lot of fans have asked for that. But with THE SIGN, Iinitely think Matt and Gracie are characters that I could bring back. I'd like to put them through another wringer, and it feels like it would come naturally. But before I do that, I'm writing the next book which introduces a new lead character, so they'll be getting a bit of a breather.STEVE: They sure can use it. Good luck with the book.RAYMOND: Thank you.

    Even more peculiar is Elsbeth, the truculent schoolmarm who sends Annie letters through the mysterious brass mailbox perched on the picket fence that now divides their two worlds.Annie and Elsbeth’s search for an explanation to the hiccup in the universe linking their homes leads to an unsettling discovery—and potential disaster for both of them. Together they must solve the mystery of what connects them before one of them is convicted of a murder that has yet to happen…and yet somehow already did.

    A place to block out the pain of her last relationship, to avoid the kids in her new town, to stop dwelling on what her future holds after high school.Then, she meets a boy lurking in the mist—Henry. Henry is different from any other guy Amy has ever known. And after several meetings in the clearing, she’s starting to fall for him.But Amy is stunned when she finds out just how different Henry really is. Because on his side of the clearing, it’s still 1944. By some miracle, Henry and his family are stuck in the past, staving off the tragedy that will strike them in the future. Amy’s crossing over to Henry’s side brings him more happiness than he’s ever known—but her presence also threatens to destroy his safe existence.In The Clearing, author Heather Davis crafts a tender and poignant tale about falling in love, finding strength, and having the courage to make your own destiny—a perfect book to slip into and hide away for awhile.

    R. James is widely regarded as the father of the modern ghost story, and his tales have influenced horror writers from H. P. Lovecraft to Stephen King. First published in the early 1900s, they have never been out of print, and are recognized as classics of the genre. This collection contains some of his most chilling tales, including A View from a Hill, Rats, A School Story, The Ash Tree, and The Story of a Disappearance and an Appearance. Read by BAFTA and Emmy-award winning actor Derek Jacobi, and with haunting and evocative music, these tales cannot fail to send a shiver down your spine.

    Washington trusted them; relied on them. But unbeknownst to Washington, some of them were part of a treasonous plan. In the months leading up to the Revolutionary War, these traitorous soldiers, along with the Governor of New York William Tryon and Mayor David Mathews, launched a deadly plot against the most important member of the military: George Washington himself.This is the story of the secret plot and how it was revealed. It is a story of leaders, liars, counterfeiters, and jailhouse confessors. It also shows just how hard the battle was for George Washington—and how close America was to losing the Revolutionary War.Taking place during the most critical period of our nation’s birth, The First Conspiracy tells a remarkable and previously untold piece of American history that not only reveals George Washington’s character, but also illuminates the origins of America’s counterintelligence movement that led to the modern day CIA.

    Very Good conditions. May have soft reading marks and name of the previous owner.