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When his grieving father orders the destruction of the Dark Library, Victor retrieves a book in which he finds the promise of not just communicating with the dead, but entering their realm, and soon he, Elizabeth, and Henry are in the spirit world of Chateau Frankenstein, creating and growing a body.
Devotion turns deadly in this second Gothic thriller from Printz Honor–winner Kenneth Oppel that is “every bit as thrilling and engaging” (VOYA) as This Dark Endeavor. When does obsession become madness? Tragedy has forced sixteen-year-old Victor Frankenstein to swear off alchemy forever. He burns the Dark Library. He vows he will never dabble in the dark sciences again—just as he vows he will no longer covet Elizabeth, his brother’s betrothed. If only these things were not so tempting. When he and Elizabeth discover a portal into the spirit world, they cannot resist. Together with Victor’s twin, Konrad, and their friend Henry, the four venture into a place of infinite possibilities where power and passion reign. But as they search for the knowledge to raise the dead, they unknowingly unlock a darkness from which they may never return.
Victor Frankenstein leads a charmed life. He and his twin brother, Konrad, and their beautiful cousin Elizabeth take lessons at home and spend their spare time fencing and horseback riding. Along with their friend Henry, they have explored all the hidden passageways and secret rooms of the palatial Frankenstein chateau. Except one. The Dark Library contains ancient tomes written in strange languages, and filled with forbidden knowledge. Their father makes them promise never to visit the library again, but when Konrad becomes deathly ill, Victor knows he must find the book that contains the recipe for the legendary Elixir of Life. The elixir needs only three ingredients. But impossible odds, dangerous alchemy and a bitter love triangle threaten their quest at every turn. Victor knows he must not fail. But his success depends on how far he is willing to push the boundaries of nature, science and love—and how much he is willing to sacrifice.
When his twin brother falls ill in the family's chateau in the independent republic of Geneva, Victor Frankenstein embarks on a quest to create the Elixir of Life described in an ancient text in the family's secret Biblioteka Obscura.
After a murder is committed, Will finds himself in possession of a key that has the potential to unlock the train's hidden treasures. Together with Maren, a gifted escape artist, and Mr Dorian, a circus ringmaster with amazing abilities, Will must save the Boundless before someone else winds up dead. With villains fast on his heels and strange creatures lurking outside the windows, the train hurtles across the country as Will flees for his life.His adventure may have begun without his knowing . . . but how it ends is now entirely up to Will.
Submission: Ella allows James to stay the week in her new home. James. Dominating. Sexy. Younger. James is determined Ella won't escape him. Seduction: In a bold and risky turn, Jess dares Terrie to seduce him. Challenges her to accept her needs, to push her own boundaries.
BOOKER PRIZE WINNER • NATIONAL BESTSELLER • A novel that follows a middle-aged man as he contends with a past he never much thought about—until his closest childhood friends return with a vengeance: one of them from the grave, another maddeningly present. A novel so compelling that it begs to be read in a single setting, The Sense of an Ending has the psychological and emotional depth and sophistication of Henry James at his best, and is a stunning achievement in Julian Barnes's oeuvre. Tony Webster thought he left his past behind as he built a life for himself, and his career has provided him with a secure retirement and an amicable relationship with his ex-wife and daughter, who now has a family of her own. But when he is presented with a mysterious legacy, he is forced to revise his estimation of his own nature and place in the world.
When eternal darkness threatens to invade, Shade and Marina must journey to the far southern jungle to save the world in this thrilling sequel to Silverwing. Shade, a young Silverwing bat in search of his father, discovers a mysterious Human building containing a vast forest. Home to thousands of bats, the indoor forest is as warm as a summer night and teeming with insects to eat. And through the glass roof, the bats can finally see the sun, free from the tyranny of the deadly owls. Is this Paradise the fulfillment of Nocturna’s Promise to return the bats to the light of day? Shade and his Brightwing friend Marina aren’t so sure. Shade has seen Humans enter the forest and take away hundreds of sleeping bats for an unknown purpose. And where is Shade's father? It isn’t long before Shade and Marina are swept up on a perilous journey that takes them to the far southern jungle—the homeland of Goth, now king of all the Vampyrum Spectrum: cannibal bats with three-foot wingspans. With the help of an abandoned owl prince and General Cortez’s rat army, Shade must use all his resourcefulness to find his father—and stop Goth from harnessing the dark powers of Cama Zotz to create eternal night. In this continuation of Shade’s saga, Kenneth Oppel recaptures the adventure and poignancy of Silverwing, which Smithsonian magazine called “a tour-de-force fantasy,” and takes it to a new level of excitement.
Somewhere in the Badlands, embedded deep in centuries-buried rock and sand, lies the skeleton of a massive dinosaur, larger than anything the late nineteenth-century world has ever seen. Some legends call it the Black Beauty, with its bones as black as ebony, but to seventeen-year-old Samuel Bolt, it’s the “rex,” the king dinosaur that could put him and his struggling, temperamental archaeologist father in the history books (and conveniently make his father forget he’s been kicked out of school), if they can just quarry it out. But Samuel and his father aren’t the only ones after the rex. For Rachel Cartland this find could be her ticket to a different life, one where her loves of science and adventure aren’t just relegated to books and sitting rooms. And if she can’t prove herself on this expedition with her professor father, the only adventures she may have to look forward to are marriage or spinsterhood. As their paths cross and the rivalry between their fathers becomes more intense, Samuel and Rachel are pushed closer together. Their flourishing romance is one that will never be allowed. And with both eyeing the same prize, it’s a romance that seems destined for failure. As their attraction deepens, danger looms on the other side of the hills, causing everyone’s secrets to come to light and forcing Samuel and Rachel to make a decision. Can they join forces to find their quarry, and with it a new life together, or will old enmities and prejudices keep them from both the rex and each other?
�EVERY art and every inquiry, and similarly every action and pursuit, is thought to aim at some good; and for this reason the good has rightly been declared to be that at which all things aim. But a certain difference is found among ends; some are activities, others are products apart from the activities that produce them. Where there are ends apart from the actions, it is the nature of the products to be better than the activities. Now, as there are many actions, arts, and sciences, their ends also are many; the end of the medical art is health, that of shipbuilding a vessel, that of strategy victory, that of economics wealth. But where such arts fall under a single capacity- as bridle-making and the other arts concerned with the equipment of horses fall under the art of riding, and this and every military action under strategy, in the same way other arts fall under yet others- in all of these the ends of the master arts are to be preferred to all the subordinate ends; for it is for the sake of the former that the latter are pursued. It makes no difference whether the activities themselves are the ends of the actions, or something else apart from the activities, as in the case of the sciences just mentioned.�
An instant New York Times bestseller! A girl who can speak to gods must save her people without destroying herself. A prince in danger must decide who to trust. A boy with a monstrous secret waits in the wings. Together, they must assassinate the king and stop the war. In a centuries-long war where beauty and brutality meet, their three paths entwine in a shadowy world of spilled blood and mysterious saints, where a forbidden romance threatens to tip the scales between dark and light. Wicked Saints is the thrilling start to Emily A. Duncan’s devastatingly Gothic Something Dark and Holy trilogy. This edition uses deckle edges; the uneven paper edge is intentional.
The New York Times bestseller! A new threat haunts the streets of London… Rory Deveaux has changed in ways she never could have imagined since moving to London and beginning a new life at boarding school. As if her newfound ability to see ghosts hadn’t complicated her life enough, Rory’s recent brush with the Jack the Ripper copycat has left her with an even more unusual and intense power. Now, a new string of inexplicable deaths is threatening London, and Rory has evidence that they are no coincidence. Something sinister is going on, and it is up to her to convince the city’s secret ghost-policing squad to listen before it’s too late.
Utopia is a work of fiction and socio-political satire by Thomas More published in 1516 in Latin. The book is a frame narrative primarily depicting a fictional island society and its religious, social and political customs. Many aspects of More's description of Utopia are reminiscent of life in monasteries.
The Road to Wicked by Kent Drummond,Susan Aronstein,Terri L. Rittenburg Pdf
The Road to Wicked examines the long life of the Oz myth. It is both a study in cultural sustainability— the capacity of artists, narratives, art forms, and genres to remain viable over time—and an examination of the marketing machinery and consumption patterns that make such sustainability possible. Drawing on the fields of macromarketing, consumer behavior, literary and cultural studies, and theories of adaption and remediation, the authors examine key adaptations and extensions of Baum’s 1900 novel. These include the original Oz craze, the MGM film and its television afterlife, Wicked and its extensions, and Oz the Great and Powerful—Disney’s recent (and highly lucrative) venture that builds on the considerable success of Wicked. At the end of the book, the authors offer a foundational framework for a new theory of cultural sustainability and propose a set of explanatory conditions under which any artistic experience might achieve it.