Dance of the Gods
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Combining elements of the supernatural with gripping suspense and seduction, #1 New York Times bestselling author Nora Roberts presents the second novel in her Circle Trilogy… He saw where the earth was scorched, where it was trampled. He saw his own hoofprints left in the sodden earth when he’d galloped through the battle in the form of a horse. And he saw the woman who’d ridden him, slashing destruction with a flaming sword… Blair Murphy has always worked alone. Destined to be a demon hunter in a world that doesn’t believe in such things, she lives for the kill. But now, she finds herself the warrior in a circle of six, chosen by the goddess Morrigan to defeat the vampire Lilith and her minions. Learning to trust the others has been hard, for Blair has never allowed herself such a luxury. But she finds herself drawn to Larkin, a man of many shapes. As a horse, he is proud and graceful; as a dragon, beautifully fierce; and as a man…well, Blair has never seen one quite so ruggedly handsome and playfully charming as this nobleman from the past. In two months’ time, the circle of six will face Lilith and her army in Geall. To complete preparations and round up forces to fight, the circle travels through time to Larkin’s world, where Blair must choose between battling her overwhelming attraction to him—or risking everything for a love that can never be… Don’t miss the other books in the Circle Trilogy Morrigan’s Cross Valley of Silence
When Kent Nerburn received a letter from Jennifer, a young woman questioning her calling to spend her life in the arts, the writer and artist was struck by how closely her questions mirrored the doubts and yearnings of his own youth. Nerburn resolved that he would write his own letter: a letter of welcome and encouragement to all young artists setting out on the same strange and magical journey, sharing the wisdom of a life spent working in the arts. From struggles with money and the bitterness of rejection, to spiritual questions of inspiration and authenticity, Dancing With the Gods offers insight, solace and courage to help young artists on the winding road to artistic fulfilment. Tender and joyous, it is a celebration of art's power to transform the darkest of human experience and give voice to the grandest of human hopes.
#1 New York Times bestselling author Nora Roberts' Circle Trilogy begins with an epic tale that breaks down the boundaries between reality and the otherworldly, while forging together the passions of the men and women caught in a battle for the fate of humanity… In the last days of high summer, with lightning striking blue in a black sky, the sorcerer stood on a high cliff overlooking the raging sea… Belting out his grief into the storm, Hoyt Mac Cionaoith rails against the evil that has torn his twin brother from their family’s embrace. Her name is Lilith. Existing for over a thousand years, she has lured countless men to an immortal doom with her soul-stealing kiss. But now, this woman known as vampire will stop at nothing until she rules this world—and those beyond it… Hoyt is no match for the dark siren. But his powers come from the goddess Morrigan, and it is through her that he will get his chance at vengeance. At Morrigan’s charge, he must gather five others to form a ring of power strong enough to overcome Lilith. A circle of six: himself, the witch, the warrior, the scholar, the one of many forms, and the one he’s lost. And it is in this circle, hundreds of years in the future, where Hoyt will learn how strong his spirit—and his heart—have become… Don’t miss the other books in the Circle Trilogy Dance of the Gods Valley of Silence
#1 New York Times bestselling author Nora Roberts presents the electrifying conclusion to her powerful Circle Trilogy. Worlds have collided and centuries have elapsed as six people have brought their unique powers, their courage, and their hearts to a battle that could drown humanity in darkness… Her face, so pale when she’d removed her cloak, had bloomed when her hand had taken the sword. Her eyes, so heavy, so somber, had gone as brilliant as the blade. And had simply sliced through him, keen as a sword, when they’d met his… In the kingdom of Geall, the scholarly Moira has taken up the sword of her people. Now, as queen, she must prepare her subjects for the greatest battle they will ever fight—against an enemy more vicious than any they have seen. For Lilith, the most powerful vampire in the world, has followed the circle of six through time to Geall. Moira also has a personal score to settle. Vampires killed her mother—and now, she is ready to exact her revenge. But there is one vampire to whom she would trust her soul… Cian was changed by Lilith centuries ago. But now, he stands with the circle. Without hesitation, he will kill others of his kind—and has earned the respect of sorcerer, witch, warrior, and shape-shifter. But he wants more than respect from Moira—even though his desire for her makes him vulnerable. For how can a man with an eternity to live love a woman whose life is sure to end—if not by Lilith’s hand, then by the curse of time? “[Roberts] is one of the best writers in the romance world.”—The Best Reviews
"February 1913- When seventeen-year-old Leda, clutching only a suitcase and her father's cherished violin, arrives in Buenos Aires, she is shocked to find that the husband she has travelled across an ocean to reach has been killed. Unable to return home, alone, and on the brink of destitution, she is seduced by the tango, the dance that underscores life in her new city. Leda knows, however, that she can never play in public as a woman, so she disguises herself as a young man to join a troupe of musicians. In the illicit, scandalous world of brothels and cabarets, the lines between Leda and her disguise begin to blur, and romantic longings that she has long kept suppressed are realized for the first time."
The author of Spell of Catastrophe and Spell of Intrigue delivers “a winner . . . An off-the-wall kind of fantasy” in the third Dance of Gods adventure (Interzone). Trouble is converging on the imperial city of Peridol, and whatever dance the gods are planning, Maximillian the Vaguely Disreputable wants to stay out of it. No such luck, though—it’s up to Max and his friends the Great Karlini and the Creeping Sword to unseat the despotic gods, who treat the mortal realm like a giant chess board. But with the gods fighting amongst themselves, no one is going to win this battle anytime soon—until a long-forgotten player re-enters the dance . . . “I was utterly hooked . . . The nearest I can get to the general tenor is The Man from U.N.C.L.E. with magic rings instead of talking pens.” —Interzone “Like riding on a racing carousel.” —Kliatt
In Cambodia, classical dance is the quintessence of the country's identity. An art form that was religious in origin, its traditions date back more than a thousand years to the great Khmer empire. Dancers performed in temples at Angkor and were the livi
The Maya of Mexico and Central America have performed ritual dances for more than two millennia. Dance is still an essential component of religious experience today, serving as a medium for communication with the supernatural. During the Late Classic period (AD 600-900), dance assumed additional importance in Maya royal courts through an association with feasting and gift exchange. These performances allowed rulers to forge political alliances and demonstrate their control of trade in luxury goods. The aesthetic values embodied in these performances were closely tied to Maya social structure, expressing notions of gender, rank, and status. Dance was thus not simply entertainment, but was fundamental to ancient Maya notions of social, religious, and political identity. Using an innovative interdisciplinary approach, Matthew Looper examines several types of data relevant to ancient Maya dance, including hieroglyphic texts, pictorial images in diverse media, and architecture. A series of case studies illustrates the application of various analytical methodologies and offers interpretations of the form, meaning, and social significance of dance performance. Although the nuances of movement in Maya dances are impossible to recover, Looper demonstrates that a wealth of other data survives which allows a detailed consideration of many aspects of performance. To Be Like Gods thus provides the first comprehensive interpretation of the role of dance in ancient Maya society and also serves as a model for comparative research in the archaeology of performance.
The aim of my dissertation is to identify the genre or genres to which the shorter Homeric Hymns belong. By "shorter hymns" I mean all of the members of the collection except hymns 1-5, which are considerably longer, and hymn 8, a late outlier, widely considered to be an interpolation into the corpus. Both the scope of the project and the genre-based approach are dictated by the same fact: the relative neglect of the short hymns in previous scholarship. They have received little notice individually, and have never been the object of systematic study. Chapter 1 delves into both of these issues in detail, summarizing the previous scholarship on the topic and articulating the theoretical framework that will be employed throughout. Because the approach to genre I adopt is historical, chapter 2 focuses entirely on the question of date. In this chapter, therefore, I choose to identify and interpret intertexts between the hymns and other works of literature, in the hopes of identifying termini post and ante quem for as many as possible. This allusive dating method is supplemented by the evidence of vase paintings and a study of the "orality" of the texts. Although not every hymn turns out to be datable, I argue that all those that do were composed no later than the late fifth century BCE. Chapter 3 turns to the question of genre, evaluated through a study of the structure, content, and ideology. The short hymns contain an odd mixture of "hymnic" and "epic" features, resembling both but clearly belonging to neither. Chapter 4 adopts a different approach to the issue, based not on formal features but on performance. I conclude that the hymns were performed by bards or rhapsodes, before or after an epic recitation, and either at religious festivals or as banqueting entertainment. In such a venue, their function would have been to make the hymned gods present as members of the audience, and thus lend legitimacy to the performance that followed. Chapter 5 explores the ramifications of these conclusions, for the hymn collection, genre theory, and the history of literature.
“Plenty of adventure and a dollop of humor” spark the final fantasy in this “intriguing and delightfully funny series” by the author of Spell of Fate (Locus). When the Great Karlini’s laboratory catches on fire, Maximillian the Vaguely Disreputable knows it’s a sign of bad things to come. The last battle between gods and mortals is looming; before it does, certain answers must come to light. Just who is the Creeping Sword? Will Shaa free himself from the curse his brother inflicted upon him? And most important of all, who will be left standing? The Dance of Gods concludes in a fast-paced final movement. “This is a charming, lighthearted fantasy. The gods are so klutzy and the magic is so ill-fated that the reader smiles through dungeons, fire and death . . . The action is non-stop and always exciting. The final fight is a doozy . . . An amusing climax in which all story lines from the earlier volumes come to a conclusion.” —Voya “Zany, entertaining reading for anyone who enjoyed the first three books of the Dance of Gods series.” —Kliatt “Wild and woolly adventure abounding with inept sorcery, strange gods and downright funny fantasy.” —Rave Reviews Book Club
The fantastical Dance of Gods series kicks off with “a huge blast of action . . . leaving the reader breathless but satisfied” (Kliatt). In a world of magic, where computers and nanotechnology are long gone, where thoughtless gods struggle for power with little regard for those below, one unlucky man must make some tough decisions . . . Maximillian the Vaguely Disreputable isn’t sure what’s going on in the village of Roosing Oolvaya. Someone—probably a god—has trapped Max’s friend, the Great Karlini, in a castle that keeps trying to move at the most inconvenient times, and naturally it’s up to Max to figure out how to spring him. But the gods throwing their weight around in Roosing Oolvaya are more than Max bargained for, and soon he’s caught between necromancers, working with a detective named the Creeping Sword, and even dancing with Death itself in a desperate attempt to save the city from catastrophe. “A generally humorous and entertaining piece.” —Science Fiction Chronicle “An enjoyable book. The characters have a sense of who they are and can laugh at their own foibles. The action moves swiftly.” —Locus “Another bit of good reading . . . Plenty of action, likeable characters, plot twists galore a light-hearted humorous style and some pretty good lines.” —Out of This World Tribune & Niekas
A collection of essays by distinguished writers, critics and artists which addresses the discipline of African dance both on the continent and in the wider Diaspora. Includes a contribution from the distinguished Jamaican choreographer Sir Rex Nettleford.
Glamour of the Gods is a survey of Hollywood portraiture from the industry's golden age, a period lasting from 1920 to 1960. All the photographs were selected from the astonishing archive of the John Kobal Foundation in London.
Relating the rigors of dance to the travails of the alchemical opus, the author, herself a former Martha Graham dancer, allows us to experience the process that for many gives birth to an enhanced awareness of the Self. A timely reminder of the interaction between body and soul.
When Kenny Pearl arrived in New York City, determined to succeed as a dancer, he was penniless, friendless and jobless. His memories shine against the backdrop of the turbulent ’60s and ’70s, including Vietnam War protests, the military draft and the rampant crime that once plagued the city. From humble beginnings in the hippie-populated Lower East Side, to performing with the greats of the New York modern dance scene—he danced with the companies of both Martha Graham and Alvin Ailey—Pearl’s life is one of tenacity, hard work and passion. This is the engaging story of the hurdles he faced on his unique journey and the remarkable people he met along the way. www.dancegodsbook.com