![]() ![]() Phillip lives and writes in Auckland, New Zealand with his wife Rose, their son, Jack and their two border terriers, Whiskey and Raffles. When not writing, he works as a school teacher. He is represented by Vicki Marsdon at Wordlink literary agency. ![]() His first young adult novel, Rapture (Rapture Trilogy #1), was shortlisted for the Sir Julius Vogel Awards for best Youth novel in 2012. ![]() Before embarking on his writing career, he joined the army as an officer cadet, owned a comic shop and worked in recruitment in both the UK and Australia. He is currently working towards his Doctorate in Education, focusing on teaching children's creative writing. He received his undergraduate degree in Ancient History and Archaeology, his Masters (Hons) degree in Archaeology and his Masters (Hons) degree in Creative Writing from the University of Auckland. His publishers include Macmillan, Penguin, Pearson, Cengage, Raintree and Oxford University Press. Simpson is the author of many novels, chapter books and other stories for children. ![]()
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![]() ![]() ![]() His last chance at saving her is entering the games and winning.Ĭalla finds both an unexpected alliance with Anton and help from King Kasa’s adopted son, August, who wants to mend Talin’s ills. Thankfully, he’s one of the best jumpers in the kingdom, flitting from body to body at will. His childhood love has lain in a coma since they were both ousted from the palace, and he’s deep in debt trying to keep her alive. Her reclusive uncle always greets the victor of the games, so if she wins, she gets her opportunity at last to kill him.Įnter Anton Makusa, an exiled aristocrat. Before King Kasa’s forces in San can catch her, she plans to finish the job and bring down the monarchy. ![]() Five years ago, a massacre killed her parents and left the palace of Er empty.and she was the one who did it. For those confident enough in their ability to jump between bodies, competitors across San-Er fight to the death to win unimaginable riches. ![]() #1 New York Times bestselling YA author Chloe Gong’s adult epic fantasy debut, inspired by Shakespeare’s Antony and Cleopatra, is a fiery collision of power plays, spilled blood, and romance amidst a set of deadly games.Įvery year, thousands in the kingdom of Talin will flock to its capital twin cities, San-Er, where the palace hosts a set of games. ![]() ![]() ![]() ![]() ![]() From the Orwellian apparatus devised in the classic 1984, which threatened the population with the warning, “Big Brother is watching you”, to more modern and sophisticated forms of surveillance (or, more precisely, dataveillance and biometrics), privacy concerns, freedom and truth are urgent issues in our contemporary global world dominated by information technology.Ĭoncerns of this kind were raised already in the 1970s by Michel Foucault in his influential works Discipline and Punish and History of Sexuality. Put at the service of power, silence can be a potent device to control society, becoming a means for disempowerment as much as a strategy for survival. Yet, its primary function goes beyond being a mere vehicle for expression, as it can turn into an effective tool to regulate the dynamics of dominance and submission. Unquestionably, silence is an indispensable resource for communication human interaction is not possible without it. Listen to silences,” Samuel Beckett once said. ![]() ![]() “She’s as brave and determined as she is curious and compassionate.”Īs Willa overheard the two day-folk men talking about whether the earth was fl at or round, she shook her head. “Willa is a mysterious, 12-year-old girl with special powers,” Beatty says. An orphaned forest girl, Willa scavenges for her own existence and that of her clan, the Faeran people, taking from the woods around her and stealing into the homes of the “day-folk” living in the Great Smoky Mountains during the heyday of the timber industry. ![]() Readers of The Laurel are treated here to an exclusive preview of Willa of the Wood’s fi rst two suspenseful chapters. ![]() Following the success of his New York Times bestselling Serafina series, author Robert Beatty introduces Willa of the Wood, the first title in the Willa series, set for nationwide release on Tuesday, July 10. ![]() ![]() ![]() ![]() Personally, I'm a big fan of the show, which is why I was interested in the novels in the first place. This is the sixth of the novels based on Torchwood, a dark spin off from Doctor Who. It doesn't matter whether the events are true or not, this is exactly what would happen. And Rhys too, but he isn't a team member. Only Ianto is worthy to be anywhere near Jack. Jack's team is the most incompetent group of petty, insecure and jealous individuals I've seen. I know that some might argue that all that was imaginary or that they were out of character (I disagree), but most of the actions were exactly the things those people would do given enough chance. The events here show exactly the kind of people Jack works with. The events from End of Days are mentioned too. Torchwood fans won't be surprised by Billis Manger's ability to show a future to Jack's team. While people can at least try to live, make it better or whatever they tried to do there, Jack can't can't even enter. It is not surprising then that there are a lot of ghost stories connected to Tretarri. Every time people try to live there, something drives them away. Every time someone tries to do something about it, nothing happens. The whole story revolves around a part of Cardiff that nobody can do anything about. It is one of the most enigmatic enemies they have. There are moments that made me want to scream, but since this is basically an all Jack story, I think it deserves a higher rating from me.įor those who have watched Torchwood, they know Billis Manger very well. ![]() ![]() ![]() The youthful Peter Parquagh is taken under the tutelage of the Queen’s spymaster Nicholas Fury. ![]() Matt Murdoch is cavalier minstrel employing his athleticism in the service of the crown, and using his seeming blindness to catch enemies off-guard. Some are very well concealed, others lacking any superhuman abilities, and others still endearingly re-cast. Every other non-historical character is an iteration of a Marvel standby who first appeared in 1964 or earlier. With the exception of a character resembling Snowbird from the 1980s Alpha Flight, Gaiman restricted his cast to he first flush of Marvel heroes and villains. This is a well-written alternate world superhero story from an intelligent writer who’s carried out some research, but no more. This was Neil Gaiman returning to write his first comics in years, but those expecting the depth of his previous work are likely to be very disappointed. It’s difficult to remove 1602 from the event it was promoted as. ![]() ![]() ![]() If you do nothing, you will be auto-enrolled in our premium digital monthly subscription plan and retain complete access for $69 per month.įor cost savings, you can change your plan at any time online in the “Settings & Account” section. For a full comparison of Standard and Premium Digital, click here.Ĭhange the plan you will roll onto at any time during your trial by visiting the “Settings & Account” section. Premium Digital includes access to our premier business column, Lex, as well as 15 curated newsletters covering key business themes with original, in-depth reporting. Standard Digital includes access to a wealth of global news, analysis and expert opinion. During your trial you will have complete digital access to FT.com with everything in both of our Standard Digital and Premium Digital packages. ![]() ![]() He says in a December 2008 online interview that this is due to polyps in his throat which were so severe that a doctor told him he was taking in ten percent of the air he was supposed to have been getting. While Barker is critical of organized religion, he has stated that he is a believer in both God and the afterlife, and that the Bible influences his work.įans have noticed of late that Barker's voice has become gravelly and coarse. ![]() This award is presented "to an openly lesbian, gay, bisexual or transgender individual who has made a significant difference in promoting equal rights for any of those communities". ![]() In 2003, Clive Barker received The Davidson/Valentini Award at the 15th GLAAD Media Awards. Barker's second long-term relationship, with photographer David Armstrong, ended in 2009. It was in Liverpool in 1975 that he met his first partner, John Gregson, with whom he lived until 1986. Educated at Dovedale Primary School and Quarry Bank High School, he studied English and Philosophy at Liverpool University and his picture now hangs in the entrance hallway to the Philosophy Department. ![]() Clive Barker was born in Liverpool, England, the son of Joan Rubie (née Revill), a painter and school welfare officer, and Leonard Barker, a personnel director for an industrial relations firm. ![]() ![]() ![]() Surely, his imagination is getting the better of him. Setting sail on a time-sensitive voyage to Portugal, he's stunned to find a woman waiting for him in his cabin. ![]() Known to society as a rascal and reckless privateer, Captain Andrew James Rokesby actually transports essential goods and documents for the British government. But her delight turns to dismay when two pirates kidnap her and take her aboard a ship, leaving her bound and gagged on the captain's bed… While visiting a friend on the Dorset coast, Poppy is pleasantly surprised to discover a smugglers' hideaway tucked inside a cave. ![]() Sadly, none of the fools from her London season qualify. Fiercely independent and adventurous, Poppy Bridgerton will only wed a suitor whose keen intellect and interests match her own. ![]() ![]() ![]() ![]() ![]() The novel is characterised by a pessimist outlook on life fuelled by evolution theory and the philosophy of Arthur Schopenhauer. The interlacing of multiple dimensions of time (consciousness) forms the major topical and structural feature that is reflected in character psychology, narrative structure, focalisation patterns, leitmotifs and carefully wrought repetitions with differences that often appear as variations and inversions and reveal Hardy’s insight into the iterability of the signifier. Taking the cue from Thomas Mann, Hardy’s last novel is then analysed as a Zeitroman. Hardy’s sparse theoretical remarks on the writing of fiction will be taken into account to contextualise questions of realism and naturalism. The essay presents Hardy’s Jude the Obscure as a paradigmatic text of English literature in transition from Victorianism to literary modernism. ![]() |