Four girls with the power to control the elements and save the world from a terrible evil must come together in the first epic novel in a brand-new series. When Phantoms--massive beasts made from nightmares and darkness--suddenly appeared and began terrorizing the world, four girls, the Effigies, each gained a unique power to control one of the classical elements: earth, air, fire, and water. Since then, four girls across the world have continually fought against the Phantoms, fulfilling their cosmic duty. And when one Effigy dies, another girl gains her power as a replacement. But now, with technologies in place to protect the world's major cities from Phantom attacks, the Effigies have stopped defending humanity and, instead, have become international celebrities, with their heroic feats ranked, televised, and talked about in online fandoms. Until the day that New York City's protection against the Phantoms fails, a man seems to be able to control them by sheer force of will, and Maia, a high school student, unexpectedly becomes the Fire Effigy. Now Maia has been thrown into battle with three girls who want nothing to do with one another. But with the first human villain that the girls have ever faced, and an army of Phantoms preparing for attack, there isn't much time for the Effigies to learn how to work together. Can the girls take control of their destinies before the world is destroyed forever?

The Effigies must uncover the connection between Saul, Blackwell, and the Phantoms before it’s too late in this epic conclusion to the Effigies trilogy. The world is in chaos. After Saul’s strike on Oslo—one seemingly led by Maia herself—the Effigies’ reputation is in shambles. Now they’re being hunted by nations across the globe, grouped in with the very terrorists they’ve been trying to stop. With Maia’s resurrected twin, June, carrying out vicious attacks across the world, everyone believes Maia is a killer. Belle has gone rogue, Chae Rin and Lake have disappeared, and the Sect is being dismantled and replaced by a terrifying new world order helmed by Blackwell. As for Saul, his ultimate plan still remains a mystery. And Maia? No one has seen or heard from her in weeks. It’s all somehow connected—Saul, Phantoms, the Effigies, everything. But if the Effigies can’t put the pieces together soon, there may not be much left of the world they’ve fought so desperately to save.

This text is meant to educate and help people with the identification of unusual stones fashioned by early man. Many of these stones are nothing short of true works of art, as you will see. In these pages are photographs and drawings of stones collected over thirty years, and four years to write this book—60,000 words and 318 photos and drawings to help you understand how ancient man used and really looked at a stone, and you will too. There's no book like this on earth!

Framed by evocative inscriptions, tumultuous historical events, and the ambiguities of Christian death, Romanesque tomb effigies were the first large-scale figural monuments for the departed in European art. In this book, Shirin Fozi explores these provocative markers of life and death, establishing early tomb figures as a coherent genre that hinged upon histories of failure and frustrated ambition. In sharp contrast to later recumbent funerary figures, none of the known European tomb effigies made before circa 1180 were commissioned by the people they represented, and all of the identifiable examples of these tombs were dedicated to individuals whose legacies were fraught rather than triumphant. Fozi draws on this evidence to argue that Romanesque effigies were created to address social rather than individual anxieties: they compensated for defeat by converting local losses into an expectation of eternal victory, comforting the embarrassed heirs of those whose histories were marked by misfortune and offering compensation for the disappointments of the world. Featuring numerous examples and engaging the visual, historical, and theological contexts that inform them, this groundbreaking work adds a fresh dimension to the study of monumental sculpture and the idea of the individual in the northern European Middle Ages. It will appeal to scholars of art history and medieval studies.

The Effigies seek out the true origins of the Phantoms that terrorize their world in this thrilling follow-up to Fate of Flames, which Elise Chapman calls “an immersive and monstrously fun read.” There’s nowhere to hide. Not when you’re an Effigy. No matter where they go, Maia and the other Effigies can’t escape the eyes of the press—especially not after failing to capture Saul, whose power to control the monstrous Phantoms has left the world in a state of panic. It’s been two months since Saul’s disappearance, and there’s still no sign of him, leaving the public to wonder whether the Sect—and the Effigies—are capable of protecting anyone. When Saul suddenly surfaces in the middle of the Sahara desert, the Sect sends Maia and her friends out after him. But instead of Saul, they discover a dying soldier engineered with Effigy-like abilities. Even worse, there may be more soldiers like him out there, and it looks like the Effigies are their prime targets. Yet the looming danger of Saul and this mysterious new army doesn’t overshadow Maia’s fear of the Sect, who ordered the death of the previous Fire Effigy, Natalya. With enemies on all sides and the world turning against them, the Effigies have to put their trust in each other—easier said than done when secrets threaten to tear them apart.

Westminster Abbey contains a unique and important group of effigies, some familiar, many little-known, including kings, queens, statesmen and national heroes, ranging in time from the middle ages to the early nineteenth century. They derive from a time when an effigy of the dead monarch, statesman or national hero played an important part in funeral ritual, offering a visible likeness as a focus to the ceremonial of the funeral. This richly illustrated book, which is the first substantial publication on the effigies since 1936, is both a history of the collection and of the origins and development of the funeral effigy, and a full descriptive catalogue of the twenty-one examples in the Abbey. Copyright © Libri GmbH. All rights reserved.

Between A.D. 700 and 1100 Native Americans built more effigy mounds in Wisconsin than anywhere else in North America, with an estimated 1,300 mounds—including the world’s largest known bird effigy—at the center of effigy-building culture in and around Madison, Wisconsin. These huge earthworks, sculpted in the shape of birds, mammals, and other figures, have aroused curiosity for generations and together comprise a vast effigy mound ceremonial landscape. Farming and industrialization destroyed most of these mounds, leaving the mysteries of who built them and why they were made. The remaining mounds are protected today and many can be visited. explores the cultural, historical, and ceremonial meanings of the mounds in an informative, abundantly illustrated book and guide. Finalist, Social Science, Midwest Book Awards

On July 21, 1578, the Mexican town of Tecamachalco awoke to news of a scandal. A doll-like effigy hung from the door of the town's church. Its two-faced head had black chicken feathers instead of hair. Each mouth had a tongue sewn onto it, one with a forked end, the other with a gag tied around it. Signs and symbols adorned the effigy, including a sambenito, the garment that the Inquisition imposed on heretics. Below the effigy lay a pile of firewood. Taken together, the effigy, signs, and symbols conveyed a deadly message: the victim of the scandal was a Jew who should burn at the stake. Over the course of four years, inquisitors conducted nine trials and interrogated dozens of witnesses, whose testimonials revealed a vivid portrait of friendship, love, hatred, and the power of rumor in a Mexican colonial town. A story of dishonor and revenge, Death by Effigy also reveals the power of the Inquisition's symbols, their susceptibility to theft and misuse, and the terrible consequences of doing so in the New World. Recently established and anxious to assert its authority, the Mexican Inquisition relentlessly pursued the perpetrators. Lying, forgery, defamation, rape, theft, and physical aggression did not concern the Inquisition as much as the misuse of the Holy Office's name, whose political mission required defending its symbols. Drawing on inquisitorial papers from the Mexican Inquisition's archive, Luis R. Corteguera weaves a rich narrative that leads readers into a world vastly different from our own, one in which symbols were as powerful as the sword.

These five first books join to represent a freshly emerging 21st Century Indigenous Mainland poetry. This collection releases a reader into parallel spaces of Native culture as diverse as the US-occupied landscapes they embody; the desert Southwest, the Pacific Northwest, Eastern Woodlands, Great Lakes Region, Kansas and Oklahoma, bringing a bit of urban and rural symphony by resisting folds into Americana with courageous unfolding imagery in a serious range of departure. Five debut books present a fistful of furious nature, supple with beauty and brilliance and packing the punch intentional poetry delivers. This is a fearless collection of evocative and challenging verse. Effigies II is a road trip through Indian Country with five American Indian women poets who bring it all back home.“The Tecumseh Motel traces a parallel path of Shawnee culture and personal history. Spanning from the period of Indian Removal to the present, this text lyrically examines identity, generational memory, and the importance of place.” —LAURA DA“This book explores the images of the American West. From the neon light of honky tonk barrooms to the Southwestern landscape to the railroad, dirt roads and grandmothers’ living rooms.” —UNGILBAH DAVILA“A narrative through wrenching spaces in the life of one descendant wrestling with post apocalyptic identity, grounded by persistently supportive ancestors and helpers determined to see their blood survive and resist colonial assimilation through disembodiment” —KRISTI LEORA“Patterns capture me—those archetypical, culturally transcendent symbols that connect. The light is in us all. These vignettes of descending and ascending capture a moment, part of its own larger rhythm.” LARA MANN“In Tongues is in the rawest place I could take it. It is the visceral gulf between history and imagination.” —KATERI MENOMINEE