Over the land of Morenia, dark clouds are forming, and flowers, trees and grass are changing to ash. A young peasant boy, Aragel, finds a hidden letter from his dead father which describes the Forest of Axter, the most beautiful thing he has ever seen and a sight which had made him feel a happiness he had never known before or since, adding mysteriously, `even the dark clouds could not resist their power.' Is the mysterious forest the key to fighting the curse which has overcome Arya? Aragel intends to find out. So begins a journey which takes Aragel to the caves of the Skeleton King and over the Crystal Mountains to a place where he hopes to discover the answer to his quest, and find the mysterious Forest Nymphs. The second and concluding part of the story, Forest Nymphs: Into the World of Shadows, will follow shortlyÿ

In the final book of The Nymph Keepers, Forest struggles with her duties as court herbalist and the expectations of a future queen. Terryn needs her influence to unite the remaining nymphs under one crown and she needs his power to make a better life for her people. Together, they face the rot creeping across Galia’s borders into Ireece. Forest and Flint are tasked with discovering the cause and the cure — but answers are difficult to find and time is running out. In the south, Silic leads the nymphs of the Darkwater against the Herald of the Gods. His heart still belongs to Forest, but his revolutionary ways may lead him too far from her forgiveness. Jay has been captured, and Aleah is suffering the fallout of her alliance with Keelie. They must decide who they’ll save, and who they’ll serve, as their world is forever changed.

In the days of yore, legends and heroes were born and magic thrived. Fairies and nymphs intermingled with human lives. At the Great Gathering in the epicenter of the vast dense forest, the fairy council and Elders meet. There they meet to plot and plan and manipulate the destinies of kings and royalty. They judge their sins and decide their fates. The young hunter Alexander, strides through the forest, stirring the mists as he strolls. A hooded sorceress, Hannah, slinks through the forest and enters a dark cave to visit her sister, Katarina, chained to the cave's slimy walls. Sade, the fairies' protege, emerges from the forest to fulfill the fairies' plan to end the rule of unjust kings. In a circular clearing deep within the forest, Drakkar, the Man-Beast, is raised from the dead to continue his quest for revenge. They are linked by blood and magic. They are the descendants of nymph goddesses--Avani, wood goddess, associated with the forest and trees; Layla, goddess of darkness and night; Marisol, goddess of sun, water, and light; Adara, goddess of wind and fire; Sarika, goddess of earthly pleasures and desire. It's an epic tale of princesses and kings, a tale of secrets, betrayal, misplaced love, and loyalty; a story of heartbreak, lust, greed, and revenge. And the forest, alive with eyes, sees and knows all!

This is the first volume to focus specifically on Rabindranath Tagore’s dramatic literature, visiting translations and adaptations of Tagore’s drama, and cross-cultural encounters in his works. As Asia’s first Nobel Laureate, Tagore’s highly original plays occupy a central position in the Indian theatrescape. Tagore experimented with dance, music, dance drama, and plays, exploring concepts of environment, education, gender and women, postcolonial encounters, romantic idealism, and universality. Tagore’s drama plays a generous host to experimentations with new performance modes, like the writing and staging of an all-women play on stage for the first time, or the use of cross-cultural styles such as Manipuri dance, Thai craft in stage design, or the Baul singing styles. This book is an exciting re-exploration of Tagore’s plays, visiting issues such as his contribution to Indian drama, drama and environment, feminist readings, postcolonial engagements, cross-cultural encounters, drama as performance, translational and adaptation modes, the non-translated or the non-translatable Tagore drama, Tagore drama in the 21st century, and Indian film. The volume serves as a wide-ranging and up-to-date resource on the criticism of Tagore drama, and will appeal to a range of Theatre and Performance scholars as well as those interested in Indian theatre, literature, and film.

A human foundling child, adopted by a wood-nymph and raised by the creatures who inhabit a magical forest, grows up to be the immortal Santa Claus

The Spirits and Creatures series takes an in-depth look at spirits and creatures across Eastern Europe. Author Ronesa Aveela grew up in Bulgaria where many of these entities were part of the tales and beliefs her grandmother told to her. This series will look at the origins of these beings, and popular ways people believed you could appease or defeat them. Illustrations, stories, music, and videos add to the details of these fascinating beings. This collection contains the first three books of the series, plus a book of additional dragon tales: *A Study of Household Spirits of Eastern Europe *A Study of Rusalki – Slavic Mermaids of Eastern Europe *A Study of Dragons of Eastern Europe *Dragon Tales from Eastern Europe Although the books have extensive research, they are meant for a non-academic audience.