The fourth installment in the Relic Master quartet! Galen and Raffi's quest has brought them to the Pits of Maar. There, below the surface of the world, in the deepest darkness, a most evil thing is waiting for them to come. Watch a Video

Raffi is apprenticed to the Relic Master, Galen, whose task is to keep safe the relics of a bygone age. But his powers are weakening and he and Raffi set off to meet the Makers in the City of the Crows and discover why. The journey is beset with dangers and Raffi's courage is tested at every turn. They are joined by the enigmatic girl Carys and face an uncertain future in the City of Destruction. Will they be able to summon the Crow to help them? Or will the everpresent Watch eventually eliminate them?

Through nigh-on forty years of laconic brilliance on Radio 1, a musical taste which defined a culture and his wildly popular Radio 4 show, Home Truths, John Peel reached out to an audience that was as diverse as his record collection. He was a genuinely great Briton, beloved by millions. John's unique voice and sensibility were evident in everything he did, and nowhere is that more true than in these pages. Margrave of the Marshes is the astonishing book John Peel began to write before his untimely death in October 2004, completed by the woman who knew him best, his wife Sheila. It is a unique and intimate portrait of a life, a marriage and a family which is every bit as extraordinary as the man himself - a fitting tribute to a bona fide legend.

Ottoman-Safavid relations after 1639 have been dismissed as marginal and assumed not to have produced sufficient documentation to facilitate a study, wherefore the subject matter has lacked even an introduction providing basic facts, let alone a comprehensive treatment. This book establishes for the first time the mission exchanges, correspondence, negotiations, and borderland encounters by drawing on scattered and hitherto-untapped archival documents, chronicle entries, and travelogues by the Ottomans, Safavids, and Europeans. Working up the information unearthed thereby, it reconstructs the groundwork of these dealings, highlights trends, and contextualizes the facts. The book refutes the assumption that mid-seventeenth-century interstate scene of the Middle East was eventless, and documents how the parties in question intensively bargained, displayed goodwill, made demands, delivered threats, presented displays of might, asked for privileges as well as concessions, and brought in third parties to their relations, all within an unequal relationship in strength, hierarchy, order of precedence, ranks, and protocol.

Although it lies far back, running roughly from about 1600 to 1750, the Baroque period is far from forgotten and Baroque music is played widely today as well, exercising numerous musicians and attracting rather substantial audiences. It experienced the emergence of a new sort of music, increasingly secular and increasingly good listening, if you will, and also the start of opera. Some of the Baroque composers appear among the most popular of all time, such as Bach, Handel and Vivaldi. So yes, this is a book for researchers, but it is also a good book for anyone who enjoys this music. The Historical Dictionary of Baroque Music certainly fills a significant space in the whole sub-series on music, since it tells us much more not only about the music but also the age that generated it. This is done particularly well in an insightful introduction, with the flow of events traced by the chronology. The dictionary section fills in the missing details with over 400 entries on the most important composers and musicians, some of the musical works themselves, important places and institutions, and a smattering of technical terms. The bibliography directs us to further reading.

A powerful analysis of regional power, filling a major gap in English language writing on medieval Germany.