The Seventh Terrace is an exciting story which features contemporary threats to the Baltic States, Ukraine and the Middle East and is set against a background of European classical music. This is the fifth book in the Livonia Saga.

When an accident leads to a dead hitchhiker with a pocket full of strange coins, Stephen is drawn into an ill-advised cover up and soon finds himself in the grip of a travelling curse born of old, deep wounds.

This book, first published in 1982, was the first translation of the Chinese classic Yü-t-‘ai hsin-yung – the unique anthology of love poems, compiled in AD 545. This traces the development of love poetry from the second century BC to its full flowering in the fifth and sixth centuries AD. Dr Birrell’s incisive introductory essay provides a concise survey of the historical and literary setting to the poems and explains the conventions governing courtly love poetry. In particular, the reader’s attention is drawn to the many and varied artistic uses of imagery in the poems. Major poets are noted for their artistic achievement and for their contribution to the development of the genre. Dr Birrell also supplies a valuable section of notes on the poems to guide the reader through unfamiliar historical events, legends, anecdotes and famous places and people, and there is a similar section of notes on the poets offering biographical details.

The Seventh Victim by Joanne Spencer [--------------------------------------------]

For four thousand years, the lavish crypt of the Pharaoh Mamose has never been found-- until the beautiful Egyptologist Royan Al Simma finds a tantalizing clue to its location in the Seventh Scroll, a cryptic document written by the slave Taita. But the location of the crypt and its treasure is a secret others would kill to possess. Only one step ahead of assassins, Royan runs for her life and into the arms of the only man she can trust, Sir Nicholas Quenton-Harper-- a daring man who will stake his fortune and his life to join her hunt for the king's tomb. Together, they will embark on a breathtaking journey to the most exotic locale on earth, where the greatest mystery of ancient Egypt, a chilling danger, and an explosive passion are waiting. Steeped in ancient mystery, drama, and action, Wilbur Smith's The Seventh Scroll will pull you in for an adventure of a lifetime.

Love twisted into horrific shapes, nightmares driven by cruel music, and a world where what little light remains fractures the sky into midnight rainbows in eighteen stories tracing the dark veins of queer horror, isolation, and the monstrous feminine. The universe unwinds to the tune of a malicious ice cream truck jingle in "We All Scream". "The Law of Conservation of Death" dictates that a ghost pursue his prey across her every reincarnation. Superstitions thrive even in the distant future and across the stars when a colony shuttle mounts a witch trial in "Hairy Jack". And try to "Forgive the Adoring Beast" as it scavenges a world of dead gods for tokens of bloody affection. Including two new short stories and a never-before-published novelette, Unfortunate Elements of My Anatomy digs deep inside us and clings to the beating nightmare heart you always knew was there.

Since the beginning of network television, many shows have been preceded by an announcement or theme song that served various purposes. In the 1950s and ’60s, it was common for announcers to declare that a program had been “brought to you by” a sponsor who paid for the privilege of introducing a show. Other programs, such as The Twilight Zone, Star Trek, and The Odd Couple,provided a brief encapsulation of the show’s subject matter, a practice that has continued for recent shows like Alias, Battlestar Galactica, Person of Interest, and the various editions of Law & Order. In Television Introductions: Narrated TV Program Openings since 1949, Vincent Terrace has assembled openings for more than nine hundred television shows from the past seven decades. The only documented history of narrated television program introductions, this volume is arranged by type of programming, such as comedy, drama, Western, game show, soap opera, and children’s show. In addition to quoting the opening material, entries provide information about each show’s network history and years of broadcast. Many entries include descriptions of the show, the names of announcers, and a list of main cast members, as well as a sponsor pitch exactly as spoken. Openings for programs with multiple introductions like The Adventures of Ozzie and Harriet and Charlie’s Angels are also included. For programs that featured new guest stars every episode—such as game shows and variety programs—Terrace has selected a representative introduction. In addition to the theme song credits found in the main text, there are also appendixes of theme songs and their composers and/or singers, as well as a listing of commercial releases (on DVD, VHS, CD, and LP) of shows and their soundtracks. A comprehensive resource for researchers and pop culture aficionados alike, Television Introductions provides a fascinating look at this neglected part of TV history.

A superb historical novel about Richard III, the notorious hunchback king whose burial site was recently uncovered, which will appeal to fans of Josephine Tey's THE DAUGHTER OF TIME, Philippa Gregory's THE KINGMAKER'S DAUGHTER, and readers of Hilary Mantel. At the heart of this stunning novel is the complex human being known to history as Richard III, a king whose reign is darkened by the murder of the young Princes in the Tower, but who also found a touching love with the woman he married, and possessed immense courage. As goes the old adage 'history is written by the victors', so Richard III's own story was corrupted by the spokesman of the Tudor regime, William Shakespeare. And yet here is a man who inspired loyalty and hatred in almost equal measure, until at last the implacable enmity of one woman brought about his downfall. In this classic novel, the paradox of England's most enigmatic king is vividly brought to life. It is a family drama in the grand tradition, a tale of brother against brother, cousin against cousin, of love, hate and intrigue, of women inescapably entangled in the fates of their men, and of a mystery that has exercised people's minds for more than five hundred years.

Accepting Dante's prophetic truth claims on their own terms, Teodolinda Barolini proposes a "detheologized" reading as a global new approach to the Divine Comedy. Not aimed at excising theological concerns from Dante, this approach instead attempts to break out of the hermeneutic guidelines that Dante structured into his poem and that have resulted in theologized readings whose outcomes have been overdetermined by the poet. By detheologizing, the reader can emerge from this poet's hall of mirrors and discover the narrative techniques that enabled Dante to forge a true fiction. Foregrounding the formal exigencies that Dante masked as ideology, Barolini moves from the problems of beginning to those of closure, focusing always on the narrative journey. Her investigation--which treats such topics as the visionary and the poet, the One and the many, narrative and time--reveals some of the transgressive paths trodden by a master of mimesis, some of the ways in which Dante's poetic adventuring is indeed, according to his own lights, Ulyssean.