Tal and Milla are only one step away from death, while the evil that has controlled their world for so long is about to triumph. If the Veil is lifted, nothing can save the Dark World. Their one glimmer of hope is to confront the monster Sharrakor and regain the violet keystone.

First of a thrilling fantasy adventure series set on the Dark World, where society is ranked according to its colour clan and the most precious commodity is light. In all the world there is only one place that ever sees the sun. A seven-towered castle built upon a mountain high above the desolate ice lands below.

Fourth of the thrilling fantasy adventure series set on the Dark World, where society is ranked according to its colour clan and the most precious commodity is light. Tal and Milla are no longer alone in their quest. They have been joined by the rebel Underfolk led by Crow, Tal's old foe. But now they must all work together to discover the secrets of the Castle and the Dark World they all inhabit before it is too late. The darkness is growing deeper. The shadows are growing stronger. And Tal and Milla are in greater danger than ever before...

Castle society is based on the order that the Underfolk are servants to the Chosen, the Spiritshadows are bound to humans, and Icecarl warriors are an outside threat to the order. Tai and Milla, with the help of two Spiritshadows from the dreamworld of Aenir, and a fierce band of Underfolk rebels, must uncover a dark conspiracy.

The Book of Lies was written by English occultist and teacher Aleister Crowley under the pen name of Frater Perdurabo. As Crowley describes it: "This book deals with many matters on all planes of the very highest importance. It is an official publication for Babes of the Abyss, but is recommended even to beginners as highly suggestive." The book consists of 91 chapters, each of which consists of one page of text. The chapters include a question mark, poems, rituals, instructions, and obscure allusions and cryptograms. The subject of each chapter is generally determined by its number and its corresponding Qabalistic meaning.

Fifth book of the thrilling fantasy adventure series, THE SEVENTH TOWER, from international bestselling author, Garth Nix.

“Gripping and timely.” —People “The YA debut we’re most excited for this year.” —Entertainment Weekly “A book that knocks you off your feet while dropping the kind of knowledge that’ll keep you down for the count. Prepare to BE slain.” —Nic Stone, New York Times bestselling author of Dear Martin and Odd One Out Ready Player One meets The Hate U Give in this dynamite debut novel that follows a fierce teen game developer as she battles a real-life troll intent on ruining the Black Panther–inspired video game she created and the safe community it represents for Black gamers. By day, seventeen-year-old Kiera Johnson is an honors student, a math tutor, and one of the only Black kids at Jefferson Academy. But at home, she joins hundreds of thousands of Black gamers who duel worldwide as Nubian personas in the secret multiplayer online role-playing card game, SLAY. No one knows Kiera is the game developer, not her friends, her family, not even her boyfriend, Malcolm, who believes video games are partially responsible for the “downfall of the Black man.” But when a teen in Kansas City is murdered over a dispute in the SLAY world, news of the game reaches mainstream media, and SLAY is labeled a racist, exclusionist, violent hub for thugs and criminals. Even worse, an anonymous troll infiltrates the game, threatening to sue Kiera for “anti-white discrimination.” Driven to save the only world in which she can be herself, Kiera must preserve her secret identity and harness what it means to be unapologetically Black in a world intimidated by Blackness. But can she protect her game without losing herself in the process?

Cast out from her native village, 11-year-old Lale finds a surrogate mother in the charismatic Despotana of Tamurin who maintains a school for orphaned girls. There Lale finds a home and a profession that may cost her everything.

On the utopian, man-made island, Stateless, Nobel Prize winner Violet Mosala is close to solving the greatest problem of her career - the quest for the ultimate Theory of Everything (TOE) is almost over. Burned out by recording the abuses of biotech for his TV news syndicate, Andrew Worth grabs the chance to follow Violet's story. In contrast the world of theoretical physics seems like an anaesthetised mathematical heaven, where everything is cool and abstract. He could not have been more wrong. One by one Mosala's rival quantum physicists are disappearing from the scientific summit at Stateless. But why? Is it something to do with Violet herself, or is there some other, more esoteric, force at work undermining the Theory of Everything Conference?

Notions of civilization and barbarism were intrinsic to Eugène Delacroix’s artistic practice: he wrote regularly about these concepts in his journal, and the tensions between the two were the subject of numerous paintings, including his most ambitious mural project, the ceiling of the Library of the Chamber of Deputies in the Palais Bourbon. Exiled in Modernity delves deeply into these themes, revealing why Delacroix’s disillusionment with modernity increasingly led him to seek spiritual release or epiphany in the sensual qualities of painting. While civilization implied a degree of control and the constraint of natural impulses for Delacroix, barbarism evoked something uncontrolled and impulsive. Seeing himself as part of a grand tradition extending back to ancient Greece, Delacroix was profoundly aware of the wealth and power that set nineteenth-century Europe apart from the rest of the world. Yet he was fascinated by civilization’s chaotic underbelly. In analyzing Delacroix’s art and prose, David O’Brien illuminates the artist’s effort to reconcile the erudite, tradition-bound aspects of painting with a desire to reach viewers in a more direct, unrestrained manner. Focusing chiefly on Delacroix’s musings about civilization in his famous journal, his major mural projects on the theme of civilization, and the place of civilization in his paintings of North Africa and of animals, O’Brien links Delacroix’s increasingly pessimistic view of modernity to his desire to use his art to provide access to a more fulfilling experience. With more than one hundred illustrations, this original, astute analysis of Delacroix and his work explains why he became an inspiration for modernist painters over the half-century following his death. Art historians and scholars of modernism especially will find great value in O’Brien’s work.