When fourteen-year-old Bing Brown, who lives in the Met-how Valley, Third Dimension, loses his home and his entire family to a house fire, he is devastated. But he has no idea how drastically this event with change his life. Bing meets an old-looking person who calls himself the Time Dancer and soon learns that Adabega, a Fifth Dimension shapeshifter, is responsible for the fire. The villain seeks a magic Tang mirror that would enable him to take over time for his own nefarious purposes. Bing also learns that he may be able to bring his beloved family back to lifeby changing the course of past time. In order to accomplish this improbable task, he must locate seven difficult-to-find ingredients of an ancient Potion of Invincibility. This would will give him a fighting chance against the cunning and wicked Adabega, whom Bing must confront on his home ground at the beginning of time. Only then will he have a chance to save his family. In this fantasy novel, a teenage boy turns to a mysterious mentor to guide him through the process of facing a tremendous evil and bringing his family back to life.

An evil wizard named Adabega from another dimension is intent on taking over time for his own nefarious purposes. Time Dancer, another wizard who lives in the 4th Dimension, enlists the aid of a 14-year old boy from the 3rd Dimension who owns a magic mirror in an attempt to stop the evil Adabega.

The ecclesiastical investigations into Indian religious error--the Extirpation of idolatry--that occurred in the seventeenth-and eighteenth-century Archdiocese of Lima come to life here as the most revealing sources on colonial Andean religion and culture. Focusing on a largely neglected period, 1640 to 1750, and moving beyond portrayals that often view the relationships between indigenous peoples and Europeans solely in terms of repression, opposition, or accommodation, Kenneth Mills provides a wealth of new material and interpretation for understanding native Andeans and Spanish Christians as participants in a common, if not harmonious, history. By examining colonial interaction and "religion as lived," he introduces memorable native Andean and Spanish actors and finds vivid points of entry into the complex realities of parish life in the mid-colonial Andes. Mills describes fitful, sometimes unintentional, and often ambiguous kinds of religious change among Andeans. He shows that many of the Quechua speakers whose testimonies form the bulk of the archival evidence were simultaneously active Catholic parishioners and adherents to a complex of transforming Andean religious structures. Mills also explores the notions of reformation and correction that fueled the extirpating process in the central Andes, as elsewhere. Moreover, he demonstrates wide differences of opinion among Spanish churchmen as to the best manner to proceed against the suspect religiosity of baptized Andeans--many of whom considered themselves Christians. In so doing, he connects this religious history to experiences in other regions of colonial Spanish America and to wider relations between Christian and non-Christian peoples.

I'm not all that special, really. Or uncommon. I'm sure there are a lot of girls with old gypsy blood who see the dead, have killer cults hunting their family, and turn into something that gets scary when they panic. Yep. Completely unoriginal, if I do say so myself.Move along. Nothing to see here. Nope. I'm just an ordinary girl.I wish people would believe that.I've been labeled as one thing or another for most of my life:Death Girl.Crazy Gypsy Girl.Gothic Chick.Monster...It took my mother's death for me to finally start getting answers about what's really been going on. Unfortunately, most of the answers come from men...who aren't just men. Somehow, I've gone and landed myself in a world truly filled with monsters, and I'm starting to think this is where I should have been all along.Only...I don't understand what's going on. I'm walking into the middle of a story that's thousands of years old, and I'm the new girl on the block who doesn't have a clue how this world even works. My only guides happen to be the most lethal of the bunch.They decide who lives or dies. They decide who gets stabbed or tortured.Yeah...I've gone and drawn attention to myself, and the ones paying attention are the ones everyone else seems to fear.How do these things always happen to me?**Reverse Harem**Language warning**Sexual content**Dark Humor

Nwelezelanga is born with albinism. Convinced by the midwife that an albino child is a curse, her mother places her in a river to drown.

Seth Roderick and Larry Gage, the future Beta and Gamma of the Northernland Kingdom, have a big problem. As the Beta and Gamma, they must follow orders that their future Alpha King gives. They have pledged their allegiance to the future king, so defying orders will be a crime. Punishable by death. Future Alpha King Steele North has a grudge that must be avenged. His brother, Alpha Prince Damon North, died in the land of the enemy. Unfortunately, their enemy, the Wolferaine Kingdom, is stronger. Declaring a war against the Wolferaine is not only moronic, it’s also suicidal. They will not win, unless the Wolferaine is the one that declares war. But the future king is determined. It must be done, one way or another. Along comes Daisy Chester, a ravishing beauty who happens to be the sister-in-law to the Wolferaine King. Now their plan can come to fruition. Alpha Steele North orders his Beta and Gamma to abduct and kill the sweet angel. The action will enrage the Wolferaine King enough to make the Wolferaine attack the Northernland. The plan is perfect. Except for one thing, Daisy Chester is Gamma Larry Gage fated mate!

Today we associate the Renaissance with painting, sculpture, and architecture—the “major” arts. Yet contemporaries often held the “minor” arts—gem-studded goldwork, richly embellished armor, splendid tapestries and embroideries, music, and ephemeral multi-media spectacles—in much higher esteem. Isabella d’Este, Marchesa of Mantua, was typical of the Italian nobility: she bequeathed to her children precious stone vases mounted in gold, engraved gems, ivories, and antique bronzes and marbles; her favorite ladies-in-waiting, by contrast, received mere paintings. Renaissance patrons and observers extolled finely wrought luxury artifacts for their exquisite craftsmanship and the symbolic capital of their components; paintings and sculptures in modest materials, although discussed by some literati, were of lesser consequence. This book endeavors to return to the mainstream material long marginalized as a result of historical and ideological biases of the intervening centuries. The author analyzes how luxury arts went from being lofty markers of ascendancy and discernment in the Renaissance to being dismissed as “decorative” or “minor” arts—extravagant trinkets of the rich unworthy of the status of Art. Then, by re-examining the objects themselves and their uses in their day, she shows how sumptuous creations constructed the world and taste of Renaissance women and men.

Imagined Theatres collects theoretical dramas written by some of the leading scholars and artists of the contemporary stage. These dialogues, prose poems, and microfictions describe imaginary performance events that explore what might be possible and impossible in the theatre. Each scenario is mirrored by a brief accompanying reflection, asking what they might mean for our thinking about the theatre. These many possible worlds circle around questions that include: In what way is writing itself a performance? How do we understand the relationship between real performances that engender imaginary reflections and imaginary conceptions that form the basis for real theatrical productions? Are we not always imagining theatres when we read or even when we sit in the theatre, watching whatever event we imagine we are seeing?