Original songs by "Hugin the Bard" accompanied by story, tale, or lore; each song with lyrics, chord charts, and lead sheets. Also includes a version of the Mabinogion, in English, translated from the Welsh.

Introduce your child to rhyming words and the fun of playing withlanguage and sounds - with flaps on every spread.

The real history of the covey of attention-artists who call themselves "The Birds." A great deal of uncertainty--and even some genuine confusion--surrounds the origin, evolution, and activities of the so-called Avis Tertia or "Order of the Third Bird." Sensational accounts of this "attentional cult" emphasize histrionic rituals, tragic trance-addictions, and the covert dissemination of obscurantist ontologies of the art object. Hieratic, ecstatic, and endlessly evasive, the Order attracts sensual misfits and cabalistic aesthetes--both to its ranks, and to its scholarship. In recent years, however, the revisionist work of the research collective ESTAR(SER) has done much to clear the air, bringing archival precision to the history of this covey of attention-artists who call themselves "The Birds." Gathering the best articles of the last twenty years of The Proceedings of ESTAR(SER), this volume represents a landmark in the history of aesthetic practices, and will be a point of departure for future work wading the muddy marshes at the limits of historicism.

A MAGICAL MANIAC IS LOOSE IN ALANDA! A magical murderer is loose in Alanda. The victims are always women, always lower-class, and the weapon is always a three-sided stiletto, most often found among Church regalia. But the killers are never churchmen, and they always commit suicide immediately after the bloody deed. Tal Rufen is just a simple constable. But he really cares about his job, and when one of these murder/suicides happens on his beat he becomes obsessed. His superiors don't care¾the victims will never be missed, and their murderers are already justly dead. But every instinct Tal Rufen has cries out that he has seen only one small piece of a bigger and much nastier puzzle.... At the publisher's request, this title is sold without DRM (Digital Rights Management).

Walt Whitman has long been regarded as the quintessential American bard, the poet who best represents all that is distinctive about life in the United States. Whitman himself encouraged this view, but he was also quick to remind his readers that he was an unlikely candidate for the office of national poet, and that his working-class upbringing and radical take on human sexuality often put him at odds with American culture. While American literary history has tended to credit Whitman with having invented the persona of the national outsider as the national bard, Edward Whitley recovers three of Whitman's contemporaries who adopted similar personae: James M. Whitfield, an African American separatist and abolitionist; Eliza R. Snow, a Mormon pioneer and women's leader; and John Rollin Ridge, a Cherokee journalist and Native-rights advocate. These three poets not only provide a counterpoint to the Whitmanian persona of the outsider bard, but they also reframe the criteria by which generations of scholars have characterized Whitman as America's poet. This effort to resituate Whitman's place in American literary history provides an innovative perspective on the most familiar poet of the United States and the culture from which he emerged.