Book Three - The Aryis Chronicles.After many years of war and upheaval, it seemed as if the wounds of the past could finally heal. To begin that process, the Protectorate Authority rushes to crown its heroes. Chief among those to be honored, Daric Konan is quickly promoted to a significant position that places him close to the highest levels within the Protectorate system. Unfortunately for him and his people, the past would once again reach out to plunge them into the violence of war. After sending his friends and new love on a suicide mission through the vortex, Daric leads the Authority forces against an indestructible, alien foe. Facing certain annihilation, a coalition of forces fights savagely while those across the vortex pray for a miracle. The final chapter is just the beginning...

A woman's dangerous and suspenseful journey in her deadly quest for revenge.Lisa Black, a woman with a tragic childhood, lives for revenge. From witnessing her mother's rape to learning that her grandfather had molested her mother when she was growing up. She was abused as a child and felt unloved and abandoned. She began living in her own deadly reality in order to survive. Her heart grows cold and her soul turns black as she grows into a young woman. She turns to gruesome murder to ease the pain caused by others, especially men. She searches for happiness but can't escape the demons of her past.Jake Damino, once a good man with a loving heart, is now a selfish man with no ambition and a passion for sex and drugs. When he and Lisa move to Las Vegas, he turns into a man she no longer recognizes. She thought he would love her forever until his ultimate betrayal. When he and her friend ripped her world apart, she began to live for the day she could destroy them both completely. Michael Wagner, a devastatingly handsome Hollywood movie producer, grew up with the ideal childhood and two loving parents. He becomes hugely successful, and women everywhere desire him. He isn't looking for love; he's too busy with his career, until he unexpectedly meets the one woman who will change his life forever. After months of working on his latest blockbuster movie, he goes on a Hawaiian cruise where he meets Lisa, the woman of his dreams with a past that would become his nightmare. She captivates him in everyway, and it's love at first sight. These three people's lives become intertwined and collide with deadly force. Each brings with them the ghosts from their past, and the fear and insecurities of their future. Life is full of irony, CRUEL IRONY!!!

In this 1989 book Rorty argues that thinkers such as Nietzsche, Freud, and Wittgenstein have enabled societies to see themselves as historical contingencies, rather than as expressions of underlying, ahistorical human nature or as realizations of suprahistorical goals. This ironic perspective on the human condition is valuable on a private level, although it cannot advance the social or political goals of liberalism. In fact Rorty believes that it is literature not philosophy that can do this, by promoting a genuine sense of human solidarity. A truly liberal culture, acutely aware of its own historical contingency, would fuse the private, individual freedom of the ironic, philosophical perspective with the public project of human solidarity as it is engendered through the insights and sensibilities of great writers. The book has a characteristically wide range of reference from philosophy through social theory to literary criticism. It confirms Rorty's status as a uniquely subtle theorist, whose writing will prove absorbing to academic and nonacademic readers alike.

An ambitious theoretical work that ranges from the age of Socrates to the late twentieth century, this book traces the development of the concepts of irony within the history of Western literary criticism. Its purpose is not to promote a universal definition of irony, whether traditional or revisionist, but to examine how such definitions were created in critical history and what their use and invocation imply. Joseph A. Dane argues that the diverse, supposed forms of irony--Socratic, rhetorical, romantic, dramatic, to name a few--are not so much literary elements embedded in texts, awaiting discovery by critics, as they are notions used by critics of different eras and persuasions to manipulate those texts in various, often self-serving ways. The history of irony, Dane suggests, runs parallel to the history of criticism, and the changing definitions of irony reflect the changing ways in which readers and critics have defined their own roles in relation to literature. Probing and provocative, The Critical Mythology of Irony will appeal to a broad spectrum of critics and scholars, particularly those concerned with the historical basis of critical language and its political and educational implications.

The Cambridge Handbook of Irony and Thought offers the first comprehensive collection of chapters in multidisciplinary irony scholarship. These chapters explore the significance of irony, both verbal and situational, in language, thought, human action, and artistic expression. They cover five main themes: the scope of irony in human experience; irony's impact (both personal and in social life); irony in linguistic communication; irony and affect, and irony in expressive contexts. Contributions come from a wide range of academic disciplines, including psychology, linguistics, philosophy, literature, computer science, film and media studies, and music, making this a truly cross-disciplinary collection of benefit to a wide range of students and researchers.

Brings together a range of contributions on the linguistics of humour. This title elucidates the whole gamut of humorous forms and mechanisms, such as surrealist irony, incongruity in register humour, mechanisms of pun formation, as well as interpersonal functions of conversational humour

Irony's Antics marks a major intervention into the underexplored role of the comic in German letters. At the book's heart is the relationship between the comic and irony. Weitzman argues that in the early twentieth century, irony, a key figure for the German Romantics, reemerged from its relegation to "nonsense" in a way that both rethought Romantic irony and dramatically extended its reach.