Darkness Falls From The Air

The classic novel of the London Blitz, DARKNESS FALLS FROM THE AIR captures the chaos, absurdity and ultimately the tragedy of life during the bombardment. Bill Sarratt is a civil servant working on the war effort. Thwarted at every turn by bureaucracy and the vested interests of big business, the seemingly unflappable Bill is also on the verge of losing his wife Marcia to a literary poseur named Stephen. As the bombs continue to fall, Bill must decide whether he his willing to compromise his principles and prevent his life from crumbling before his very eyes.

A major scholarly collection of international research on the reception of James Joyce in Europe

James Joyce and After: Writer and Time is a volume of essays examining various aspects of time in literature, starting with the modernist revolution in fictional time initiated, among others, by Joyce, up until the present. In Part One: “James Joyce and Commodius Vicus of Recirculation,” the largest group of essays offers new and insightful readings of Finnegans Wake, Ulysses, Dubliners and Pomes Penyeach, reflecting a variety of Joyce’s experiments with time as well as demonstrating patterns and cross-references in his lifelong artistic explorations. Part Two: “Writer and Private Time,” focuses on selected literary responses to subjective experience of time. The articles analyse Joyce’s epiphanies, Elizabeth Bishop’s rendition of a lyrical moment in her poetry, as well as the interplay of fiction and autobiography in the writings of Joseph Conrad and J. M. Coetzee. Another article in this section uses the Bakhtinian concept of chronotope to emphasise simultaneity of reading and writing in the newly defined genre of liberature. At the other end of the (temporal) spectrum, the articles in Part Three: “Writer and Public Time,” devoted to recent fiction, testify to the constant need for seeking new ways of recording the temporal dimension of collective experience. It is argued that the engagement with Victorianism in contemporary fiction has resulted in a special treatment of time involving duality of temporal levels, while the emerging post-9/11 genre takes account of the new audiovisual media in order to respond to one of the most traumatic experiences in contemporary history.

Nastasya has lived for hundreds of years, but for some reason, life never seems to get any better. She left her spoiled, rich girl life to find peace at River's Edge, a safe haven for wayward immortals. There, she learned to embrace River's Edge, despite som drama involving the sexy Reyn, who she wants but won't allow herself to have. But just as she's getting comfortable, her family's ties to dark magick force her to leave. She falls back into her old, hard partying ways, but will her decision lead her into the hands of a dark immortal? Or will it be her first step to embracing the darkness within her?

When Darkness Falls, the third book in The Obsidian Trilogy from Mercedes Lackey and James Mallory Despite a great working of Wild Magic and High Magic that struck at the heart of the Demon Queen's evil plots, Knight-Mage Kellen and his Elven allies are still seen as enemies by the human Mage Council. The Elves and their allies must find a way to shatter the Demons' hold on the human Mages, for without their High Magic, the forces of Light will be destroyed by the forces of Darkness. The Commander of the Armies of Light decides to turn an Elven mine into a refuge for those driven from their homes by the war. Kellen is put in command of the force of engineers and warriors who will fortify the mine and does not learn until it is nearly too late that the caverns are full of Shadowed Elves. Vestakia, the half-human, half-Demon healer, finds that she has begun to be able to read the mind of her Demon father, Crown Prince Zyperis. The Demon Queen, Savilla, is preparing a great sacrifice that will summon He Who Is back to the world and make her the ultimate ruler forever. When Wild Mage Idalia learns of Savilla's plans, she knows there is only one way to prevent the coming of He Who Is. A very different sort of sacrifice must be made. At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.

The purpose of this book is to explore the ways in which the London Underground/ Tube was ‘mapped’ by a number of writers from George Gissing to Virginia Woolf. From late Victorian London to the end of the World War II, ‘underground writing’ created an imaginative world beneath the streets of London. The real subterranean railway was therefore re-enacted in number of ways in writing, including as Dantean Underworld or hell, as gateway to a utopian future, as psychological looking- glass or as place of safety and security. The book is a chronological study from the opening of the first underground in the 1860s to its role in WW2. Each chapter explores perspectives on the underground in a number of writers, starting with George Gissing in the 1880s, moving through the work of H. G. Wells and into the writing of the 1920s & 1930s including Virginia Woolf and George Orwell. It concludes with its portrayal in the fiction, poetry and art (including Henry Moore) of WW2. The approach takes a broadly cultural studies perspective, crossing the boundaries of transport history, literature and London/ urban studies. It draws mainly on fiction but also uses poetry, art, journals, postcards and posters to illustrate. It links the actual underground trains, tracks and stations to the metaphorical world of ‘underground writing’ and places the writing in a social/ political context.

In his comprehensive study of love in James Joyce's writings, Christopher DeVault suggests that a love ethic persists throughout Joyce's works. DeVault uses Martin Buber's distinction between the true love for others and the narcissistic desire for oneself to frame his discussion, showing that Joyce frequently ties his characters' personal and political pursuits to their ability to affirm both their loved ones and their fellow Dubliners. In his short stories and novels, DeVault argues, Joyce shows how personal love makes possible a broader social compassion that creates a more progressive body politic. While his early protagonists' narcissism limits them to detached engagements with Dublin that impede effective political action, Joyce demonstrates the viability of his love ethic through both the Blooms’ empathy in Ulysses and the polylogic dreamtext of Finnegan's Wake. In its revelation of Joyce's amorous alternative to the social and political paralysis he famously attributed to twentieth-century Dublin, Joyce's Love Stories allows for a better appreciation of the ethical and political significance underpinning the author's assessments of Ireland.