Legend Of The Lost Child

Life has never been easy for Jace, but things have quickly become more complicated. With a new family and new name, he is returning to the home he had when he was three years old. After learning he is being hunted, he knows his survival requires him to learn to control his newfound powers at an accelerated rate. Feeling like an outsider in what he hoped would be his forever home, Jace desperately tries to figure out where he truly belongs. Jace quickly learns that his impossible witch-werewolf hybrid presence has awoken the curiosity of many supernaturals. After a series of attacks, he realizes the stakes are even higher. Jace must discern who is a friend and who is a foe. Failure could mean death for him, his family, and his friends.

"You must go to the Lost Child! You must rescue my son and bring him back to me!" A strange and unfathomable demand, uttered by an enigmatic Frenchman on the eve of Christmas, 1852 will cause Captain Tor Petersen and the crew of the Ellyan to embark upon a long and perilous voyage--a journey that will take them from the placid waters of the Caribbean and plunge them deep into the lawless jungles of French Guiana. There they will confront marauding natives, soldiers and escaped slaves, even death itself. At the end of their quest lies a fortune in gold and the realization of their dreams; and perhaps for Tor himself, something he has long sought but never found...a thing more precious than any glittering metal. The Lost Child is a tale of romance and high adventure, based on a legend of the Caribbean, one that that may indeed have its roots buried in truth. The story is set in a historic time period underscored by periods of conflict and transformation, including moments that will force each of the Ellyan's crew to confront deep and abiding changes in themselves--a challenge not so far different from our own era.

The story of the vulnerable white person vanishing without trace into the harsh Australian landscape is a potent and compelling element in multiple genres of mainstream Australian culture. It has been sung in “Little Boy Lost,” brought to life on the big screen in Picnic at Hanging Rock, immortalized in Henry Lawson’s poems of lost tramps, and preserved in the history books’ tales of Leichhardt or Burke and Wills wandering in mad circles. A world-wide audience has also witnessed the many-layered and oddly strident nature of Australian disappearance symbolism in media coverage of contemporary disappearances, such as those of Azaria Chamberlain and Peter Falconio. White Vanishing offers a revealing and challenging re-examination of Australian disappearance mythology, exposing the political utility at its core. Drawing on wide-ranging examples of the white-vanishing myth, the book provides evidence that disappearance mythology encapsulates some of the most dominant and durable categories at the heart of white Australian culture, and that many of those ideas have their origin in colonial mechanisms of inequality and oppression. White Vanishing deliberately (and perhaps controversially) reminds readers that, while power is never absolute or irresistible, some narrative threads carry a particularly authoritative inheritance of ideas and power-relations through time.

Suka—the Initiated One—has entered a new sphere of training in the yogic crafts. To become an adept monk, he must learn how to master the mysterious Time-Trix—the Kaalchakra. However, a series of supernatural phenomena invades the School of Yog, unleashing powerful beings and astonishing secrets that are thousands of years old. The ancient civilization of the yogis is threatened with enslavement, Suka loses his magical abilities and the Wheel of Time begins to spin out of control. Yet, the fate of the world still rests in the hands of the Initiated One. Will Suka master the Kaalchakra before it is too late? Will he summon the higher powers of Mahakaal? Will he gain the Supreme Force?

The Story of the Lost Child is the long-awaited fourth volume in the Neapolitan novels (My Brilliant Friend, The Story of a New Name, Those Who Leave and Those Who Stay). The quartet traces the friendship between Elena and Lila, from their childhood in a poor neighbourhood in Naples, to their thirties, when both women are mothers but each has chosen a different path. Their lives are still inextricably linked, for better or worse, especially when it comes to the drama of a lost child. Elena Ferrante was born in Naples. She is the author of seven novels: The Days of Abandonment, Troubling Love, The Lost Daughter, and the quartet of Neapolitan novels: My Brilliant Friend, The Story of a New Name, Those Who Leave and Those Who Stay, and The Story of the Lost Child. Frantugmalia, a selection of interviews, letters and occasional writings by Ferrante, will be published in 2016. She is one of Italy’s most acclaimed authors. Ann Goldstein has translated all of Elena Ferrante’s work. She is an editor at the New Yorker and a recipient of the PEN Renato Poggioli Translation Prize. Praise for Ferrante and the Neapolitan novels ‘[Ferrante’s] charting of the rivalries and sheer inscrutability of female friendship is raw. This is high stakes, subversive literature.’ Sunday Telegraph ‘Ferrante is an expert above all at the rhythm of plotting...Whether it’s work, family, friends or sex–and Ferrante, perhaps thanks to her anonymity as an author, is blisteringly good on bad sex–our greatest mistakes in life aren’t isolated acts; we rehearse them over and over until we get them as badly wrong as we can.’ Independent ‘Great novels are intelligent far beyond the powers of any character or writer or individual reader, as are great friendships, in their way. These wonderful books sit at the heart of that mystery, with the warmth and power of both.’ Harper’s ‘Elena Ferrante is one of the great novelists of our time. Her voice is passionate, her view sweeping and her gaze basilisk...In these bold, gorgeous, relentless novels, Ferrante traces the deep connections between the political and the domestic. This is a new version of the way we live now—one we need, one told brilliantly, by a woman.’ New York Times Sunday Book Review ‘When I read [the Neapolitan novels] I find that I never want to stop. I feel vexed by the obstacles—my job, or acquaintances on the subway—that threaten to keep me apart from the books. I mourn separations (a year until the next one—how?). I am propelled by a ravenous will to keep going.’ New Yorker ‘The best thing I’ve read this year, far and away...She puts most other writing at the moment in the shade. She’s marvellous.’ Richard Flanagan ‘The Neapolitan series stands as a testament to the ability of great literature to challenge, flummox, enrage and excite as it entertains.’ Sydney Morning Herald ‘The depth of perception Ms. Ferrante shows about her character’s conflicts and psychological states is astonishing...Her novels ring so true and are written with such empathy that they sound confessional.’ Wall Street Journal ‘The older you get, the harder it is to recapture the intoxicating sense of discovery that comes when you first read George Eliot, Nabokov, Tolstoy or Colette. But this year it came again when I read Elena Ferrante’s remarkable Neapolitan novels.’ Jane Shilling, New Statesman ‘There is nothing remotely tiring or trying about the experience of reading the Neapolitan novels, which I, and a great many others, now rank among our greatest book-related pleasures...it is writing that holds honesty dear.’ Weekend Australian ‘Dickens gave working people a voice. Ferrante, whoever she might be, presents a new paradigm for being female in the world...Ferrante’s great literary creations, Lenu and Lila, have the same emotional weight as Anne in Persuasion, Jo in Little Women, Maggie in The Mill on the Floss, Jane in Jane Eyre.’ Helen Elliott in the Monthly ‘This stunning conclusion further solidifies the Neapolitan novels as Ferrante’s masterpiece and guarantees that this reclusive author will remain far from obscure for years to come.’ Publishers Weekly ‘The Neapolitan novels are smart, thoughtful, serious literature. At the same time, they are violent, suspenseful soap operas populated with a vivid cast of scheming characters...Ferrante’s novels are deeply personal and intimate, getting to the very heart of what it means to be a woman, a friend, a daughter, a mother.’ Debrief Daily ‘Shattering and enthralling, intimate and vicious...The Neapolitan Novels are the kind of books that swallow me whole. As soon as I pick one up, I don’t want to breathe or move lest I break the spell...The Neapolitan Novels are among the most important in my reading life. I can’t recommend them highly enough.’ Readings ‘Ferrante captures the complexities of women, friendship and motherhood in ways that make your heart soar and ache in equal measures. If you haven’t already, treat yourself to this series.’ ELLE Australia ‘[Ferrante’s] Neapolitan novels contain real life – recognisable anxiety, joy, love and heartbreak. This is an incredibly difficult feat to achieve in the first place, let alone sustain, over four books. We will be talking about Elena and Lila for years to come.’ Sydney Morning Herald ‘There's a bright, sinewy humanness to Ferrante’s writing that is so alive it's alarming...The Story of the Lost Child is a full emotional experience, and a fitting end to a huge, arresting series.’ New Zealand Listener ‘I was one of the many who wept and wondered over Elena Ferrante’s The Story of the Lost Child. I plan to re-read the entire series soon.’ Favourite Feminist Reads from 2016, Feminist Writers Festival

Drawing on both sociological and anthropological perspectives, this volume explores cross-national trends and everyday experiences of ‘parenting’. Parenting in Global Perspective examines the significance of ‘parenting’ as a subject of professional expertise, and activity in which adults are increasingly expected to be emotionally absorbed and become personally fulfilled. By focusing the significance of parenting as a form of relationship and as mediated by family relationships across time and space, the book explores the points of accommodation and points of tension between parenting as defined by professionals, and those experienced by parents themselves. Specific themes include: the ways in which the moral context for parenting is negotiated and sustained the structural constraints to ‘good’ parenting (particularly in cases of immigration or reproductive technologies) the relationship between intimate family life and broader cultural trends, parenting culture, policy making and nationhood parenting and/as adult ‘identity-work’. Including contributions on parenting from a range of ethnographic locales – from Europe, Canada and the US, to non-Euro-American settings such as Turkey, Chile and Brazil, this volume presents a uniquely critical and international perspective, which positions parenting as a global ideology that intersects in a variety of ways with the political, social, cultural, and economic positions of parents and families.