Norroway Book 2 The Queen Of The High Mountain

Happiness is an illusion when unfinished business awaits. Seven years have passed since the disastrous events of BOOK ONE, and now it's time for Sibylla to face her curse-breaking destiny. When Troll Kingdom soldiers arrive in the once safe town of Fiskeby, she's forced to flee up the Glass Mountain. But the moment she steps foot on Troll lands, she's thrown into a jail cell, where she discovers her amnesiac ex-fiancé is set to wed the Troll Queen's daughter. Using all of her wits, she must convince the princess to turn against her own mother, or else face execution on the day of the wedding and doom the kingdom to remain cursed forever.

Happiness is an illusion when unfinished business awaits. Seven years have passed since the disastrous events of BOOK 1, and now it's time for Sibylla to face her curse-breaking destiny. When Troll Kingdom soldiers arrive in the once-safe town of Fiskeby, she's forced to flee up the Glass Mountain. But the moment she steps foot on Troll lands, she's thrown into a jail cell, where she discovers her amnesiac ex-fiancé is set to wed the Troll Queen's daughter. Using all of her wits, she must convince the princess to turn against her own mother, or else face execution on the day of the wedding-and doom the kingdom to remain cursed forever.

Sibylla has always craved adventure, but she never guessed it would finally arrive in the form of a giant, magical bull. Is he a man, or a monster? And who knew a prophecy could be so literal? With this first book in a new series co-created by sibling writer/artist team CAT SEATON and KIT SEATON, the adventure of a lifetime begins.

A girl travels east of the sun and west of the moon to free her beloved prince from a magic spell.

The High Mountain Court is the first book in the high fantasy series, The Five Crowns of Okrith. Expect witches, fae, romance and a diverse characters in this adrenaline-filled adventure.

This “first rate anthology of reimagined fairy tales” (Locus Magazine) features an all-star lineup of award-winning and critically acclaimed writers. Once upon a time. It’s how so many of our most beloved stories start. Fairy tales have dominated our cultural imagination for centuries. From the Brothers Grimm to the Countess d’Aulnoy, from Charles Perrault to Hans Christian Anderson, storytellers have crafted all sorts of tales that have always found a place in our hearts. Now a new generation of storytellers has taken up the mantle that the masters created and shaped their stories into something startling and electrifying. Packed with award-winning authors, this “fresh, diverse” (Library Journal) anthology explores an array of fairy tales in startling and innovative ways, in genres and settings both traditional and unusual, including science fiction, western, and post-apocalyptic as well as traditional fantasy and contemporary horror. From the woods to the stars, The Starlit Wood: New Fairy Tales takes readers on a journey at once unexpected and familiar, as a diverse group of writers explore some of our most beloved tales in new ways across genres and styles. Contains stories by: Charlie Jane Anders, Aliette de Bodard, Amal El-mohtar, Jeffrey Ford, Max Gladstone, Theodora Goss, Daryl Gregory, Kat Howard, Stephen Graham Jones, Margo Lanagan, Marjorie Liu, Seanan McGuire, Garth Nix, Naomi Novik, Sofia Samatar, Karin Tidbeck, Catherynne M. Valente, and Genevieve Valentine.

There are, roughly speaking, two distinct types of Scottish Fairy Tales. There are what may be called "Celtic Stories," which were handed down for centuries by word of mouth by professional story-tellers, who went about from clachan to clachan in the "Highlands and Islands," earning a night's shelter by giving a night's entertainment, and which have now been collected and classified for us by Campbell of Isla and others. These stories, which are also common to the North of Ireland, are wild and fantastic, and very often somewhat monotonous, and their themes are strangely alike. They almost always tell of some hero or heroine who sets out on some dangerous quest, and who is met by giants, generally three in number, who appear one after the other; with whom they hold quaint dialogues, and whom eventually they slay. Most of them are fairly long, and although they have a peculiar fascination of their own, they are quite distinct from the ordinary Fairy Tale. These latter, in Scotland, have also a character of their own, for there is no country where the existence of Spirits and Goblins has been so implicitly believed in up to a comparatively recent date. As a proof of this we can go to Hogg's tale of "The Wool-gatherer," and see how the countryman, Barnaby, voices the belief of his day. "Ye had need to tak care how ye dispute the existence of fairies, brownies, and apparitions! Ye may as weel dispute the Gospel of Saint Matthew." Perhaps it was the bleak and stern character of their climate, and the austerity of their religious beliefs which made our Scottish forefathers think of the spirits in whom they so firmly believed, as being, for the most part, mischievous and malevolent. Their Bogies, their Witches, their Kelpies, even their Fairy Queen herself, were supposed to be in league with the Evil One, and to be compelled, as Thomas of Ercildoune was near finding out to his cost, to pay a "Tiend to Hell" every seven years; so it was not to be wondered at, that these uncanny beings were dreaded and feared. But along with this dark and gloomy view, we find touches of delicate playfulness and brightness. The Fairy Queen might be in league with Satan, but her subjects were not all bound by the same law, and many charming tales are told of the "sith" or silent folk, who were always spoken of with respect, in case they might be within earshot, who made their dwellings under some rocky knowe, and who came out and danced on the dewy sward at midnight.

In presenting, for the first time, to English readers the greatest work of Germany's greatest mediæval poet, a few words of introduction, alike for poem and writer, may not be out of place. The lapse of nearly seven hundred years, and the changes which the centuries have worked, alike in language and in thought, would have naturally operated to render any work unfamiliar, still more so when that work was composed in a foreign tongue; but, indeed, it is only within the present century that the original text of the Parzivalhas been collated from the MSS. and made accessible, even in its own land, to the general reader. But the interest which is now felt by many in the Arthurian romances, quickened into life doubtless by the genius of the late Poet Laureate, and the fact that the greatest composer of our time, Richard Wagner, has selected this poem as the groundwork of that wonderful drama, which a growing consensus of opinion has hailed as the grandest artistic achievement of this century, seem to indicate that the time has come when the work of Wolfram von Eschenbach may hope to receive, from a wider public than that of his own day, the recognition which it so well deserves. Of the poet himself we know but little, save from the personal allusions scattered throughout his works; the dates of his birth and death are alike unrecorded, but the frequent notices of contemporary events to be found in his poems enable us to fix with tolerable certainty the period of his literary activity, and to judge approximately the outline of his life. Wolfram's greatest work, the Parzival, was apparently written within the early years of the thirteenth century; he makes constant allusions to events happening, and to works produced, within the first decade of that period; and as his latest work, the Willehalm, left unfinished, mentions as recent the death of the Landgrave Herman of Thuringia, which occurred in 1216, the probability seems to be that the Parzival was written within the first fifteen years of the thirteenth century. Inasmuch, too, as this work bears no traces of immaturity in thought or style, it is probable that the date of the poet's birth cannot be placed much later than 1170.