Songs Of Earth And Power

Music, myth, and magic mix in this tale of a melody not meant for human ears, from the New York Times–bestselling and award-winning author of Darwin’s Radio. Michael Perrin is an aspiring poet, struggling to express the chaotic cadences of his thoughts on paper. He finds a kindred spirit in Arno Waltiri, the film score composer behind several of Michael’s favorite classic movies. The maestro’s greatest piece, however, was performed in front of a live audience only once. The concerto Opus 45, Infinity left its listeners entranced, altered to the very core of their souls. Waltiri’s composition is a song of power. Never meant to be heard by human ears, its melody is as captivating as a siren’s call, its notes ring out like a death knell, and its rhythms shake the very foundations of reality. The music’s otherworldly tones have led Michael through the gate between Earth and the Realm of the Sidhedark, where faeries reign by rule of magic—and where Michael must find his muse if he’s ever to return home. The Infinity Concerto is a fantasy masterpiece by the Hugo and Nebula Award–winning author of the Forerunner Saga, Eon, and other imaginative classics.

The Song of Power opened the gateway to the Realm of the Sidhe, allowing young Michael Perrin to slip through. Now Michael faces years of captivity and deadly struggles for the future of the Realm and of Earth--leading finally to a terrible confrontation on the streets of Los Angeles, with the soul of humanity at stake. Weaving the power of music, poetry, and myth into a headlong narrative of nearly overwhelming intensity, Song of Earth and Power is one of the most original fantasy epics of our time, a vast tapestry of relentless suspense, terrible beauty, and brilliant imagination. Originally published years ago in two parts, it now returns in a new edition rewritten by the author and published in a single volume as he originally intended. Wrote Analog on its original appearance: "A delight....A vision of Faery that may owe a bit to a wish to do it right. Read it."

The Book of Eador, Abjurations 12:14, is very clear: Suffer ye not the life of a witch. For a thousand years, the Church Knights have obeyed that commandment, sending to the stake anyone who can hear the songs of the earth. There are no exceptions, not even for one of their own. Novice Knight Gair can hear music no one else can, beautiful, terrible music: music with power. In the Holy City, that can mean only one thing: death by fire—until an unlikely intervention gives him a chance to flee the city and escape the flames. With the Church Knights and their witchfinder hot on his heels, Gair hasn't time to learn how to use the power growing inside him, but if he doesn't master it, that power will tear him apart. His only hope is the secretive Guardians of the Veil, though centuries of persecution have almost destroyed their Order, and the few Guardians left have troubles of their own. For the Veil between worlds is weakening, and behind it, the Hidden Kingdom, ever-hungry for dominion over the daylight realm, is stirring. Though he is far from ready, Gair will find himself fighting for his own life, for everyone within the Order of the Veil, and for the woman he has come to love. At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.

When Michael is released from the land of the Sidhe, all he wants is to lead a normal life in L.A. But there are hauntings in the streets, bodies in a hotel, and an ancient creature summoned from a loch. Now Michael must become a Mage to save his country.

Poet, critic, and hybrid-genre artist Johnson tracks the use of trouble in word, concept, and practice in this debut of brief, elliptical, lyric essays. He moves through a wide swath of 20th- and 21st-century music, always alert to a sense of melancholy shared among songwriters, their songs, and their listeners in the ever-growing web of popular music. "When we say 'trouble,' we refer to the history of trouble whether or not we have it in mind. When we sing trouble, we sing (with) history," Johnson writes. "A Trouble Song is a complaint, a grievance, an aside, a come-on, a confession, an admission, a resignation, a plea. It's an invitation-to sorrow." The effect of all this trouble is dizzying. Highly annotated-often to personal, humorous, and hidden effects-the book weaves among genres, chronologies, and various forms of trouble to ask "Where are we in song? Who are we in song?" Johnson suggests that an answer lies somewhere in the locus of singer, song, and listener-the "essential relations in the Trouble Song." Detouring into philosophy, cultural theory, and verse, Johnson works multilaterally to explore what trouble in popular music does to connect listeners, embolden them, and open a space from which trouble can be addressed across time.

Someone is trying to sabotage the underwater habitat where Imina, the granddaughter of an Inuit shaman, lives after terrorists have infected the earth's food supply, and Imina must call on her still undeveloped magical skills to save the colony.

The instant New York Times Bestseller • Nominated for the 2019 National Book Award for Fiction “A lyrical work of self-discovery that’s shockingly intimate and insistently universal…Not so much briefly gorgeous as permanently stunning.” —Ron Charles, The Washington Post Ocean Vuong’s debut novel is a shattering portrait of a family, a first love, and the redemptive power of storytelling On Earth We’re Briefly Gorgeous is a letter from a son to a mother who cannot read. Written when the speaker, Little Dog, is in his late twenties, the letter unearths a family’s history that began before he was born — a history whose epicenter is rooted in Vietnam — and serves as a doorway into parts of his life his mother has never known, all of it leading to an unforgettable revelation. At once a witness to the fraught yet undeniable love between a single mother and her son, it is also a brutally honest exploration of race, class, and masculinity. Asking questions central to our American moment, immersed as we are in addiction, violence, and trauma, but undergirded by compassion and tenderness, On Earth We’re Briefly Gorgeous is as much about the power of telling one’s own story as it is about the obliterating silence of not being heard. With stunning urgency and grace, Ocean Vuong writes of people caught between disparate worlds, and asks how we heal and rescue one another without forsaking who we are. The question of how to survive, and how to make of it a kind of joy, powers the most important debut novel of many years. Named a Best Book of the Year by: GQ, Kirkus Reviews, Booklist, Library Journal, TIME, Esquire, The Washington Post, Apple, Good Housekeeping, The New Yorker, The New York Public Library, Elle.com, The Guardian, The A.V. Club, NPR, Lithub, Entertainment Weekly, Vogue.com, The San Francisco Chronicle, Mother Jones, Vanity Fair, The Wall Street Journal Magazine and more!

Music, myth, and magic mix—in this two-volume fantasy masterpiece by a New York Times–bestselling author that is a “joy to read” (Publishers Weekly). Hugo and Nebula Award–winning author Greg Bear explores the power of music to open a portal between worlds in this pair of brilliantly imagined fantasy novels. The Infinity Concerto: Following the instructions of a virtuoso composer—whose controversial Concerto Opus 45 is actually a song of power—young poet Michael Perrin passes through a gateway between Earth and the Realm of the Sidhedark, where faeries reign by rule of magic, and Michael’s epic journey begins . . . The Serpent Mage: After five years trapped in the Realm of the Sidhedark, Michael has returned home to Los Angeles. But the song of power has weakened the veil between the human and fairie worlds, and the Sidhe have followed him to the other side . . .