Kamis, 05 Maret 2015

!! Ebook Download A Map of the Lost World (Pitt Poetry Series), by Rick Hilles

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A Map of the Lost World (Pitt Poetry Series), by Rick Hilles


The poems that make up A Map of the Lost World range from tightly-wrought shorter lyrics to longer autobiographical narratives to patterns of homage (in several forms) of poets that Hilles admires and emulates (including Richard Hugo, James Wright, James Merrill and Larry Levis) to extended voice-driven meditations, one in the voice of a German Jewish woman, a prisoner who would escape a French concentration camp and go on to fight in the French resistance, to other efforts to confront history and not be devoured by history, and to locate, even resuscitate, friends lost to death, if only provisionally; though each poem in A Map of the Lost World is highly crafted and diversely rendered, in this collection, each poem finds its unifying impulse in it’s maker’s desire to span vast distances to reach loved ones, beloved others, the various families of friends, fueled by an almost gymnastic imagination that vaults itself into almost any space—going to almost any length—sustained by the various forms of love, which, after all, may be as close as any of us has come (in this or any life) to knowing and warming ourselves, if not also at times being scalded by, the immortal fires of the Infinite.


  • Sales Rank: #3233005 in eBooks
  • Published on: 2012-01-29
  • Released on: 2012-01-29
  • Format: Kindle eBook

Review

“Always a poet of authentic promise, with A Map of the Lost World Rick Hilles emerges into an importance that may rival such poets as Henri Cole and Rosanna Warren. I find it immensely moving that he evokes dead poets for whom I cared personally as well as critically, including James Wright and James Merrill. Beyond that he adds what may be a new dimension to our poetry by evoking the shade of Walter Benjamin and with it the tragedy of European Jewry. I emerge from this book somber yet fortified because like Kafka it reminds us of a kind of indestructibility of the human spirit.”
—Harold Bloom



“When John Keats described negative capability he could have added that it included the ability to enter and inhabit the lives of others. This form of empathy, usually the gift of the dramatist and the novelist, reveals itself throughout Rick Hilles’s poetry, and especially in A Map of the Lost World. Whether he speaks as or about one of the poets he admires, older friends who have survived the Holocaust, strangers met in a city, acquaintances hunting mushrooms near Auschwitz, or a German member of the French resistance, he convinces us that he knows what it is to be these people. Seamlessly, with a sense of nuance and subtlety that are all his own, he re-creates their lives as though he might have lived them.”
—Mark Jarman



“A Map of the Lost World is an important book, combining history with lyric gravity. Rick Hilles writes of modern life in language that is beautiful and magical, having an intensity that compels as it startles. In poems of World War II (“A Map of The Lost World” and “The Red Scarf & The Black Briefcase”), we read of an American’s search for self as well as for the fate of Auschwitz prisoners. By turns Hilles thrills, excites, intrigues, and terrifies, as he finds in the past insights into the world around him and presents a landscape ‘full of secrets only some of them benign.’”
—Grace Schulman



"Rick Hilles should be commended for taking on the large and risky task of writing poems on various cultures and their political histories in this book. From the Holocaust to ancient Egyptian mysteries to the work of Paul Eluard, Hilles approaches complex dimensions of history in highly crafted and brilliant poems. He is successful because he gives himself the lyrical room and forms to succeed. Each poem is different, is structured in challenging ways, and resonates with the skill and talent of a young poet coming into his own and bringing the world with him."
—Ray Gonzalez, Bloomsbury Review on Brother Salvage



“Like John Keats, who is in many ways the presiding spirit of this exquisitely true and beautiful gathering of poems, Rick Hilles is a poet with genuine authority, licensed to lead us to the lost world where great poets, dear friends and righteous survivors pay tribute to what it means to be human, to love and bear witness even beyond death. This is a truly wonderful book.”
—Lorna Goodison



“The great strength of the collection, beyond its thematic gravity and masterful architecture, is its extraordinary writing. A reader can get lost in these poems, traveling between worlds, thinking and feeling what was previously unthinkable, unfelt. The sense they convey of inevitability makes it easy to forget that the lines have actually been composed, that someone sat down and wrote them.”
—Chapter 16



"...Line after surprising line is suffused with humanity and detail, and he just has a way with phrasing that makes it feel like something inside you just snapped — and you’re not sure yet if it snapped into place or out of it. A Vanderbilt professor, Hilles won many accolades for his debut, Brother Salvage, and he’ll likely collect more for its follow-up, A Map of the Lost World."
—The Nashville Scene (Starred Review, Critics’ Pick)

”Complex and symphonic, with sections and movements that unfold slowly and inform each other, the poems in Rick Hilles’ lovely second collection examine the nature of memory and the trials of coming to grips with the past. Many of the poems are narrative-based—story-like, plotted and wonderfully compelling. . . . Whether sifting through his own memories or channeling the voices of the past, Hilles composes poems that, ultimately, honor history and the personal stories that lie behind it.”

—BookPage

About the Author

Rick Hilles is assistant professor of English at Vanderbilt University and is the author of the poetry collection Brother Salvage, winner of the Agnes Lynch Starrett Poetry Prize. He has been the Amy Lowell Poetry Traveling Scholar, a Wallace Stegner Fellow at Stanford University, and a Ruth and Jay C. Halls Fellow at the University of Wisconsin–Madison. Hilles is the recipient of a Whiting Writers’ Award and the Larry Levis Editor’s Prize in Poetry from The Missouri Review. He and his wife, the fiction writer Nancy Reisman, live in Nashville.

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* Ebook Prozess gegen Gott (German Edition), by Arthur Richter

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Arthur Richter erzählt sachlich und gleichzeitig überaus fesselnd die Passionsgeschichte nach: das Leiden und Sterben des Sohnes Gottes, der sich in die Hände der Menschen gab. Wer dieses Buch liest, wird vergessen, dass er die Geschichte (vielleicht) längst kennt: die Geschichte eines Prozesses, in dem man sich als Richtender und als Gerichteter plötzlich selbst wiederfindet.

Ein Buch, das für Christen wie Nichtchristen gleichermaßen zur Pflichtlektüre gehört.

  • Published on: 2011-03-01
  • Released on: 2011-03-01
  • Format: Kindle eBook

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Rabu, 04 Maret 2015

>> Free PDF The Lost Testament: A Bronson Novel (Chris Bronson Book 6), by James Becker

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The Lost Testament: A Bronson Novel (Chris Bronson Book 6), by James Becker

One man, one woman. One chance to expose the truth.
Angela Lewis and Chris Bronson return in a high-adrenaline flight across Europe in pursuit of an ancient and world-shattering secret, chased by a band of fearsome assassins.

For thousands of years we guarded it. But now it has been found. This could be the end -- for us; for our organisation; for the world. You must destroy it, and those who have taken it.

An object is discovered in a Cairo souk. A market trader is tortured to death. A tantalising request for help is sent to British Museum historian Angela Lewis. She and policeman Chris Bronson travel to Egypt, where they become targets of a ruthless Masonic lodge. Only they have the key to the secret. Their only problem is deciphering it before their time runs out. Everything they think to be true is false. Everyone they trust must be distrusted.

  • Sales Rank: #534984 in eBooks
  • Published on: 2013-12-03
  • Released on: 2013-12-03
  • Format: Kindle eBook

Review
 • Sixth title in the bestselling conspiracy thriller series

About the Author
JAMES BECKER spent over twenty years in the Royal Navy's Fleet Air arm and served during Falklands War. Throughout his career he has been involved in covert operations in many of the world's hotspots; places like Yemen, Northern Ireland and Russia. He is an accomplished combat pistol shot and has an abiding interest in ancient and medieval history.

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0 of 0 people found the following review helpful.
It's okay
By Kindle Customer
It is an interesting plot but I thought it was drawn out to long. The ending was a little of a surprise as far as revealing the "Bad Guy" goes.

2 of 2 people found the following review helpful.
A little too tell, not enough show.
By Dean Kutzler
While I never seek to discredit anyone's work, I felt that this book could use a little more showing and less telling. The writer, James Becker, over explained everything a little too much. He needed to leave a little to our imagination. It's really a pet peeve of mine when a writer goes into too much detail. It quite bogs down the story.

I felt the premise or plot of the book was good, just needed a little less action and more intrigue, of course in my opinion. The writing, outside of the over the top detail, was not too bad. The only thing I fear, is that this is the latest book in the series. Normally I see this kind of thing in a first book of a writer, where over the next few books the writer improves. I'm not sure if this is the case here, being that I've only read the latest book. But I feel his writing needs some improvement.

That being said, I would still recommend this book as a quick good read. It did bring to light, for me anyway, an interesting fact of history, biblical history, that I did not know.

1 of 1 people found the following review helpful.
Enjoyable, not deep, but ... hey. A good read.
By Celestial Abyss
I bought this one on a lark while in a supermarket, not knowing at the time that there were prequels featuring the same duo, Angela and Bronson (Angela is a first name; Bronson is a last name; I don't know why Bronson doesn't get narrated by his first name, especially when he's not operating in official capacity as a cop, but never mind). Angela is a historian of antiquities, employed by the British Museum.

As in Dan Brown mode (once he hit upon the Vatican as Sinister theme), there's a parchment on the loose that threatens to bring down the Catholic Church, should the information it contains ever go public. James Becker writes better than Brown, at least in this novel (reading reviews of his earlier books, I'm given to understand it was an exercise in learning along the way).

This novel is well-plotted, and James Becker likes to do research, throwing in enough accuracies to add verisimilitude to his tale. Reading it as intended, as a thriller, not a work of art, this novel does do its job well, enough to keep me turning the pages.

I do think if our poor put-upon Angela has been through these horrors in five previous novels, however, she either would have changed her profession by now, or at the very least, be very very cagey when new events unfold in this next novel. I'm glad I read this as a stand-alone. It works better that way.

The book reads quickly, and is great for travelers.

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Selasa, 03 Maret 2015

** Get Free Ebook Faces of Love: Hafez and the Poets of Shiraz (Penguin Classics Deluxe Edition), by Hafez

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Faces of Love: Hafez and the Poets of Shiraz (Penguin Classics Deluxe Edition), by Hafez

Acclaimed translator Dick Davis breathes new life into the timeless works of three masters of 14th-century Persian literature
 
Together, Hafez, a giant of world literature; Jahan Malek Khatun, an eloquent princess; and Obayd-e Zakani, a dissolute satirist, represent one of the most remarkable literary flowerings of any era. All three lived in the famed city of Shiraz, a provincial capital of south-central Iran, and all three drew support from arts-loving rulers during a time better known for its violence than its creative brilliance. Here Dick Davis, an award-winning poet widely considered “our finest translator of Persian poetry” (The Times Literary Supplement), presents a diverse selection of some of the best poems by these world-renowned authors and shows us the spiritual and secular aspects of love, in varieties embracing every aspect of the human heart.

“Davis [is] widely acknowledged as the leading translator of Persian literature in our time…Faces of Love has made the Persian originals into real and moving English poems.” —Michael Dirda, The Washington Post

For more than sixty-five years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,500 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.


From the Trade Paperback edition.

  • Sales Rank: #145627 in eBooks
  • Published on: 2013-08-27
  • Released on: 2013-08-27
  • Format: Kindle eBook

Review
A Choice Magazine Outstanding Academic Title for 2013

“Davis [is] widely acknowledged as the leading translator of Persian literature in our time…Faces of Love has made the Persian originals into real and moving English poems.”
—Michael Dirda, The Washington Post

"Davis has done something I’d thought impossible: given us an Englished Hafez whose verses retain an intimation of what all the fuss is about...this anthology is a revelation."
—Michael Robbins, The Chicago Tribune

"Radiant...Davis expertly elucidates the conventions these poets worked within and played against."
—A. E. Stallings, The Times Literary Supplement Books of the Year

 

"Dick Davis’s love affair with Persian literature has resulted in another marvelous offspring. Faces of Love reveals to us the mysterious connections between three vastly different fourteenth-century Persian poets. Through their eyes, Davis brings us that other Iran of poetry, lyrical beauty, diversity, and sensuality; only a lover and a poet could so passionately and meticulously capture the true spirit of these magnificent poems that transcend the boundaries of space and time."
—Azar Nafisi, author of Reading Lolita in Tehran

"For me, the most remarkable poetic translation project in the last twenty years has been Dick Davis’ ambitious recreations of classical Persian literature. In book after book, Davis has memorably translated one of the world’s great literatures into real English-language poetry. Finally, Davis has brought us new versions of Hafez and the great Shiraz poets. What can I say about this new book except: Yes! at last we meet one of the greatest lyric poets in history fully alive in English."
—Dana Gioia, former chairman of the NEA and author of Pity the Beautiful: Poems

"In this heady volume of wine, roses, nightingales, and forbidden trysts, Dick Davis shows us three faces of medieval Persian love poetry: the elusively mystical, the searingly personal, and the gleefully profane. For those of us unfamiliar with this world, the excitement is something akin to stumbling across a new Pindar, Sappho, and Catullus in a single volume—that is, if they were contemporaries and flourished in the same small town. This book is equally valuable for its wide-ranging introduction and pellucid and musical translations (quotable as English poems in their own right)—it would be worthwhile for either, but is a gem for both. Perhaps the most thrilling surprise contained here, however, is the debut in English (if not the West) of Jahan Malek Khatun, an intellectual princess whose bold and moving poems of heartbreak (often daring in their exploration of gender roles) and exile are a revelation. Her pen name means “the world” and indeed we feel that, in bringing these poems into our language, scholar, poet, and translator Dick Davis has opened a new world for us. One couldn’t write a better description of this volume than one of her own epigrams:
    Shiraz when spring is here—what pleasure equals this?
    With streams to sit by, wine to drink, and lips to kiss,
    With mingled sounds of drums and lutes and harps and flutes;
    Then, with a nice young lover near, Shiraz is bliss"
—A.E. Stallings, MacArthur Fellow and author of Olives


 

Review
In this heady volume of wine, roses, nightingales, and forbidden trysts, Dick Davis shows us three faces of medieval Persian love poetry: the elusively mystical, the searingly personal, and the gleefully profane. For those of us unfamiliar with this world, the excitement is something akin to stumbling across a new Pindar, Sappho, and Catullus in a single volume. This book is equally valuable for its wide-ranging introduction and pellucid and musical translations (quotable as English poems in their own right) it would be worthwhile for either, but is a gem for both. Perhaps the most thrilling surprise contained here, however, is the debut in English of Jahan Malek Khatun, an intellectual princess whose bold and moving poems of heartbreak (often daring in their exploration of gender roles) and exile are a revelation. Her pen name means the world and indeed we feel that, in bringing these poems into our language, scholar, poet, and translator Dick Davis has opened a new world for us.
-- A.E. Stallings, MacArthur Fellow and author of Olives

For me, the most remarkable poetic translation project in the last twenty years has been Dick Davis' ambitious recreations of classical Persian literature. In book after book, Davis has memorably translated one of the world's great literatures into real English-language poetry. Finally, Davis has brought us new versions of Hafez and the great Shiraz poets. What can I say about this new book except: Yes! at last we meet one of the greatest lyric poets in history fully alive in English.
-- Dana Gioia, former Chairman of the NEA and author of Pity the Beautiful: Poems

Dick Davis's love affair with Persian literature has resulted in another marvelous offspring. Faces of Love reveals to us the mysterious connections between three vastly different fourteenth-century Persian poets. Through their eyes, Davis brings us that other Iran of poetry, lyrical beauty, diversity, and sensuality; only a lover and a poet could so passionately and meticulously capture the true spirit of these magnificent poems that transcend the boundaries of space and time. 
-- Azar Nafisi, author of Reading Lolita in Tehran

Probably the most difficult task of all for a Persianist is translating 14th-century poet Hafez. Poet, translator, scholar of Persian literature, Davis (Ohio State Univ.) has succeeded in this challenge admirably. The most admired of all Persian poets, Hafez is a wizard with words, always alluring, seldom quite within reach. Here Davis also provides translations of poems of Jahan Malek Khatun, a less-known female poet, and of Obayd-e Zakani, a scandalous "lavatorial" poet (both also 14th century). The translations of all three poets are superb, and they open up a new world even for those who know Persian well. Davis has supplied a long introduction in which he explains how Persian lyric poems (ghazals) work, both in formal terms and in terms of what ghazals speak of and why. The formal structure of a ghazal is not easily reproduced in English, but Davis has managed, better than anyone else so far, to give a rendering that makes these translations come alive and sing. He has also translated Obeyd-e Zakani's "Mush-o-gurbeh" ("Mouse and Cat"), a well-known narrative poem with clear political undertones, in a charming fashion. Summing Up: Highly recommended. All readers. 
-- W. L. Hanaway, emeritus, University of Pennsylvania, CHOICE ". . .

…Excellent introduction.…Jahan Malek Khatun's touching and very personal poems are a revelation…through his imaginative use of the possibilities of English rhyme and metre, Davis has come closer than Gertrude Bell [judged to have been the most successful translations of Hafez to date] to achieving his stated aim of conveying 'at least something of what reading the poem in its original language is like'.

--David Blow, Times Literary Supplement

About the Author
Persian lyric poet Hafiz (born Khwāja Šamsu d-Dīn Muḥammad Hāfez-e Šīrāzī) grew up in Shiraz. Very little is known about his life, but it is thought that he may have memorized the Qur’an after hearing his father recite passages. He became a poet at the court of Abu Ishak and also taught at a religious college. As the author of numerous ghazals expressing love, spirituality, and protest, he is one of the most celebrated of the Persian poets and and his influence can be felt to this day.

Dick Davis is a translator, a poet, and a scholar of Persian literature who has published more than twenty books. He is a fellow of the Royal Society of Literature and has taught at the University of California at Santa Barbara and Ohio State University. He lives in Columbus, Ohio. is the foremost English-speaking scholar of medieval Persian poetry now working in the West. He read English at Cambridge, lived in Iran for eight years (where he met and married his Iranian wife Afkham Darbandi), then completed a PhD in Medieval Persian Literature at the University of Manchester. He has resided for extended periods in both Greece and Italy (his translations include works from Italian), and has taught at both the University of California and at Ohio State University, where he was for nine years Professor of Persian and Chair of the Department of Near Eastern Languages, retiring from that position in 2012. In all, he has published more than twenty books, including the award-winning poetry collections Seeing the World and Belonging. His translations include Ferdowsi's Shahnameh: the Persian Book of Kings and Farid ud-Din Attar's The Conference of the Birds. The Times Literary Supplement has called him 'our finest translator of Persian poetry'.

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30 of 30 people found the following review helpful.
A Beautiful Book
By NL
Like every book from Mage Publishers, Faces of Love: Hafez and the Poets of Shiraz (2012), by Dick Davis, is a beautiful book, both inside and out. Davis situates Hafez within the rich culture of medieval Shiraz, where both poetry and wine cultivation flourished. Apart from a lovely, informative introduction by Davis, the book is mostly devoted to Davis's translations of selected poetry from three of the best medieval poets of Shiraz: Hafez of course, Princess Jahan Malek Khatun, and Obayd-E Zakani. Davis's translations are formal in the sense that they have a conscious meter, and they rhyme. At the same time, they remain conversational, accessible, and often melodious. (The book closes with thorough explanatory notes for many of the translations.)

Davis's translations of Hafez are compelling and lyrical; however, the real discovery of this book is the section on the lesser-known Jahan Malek Khatun. Hafez is one of the greatest poets who ever lived. But Khatun is a wonderful poet in her own right. Davis spends some time on both her uses of and moves away from traditional forms. Deceptively simple at times, her poems have a modern, daring quality that readers of any century would find powerful. Davis mentions her androgynous address in several poems: true enough, in poem after poem of intense longing, Khatun both struggles with and seems to transcend gender.

The book is a delightful offering of gorgeous, timeless, and often controversial poetry. Yet, its genius is in the triptych structure of three poets from the same fascinating and complicated town. Furthermore, in beginning with Hafez, a mystic poet, and ending with Zakani, Davis allows the reader to contemplate the same themes of wine, desire, and longing from the perspective of the divine-reaching and touching (Hafez), the at times divine-longing (Khatun), and the unapologetically profane (Zakani).

In the introduction, Davis muses roundly on the problem of classifying Hafez as either divine or crassly secular, since his poems seem to touch both realms. Perhaps unwittingly, perhaps intentionally, the structure of Davis's book is an answer to this problem. The mystical artist necessarily embraces the high and the low, the blasphemous and the devout, the sacred and the profane all at the same time.

In this intelligently compiled, captivating book of poetry, Davis not only gives us a luscious glimpse of Shiraz as a poet's city, but his book also allows us to peacefully contemplate the parallel truths of pleasure and transcendent devotion, of material wine and divine wine, of buffoonish drunkenness and divine intoxication, of sexual desire and desire for God.

21 of 24 people found the following review helpful.
Wonderful Medieval Persian Poetry in Contemporary English Verse
By Gordiyeh
I was moved to write this review because I read Wendy Mcmullen's Amazon customer review of the 20th of February 2014 in which she says she likes Ladinsky and Bly's translations better. We are all entitled to our opinions, but neither Ladinsky nor Bly speak any Persian (Davis, while an English poet in his own right, spent 8 years in Iran and is fluent in Persian and a respected scholar of Persian literature). What is unfortunate about Ms. Mcmullen's advice to readers is that Ladinsky's and Bly's "poems" have almost nothing whatsoever to do with the actual poems of Hafez (Davis's translations, on the other hand, while in contemporary English verse, are so close to the actual Persian that they could be used as cribs). Liking the poems of Hafez that don't rhyme, as Ms. Mcmullen does, is like saying you like dances when the dancers don't dance. How can Ms. Mcmullen be "madly in love with Hafez" when she has clearly never read anything by him. A University Librarian!!! Jesus wept.

10 of 11 people found the following review helpful.
A work not only of great beauty, but also of considerable social and political interest
By CHR
Faces of Love is wonderful. It's actually so wonderful that I've had to abandon all hope of recapping of its virtues in a comprehensive way. (The account threatened to be book-length.) Instead, here is what I hope will be a more useful, if only partial, description of a few highlights:

-- First and maybe most importantly, the collection has the rare quality of being as accessible as it is intelligent. Both the poems and the commentary that frame them offer plenty of depth and detail to satisfy the frequent reader of poetry, but it also strikes me that translator Dick Davis's wry prose and contemporary analogies could provide a very entertaining inroad someone less acquainted with this art form. (Do you like Bob Dylan? This could be the book for you!) Very easy to imagine someone who was otherwise not much of a poetry reader getting curious about what else is out there, after reading Davis's collection.

-- Second, the poems are remarkable. I'm not a reader of Persian, sadly, so I can't speak to the originals, but these translations make an impressive body of work on their own. There's a dexterity with rhyme and emotion I wish we'd see a lot more of in contemporary Anglophone poetry (Davis knocked me out resolving an otherwise-unrhymed poem on despair and solace with a final rhymed couplet, closing the poem with a comfort to the reader's ear that matches and magnifies the comfort the poem's themes offer the reader's heart). There's intellectual sophistication that gives lie to postmodernity's purported monopoly on the instability of meaning (a Hafez aside about "wine that's real and not a metaphor" is but the most explicit indication that one didn't need to wait for Barthes to grasp the pleasures and possibilities in the space between sign and referent. Is all the rest of the wine only metaphorical?!) And then there's the uproariously, graphically funny (I badly wish I thought I could get away with quoting the Obayd for you here, but my strong suspicion is that it would be censored. But perhaps that knowledge will be enough to tempt!) The work is terrific, across the board; it's a bit mind-bending to imagine that one translator could work so successfully in so many different styles.

-- Third, the physical book is as lovely as the poems it contains: smooth, cream-colored paper with plenty of blank leaves at the end for note-making; vibrant blue cover art, consonant with the vitality of the book's contents; a matching blue satin ribbon to mark your page or perhaps one you'd like to share. And I think you might like to share it; it's not just a book that would make a nice gift, but the kind of book that reminds why books make such nice gifts.

-- Finally, Faces of Love offers the Anglophone reader a rare view on three very different ways of making and writing a life in medieval Iran. The choice to group these three poets as well as Davis's narration of the world they inhabited brings their culture to life in an unusually vivid fashion. The documentation of their diversity (which often included fairly heterodox attitudes toward religion) may especially interest students of Iranian and international politics. In a passage explaining why alcohol would be so prominent in the lives of these poets despite its prohibition in Islam, Davis writes, amusingly, that in flouting the alcohol proscription, "Local Persian dynasties...were saying, in effect, `This is a part of our culture; get over it.' " Those inclined to speculate may wonder whether Davis, an eight-year resident of Iran, isn't making a similar statement with this publication, if in more circumspect fashion! Regardless of intention though, the book documents a fascinating, multidimensional culture with a good deal more evidence and interest than what, for instance, the U.S. readers usually encounter in the mainstream media accounts of Iran. As such the book becomes not only a work of great beauty but also one of considerable social and political interest.

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Senin, 02 Maret 2015

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    • Released on: 2013-03-20
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    About the Author
    William L. Weston, MD
    Emeritus Professor
    Departments of Dermatology and Pediatrics
    The Childrens Hospital and University of Colorado Hospital
    Denver, Colorado, USA

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    The Golden City, by J. Kathleen Cheney

    For two years, Oriana Paredes has been a spy among the social elite of the Golden City, reporting back to her people, the sereia, sea folk banned from the city’s shores....

    When her employer and only confidante decides to elope, Oriana agrees to accompany her to Paris. But before they can depart, the two women are abducted and left to drown. Trapped beneath the waves, Oriana survives because of her heritage, but she is forced to watch her only friend die.

    Vowing vengeance, Oriana crosses paths with Duilio Ferreira—a police consultant who has been investigating the disappearance of a string of servants from the city’s wealthiest homes. Duilio also has a secret: He is a seer and his gifts have led him to Oriana.

    Bound by their secrets, not trusting each other completely yet having no choice but to work together, Oriana and Duilio must expose a twisted plot of magic so dark that it could cause the very fabric of history to come undone....

    • Sales Rank: #532336 in eBooks
    • Published on: 2013-11-05
    • Released on: 2013-11-05
    • Format: Kindle eBook

    Review
    Praise for The Golden City:

    "[A] masterpiece of historical fantasy...The fascinating mannerisms of the age and the extreme formality of two people growing fonder of each other add a charmingly fresh appeal that will cross over to romance fans as well as to period fantasy readers." --Library Journal (starred review)

    "J.K. Cheney's alternate Portugal, a society of delicate manners, gaslights, and under-the-sea artworks, provides a lush backdrop for an intricate mystery of murder, spies, selkies, and very dark magic. A most enjoyable debut." --Carol Berg, author of the Novels of the Collegia Magica

    "[P]ulls readers in right off the bat...Oriana's 'extra' abilities are thoroughly intriguing and readers will love the crackling banter and working relationship between Oriana and Duilio." --Romantic Times

    "An ambitious debut from Cheney: part fantasy, part romance, part police procedural and part love letter to Lisbon in the early 1900s...[the author] does a lovely job connecting magical, historical and romantic elements." --Kirkus Reviews
     

    About the Author
    J. Kathleen Cheney is a former teacher and has taught mathematics ranging from seventh grade to calculus, with a brief stint as a gifted and talented specialist. Her short fiction has been published in such venues as Fantasy Magazine and Beneath Ceaseless Skies, and her novella “Iron Shoes” was a Nebula Finalist in 2010.

    Excerpt. © Reprinted by permission. All rights reserved.
    A maid came in then carrying a tray with a small pot of coffee and a pair of cups. Miss Paredes tucked her hands back into her mending, her vexed expression fading into polite placidity. Duilio rather liked the vexed Miss Paredes, but he wasn’t foolish enough to say so. “Thank you, Ana,” Duilio told the maid instead. “You may go, but leave the door half-ajar, please.”

    The girl curtsied and swept her way out of the room, pulling the door almost all the way closed. He should go and open it wider to protect Miss Paredes’ reputation, but didn’t bother. He appreciated the privacy for now. He poured himself a cup of coffee. “Would you like a cup?”

    “Yes, please,” Miss Paredes said after a brief hesitation.

    He added cream to hers, having seen her do so that morning, and set the cup on the small table near her elbow.

    “You’re not supposed to serve me,” Miss Paredes protested.

    Duilio didn’t laugh at her wry tone. He broke societal rules regularly enough that this tiny slip in etiquette didn’t merit any twinge of insulted propriety on his part. “I don’t mind serving, Miss Paredes, particularly as your hands are occupied. Do you enjoy sewing?”

    She regarded him warily, as if she feared a trap. “Yes. It’s calming.”

    Well, now he’d learned something. Miss Paredes liked to sew; it wasn’t merely a part of her disguise. He smiled down into his coffee. “I believe there’s a sewing machine down in the workroom. Did you know that?”

    “Yes, but once you’ve accidentally sewn through your webbing, you tend to stay away from machines. I prefer to work by hand.”

    Duilio cringed. “I see. The next time you need a gown, it might be simpler to have one made up. I didn’t mean for you to spend your hours here mending.”

    She pushed the rumpled blue mound on her lap into order and then picked up her own cup. “Mending is honest work, sir.”

    He crossed his legs and peered at her lowered features. Their relationship wasn’t a normal one, caused by circumstances to vacillate between that of master and servant . . . and something else. But his remarks about the mending had caused her to revert to servant again, which irritated him. He wanted to talk to her, not just exchange pleasantries….

    “I have often wondered about your people’s culture,” he said then, hoping to draw out the woman behind the mask of servility. “It’s a shame tourism isn’t allowed on your islands.”

    “Given our history with your people, are you surprised?” she asked tartly.

    His people’s relationship with hers had not gotten off on the right foot, a story recorded in Camões’ epic poem. The islands had been discovered on one of Vasco da Gama’s voyages. The sailors, spotting the lovely “sea nymphs” bathing there, decided they were a gift from Venus . . . and took advantage. The poet chose to cast the incident in a heroic light. He wrote of the sereia running away into the woods, depicting their flight as an attempt to further entice the men—as if sailors long at sea required enticement at all. Duilio had always suspected that interpretation of those events; if a sereia wished to attract a man, she could call him, could she not? “That incident was some four hundred years ago, Miss Paredes. I would hope my people are a little more civilized by now.”

    “And yet your Camões is still heralded as a great poet. Did any of those sailors bring their so-called sereia brides back to Portugal? Did they attempt to right the wrong perpetrated against those women?” Her dark eyes turned toward the dress in her lap. She fiddled with the fabric, giving him an occasional glimpse of the webbing between her long fingers. “We have our own history of that incident—The Rape of Amado, it’s called.”

    “I am not surprised,” he admitted. “What happened afterward is shrouded in mystery. What do your people say?”

    “Amado became a prison of sorts,” she told him. “It had once been a game reserve, just for hunting, but along with the dozen or so human men who’d stayed behind, all the sereia who were caught up in that incident were sequestered there by their own people. They weren’t allowed to return to their home islands, as if they were contaminated. For long afterward, any humans who ended up on the islands, whether by shipwreck or capture—or those missionaries your Church kept sending—were transported to Amado and not allowed to leave.”

    Duilio sat back in his chair. “That seems very harsh. Is it still sequestered?”

    She shook her head. “No. After about two hundred years our rulers lifted the ban on travel. Amado is often called the Portuguese island, though. Its people have the most human blood, their culture is the most like that of Portugal, and a percentage of them are even Christian, which never did spread to the other islands. And thus Amadeans are looked down on by the inhabitants of the other islands who claim pure sereia blood, no matter how untrue that is.”

    Her tone had grown sharper as she spoke. She must be Amadean herself, given her irritation. “Miss Paredes, I’ll promise never to speak fondly of Camões again, if you’ll accept my apology for what happened to your ancestors.”

    She seemed surprised. “Your prince is the one who should apologize.”

    “Unfortunately, that will never happen, Miss Paredes. And I thought we were making such progress. I was hoping to see those islands before I die.”

    That statement caused her brows to furrow. She picked one of the pins from her pincushion, possibly planning to stab him with it. “Why?”

    “I like different places,” he said quite truthfully. “I’m curious. I like to travel, see how different people live.”

    She regarded him warily. “Why our people? There are plenty of others.”

    He argued with himself over whether to tell her the truth or not, and then shrugged. “When I was a boy, my father brought home a book about your islands. It was in French, I recall, and made many unlikely claims, among them the report that your people wear no clothing, or very little. That prompted my initial curiosity.”

    #

    Oriana stared at Mr. Ferreira, wondering what type of impression he intended to make with that bald statement. “That alone piqued your interest?”

    He flushed, a hint of red creeping cross his cheeks. “I had no intention of offending you, Miss Paredes. I was twelve, I believe. Boys that age, I’m afraid, find nothing more fascinating than the possibility of glimpsing a woman in her natural state. I hope that doesn’t negate my earlier apology. I am somewhat more mature now than I was at twelve.”

    Her tone must have been sharper than she’d intended. “I’ll not take it amiss, then, sir. I should tell you, though, that we do wear clothing, although admittedly less than your own people. Our women especially don’t have to put up with this excessive number of layers.” She gestured at her own skirts, hidden under the blue dress.

    He inclined his head, as if in acknowledgment of a gift. “I’ll have to look for that book. You might find it amusing.”

    She could only imagine how inaccurate a human-written book about the islands would be. His dark brows drew together, and for a moment he didn’t speak. “Mr. Ferreira?” she prompted, uncertain where his thoughts had strayed.

    “May I ask a personal question?”

    She folded her hands atop the fabric. What could possibly give him pause after admitting having been an imaginative twelve-year-old male at one point? “Of course, sir.”

    He gestured toward her hands. “The webbing between your fingers seems very delicate. I wondered if you often injure it. You said you’ve done so when sewing.”

    She felt the urge to smile at his hesitation. “It’s tougher than it looks and heals very quickly. I do prick it on occasion, which jars me to my teeth, but it doesn’t hurt that much.”

    “Jars you?”

    She licked her lips, working out the words to explain. “Our webbing is what allows us to sense movement in the water—waves or fish or boats. When I injure it, it’s like . . . a loud thunderclap, but not in my ears. In my head.”

    “Like a seal’s whiskers,” he said with a slow nod. “How sensitive is it?”

    She hadn’t realized the purpose a seal’s whiskers served, but if anyone would know, he would. She held up her hand and spread her fingers wide, which allowed her to sense him. “At this distance I can feel your breathing, your heartbeat. It’s indistinct, but in water it would be far clearer.”

    That apparently gave him something to think about, as he sat with his lips pressed together, unmoving.

    Oriana suspected she knew what he wanted. Isabel was the only other human who’d ever known her well enough to dare ask. She moved to the front of the couch, hands still in her lap. “Would you like to look at them?”

    He regarded her cautiously. “Would you find that offensive?”

    She didn’t recall exactly when, but he’d switched to informal address, speaking to her like a friend, tu, rather than just an acquaintance. She did the same. “Will you show me yours in return?”

    “It would be a terrible sacrifice,” he said with a sly smile, “but I suppose I could.”

    Then he recognized it for a foolish request. She’d seen plenty of human hands in the past two years. But it was a trade she was willing to make. This wasn’t vulgar curiosity or sensationalism on his part. He simply liked to understand.

    She leaned forward and held out her left hand—the one without a cut across the palm. The webbing ran up to the last joint on each finger. Their conjoined nature didn’t allow her the dexterousness of a human hand, but she found most tasks doable.

    “May I touch your hand?” he asked.

    Given his walking into her bath unannounced only a few days before, it was an ironic question. He’d already touched her bare hand, once when he passed her the bathroom keys and then the previous night in the library. This was different, though. She just wasn’t certain how. “Of course,” she managed.

    His left hand, ungloved, touched hers. His fingers were warm, sliding under her hand to support it. His thumb rubbed across her palm, distracting her. She spread her fingers wider and let him turn her hand slightly to catch the light on the webbing. The silhouette of his fingers showed through the translucent skin. His heartbeat reverberated through her senses.

    He was holding her hand because . . . he wanted to do so.

    She swallowed. The sensation of Mr. Ferreira’s skin against hers was surprisingly affecting, making her body warm and her heart beat faster. She wasn’t accustomed to such familiarity; that had to be the source of her reaction.

    Most helpful customer reviews

    0 of 0 people found the following review helpful.
    Fresh and Wonderful!
    By adrianne
    This mystery/romance takes place in a wonderful and new-to-fantasy world. The magic is fresh and very well done. The characters are wonderful. The plot twists and turns like a piece of origami. Nothing ever happened quite the way I expected it to. When I got to the end, I couldn't put it down. Thankfully it's first in a trilogy, and the other two books are every bit as good as Golden City.

    9 of 9 people found the following review helpful.
    Wonderful story
    By Happy Reviewer
    The Golden City begins with Oriana helping her employer, the Lady Isabel, to elope. The setting is Portugal in the early 1900s. Oriana is one of the Sea People (like a mermaid) and a reluctant spy, though reasonably happy working for Isabel.

    Oriana and Isable dress as maids to make their escape, which is unfortuante, because a mysterious group has been abducting and killing maids as part of some mysterious dark magic. Oriana and Isabel are caught in this group’s aquatic trap. But Oriana cannot be killed by drowning, and Isabel is too important to be missed for long.

    Oriana wants to find who killed her employer and why. This is complicated because she’s not exactly human, she’s not supposed to be in the city at all. Simply going to the police isn’t an option. She does manage to befriend and start working for Duilio Ferreira, a well-off gentleman with secrets of his own, who dabbles in police investigation.

    Together they uncover a plot much bigger than a few missing maids. They also begin to fall in love, though any relationship seems impossible, given Oriana’s status.

    I found The Golden City extremely enjoyable. It’s a little hard to nail down the genre, but to me it felt like an Urban Fantasy, where the “Urban” part happens to be 1902 Porto. The characters were all distinct and very likable. The setting was *fantastic* and the prose was lovely and easy to read. There were also a lot of clever, interesting touches. I especially liked the roving older Portugese gentlemen who would come to the aid of ladies in social distress, or scold people for gossiping. ;)

    This story in this book is complete, though it’s clear there are sequels coming. My only caution would be: if you’re looking for hardcore romance, the relationship between the characters remains very polite through this book, though they have unacted-on feelings for each other. I’m sure the relationship will progress in sequels.

    Highly recommended!

    0 of 0 people found the following review helpful.
    Praise for "The Golden City"
    By Amazon Customer
    I haven't read many historical fantasies...in fact, this might be the first one. However, if most historical fantasy is like this book, I plan to read a lot more of it. I really enjoyed this story. Cheney does a wonderful job of blending fantasy, mythology, history and mystery together into an engaging read. I was unfamiliar with the terms "sereia," "selkie" and "rusalka" but I loved being introduced to them. Other languages and cultures fascinate me so this book really drew me in for a number of reasons. The dark magic, mass-murder mystery was intriguing as well.

    I now want to study "The Golden City" and "The City Under the Sea" to see if they really existed. I've lived in southern Spain, so near to Portugal, which makes this even more enjoyable for me. Can't wait to find out where "The Shores of Spain" is set!

    Thankfully I have the second book in the series already because I wasn't satisfied with where the ending of this one left me; I wanted more! :D In a good way.

    If you enjoy mystery, historical fantasy, or just a great fiction read, pick up this book. J. Kathleen Cheney doesn't disappoint. This is the second book of hers that I've read and I have to say, I'm still a fan.

    See all 54 customer reviews...

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