The Sorcerers Revenge

This novel focuses on the development of the characters and their relationships, addressing themes of leadership, trust, and betrayal, and the consequences of one's actions.

Necros, a sorcerer and only son of the king, wants nothing more than to have revenge on the city of Amuron. But when a spirit forces him into banishment and relinquishes his power, Necros learns he cannot begin his vengeful mission until he convinces the future rightful heir to the throne, Prince Naibor, to turn against his beliefs. Eighty years later, Prince Naibor is competing against other adult royals in Amuron to become high king. After he rebels against the high kings law and invites Necros back into the city to help him realize his dreams, the prince becomes the sorcerers prisoner, discovers that Necros has plans of his own, and plans redemption with help from a band of talking animals who now must travel to a sacred place in the mountains to find a way to rescue Amuron. As Necros vows to sacrifice the captives of Amuron once his new temple is completed, Prince Naibor and the animals must race to save his innocent victims, before Necros can carry out his final revenge. In this thrilling fantasy tale, a prince, a group of talking animals, and an evil sorcerer battle for their lives as the fate of a city lies in peril.

Maeve is almost finished her apprenticeship as a Seer when she is called upon to counsel the king. When the king's decision puts the kingdom at risk and angers Maeve's father, a powerful sorcerer, Maeve must put it right.

It is common knowledge that the television series Game of Thrones and revenge go together well, but whether Game of Thrones and feminism are compatible is debatable, to say the least. This book shows how the series’ female characters in particular utilise revenge to acquire autonomy, fight objectification, and pursue equality. On the one hand, they do so by mirroring the female characters of English Renaissance Revenge Tragedies. On the other, prevailing feminist ideas of the 21st century are also incorporated. The resulting tension between models from the Renaissance and current feminist impulses allows for an interpretation of Game of Thrones as a contemporary, feminist version of a Revenge Tragedy. Thus, this book discusses gender, equality, and representation, problematising the heteronormative, binary perspective so commonly given on the series. As such, the book is for everyone interested in popular culture and its influences and developments, both fans and critics of the show, feminists, and those who aspire to educate themselves.

While thirteen-year-old Johnny Dixon lies dying, possessed by an evil spirit, his friends, an elderly professor and a schoolmate, try to find some way to free him.

As fugitive diplomat Kait Galweigh matches wits with megalomaniac Crispin Sabir for control of the Mirror of Souls, neither of them realizes that the mirror contains the vengeful spirits of long-dead sorcerers who once nearly destroyed the world.

A bookish boy searches for his missing best friend in this spooky tale by the author of The House with a Clock in Its Walls On a country lane in snowbound 1950s New Hampshire, a car goes skidding off the road. Professor Childermass and Johnny Dixon escape unscathed, but their car is stuck, and they are forced to walk into town. Johnny doesn’t mind. A curious young man, he has fun anytime the professor takes him out, because he’s treated like an adult. Together they’ve gotten into all sorts of supernatural scrapes, and this winter night, they’ll face their toughest challenge yet. When Childermass suddenly vanishes, Johnny is the only one who can find him. The mystery is linked to a tiny skull taken from a child’s dollhouse, which seems to have powers too terrible to guess at. With the help of a crusty old Irish priest, Johnny chases the clues to his friend’s disappearance all the way to the rocky coast of Maine, where something evil hungers for revenge. From the author of the series featuring Lewis Barnavelt and Anthony Monday, the Johnny Dixon novels are charmingly old-school and shot through with suspense, and The Spell of the Sorcerer’s Skull may be the most chilling of them all.

Kamal Abdulla is a well-known Azerbaijani writer and scholar. He has written works on linguistics, culturology and mythology, and is the author of poetry, essays, plays, stories, and novels. His prose has been published and translated into French, Turkish, Russian, English, Portuguese, German, Polish, Bulgarian, Georgian, Arabic, Lithuanian, Japanese, and other languages. His plays have been performed in Azerbaijan, Georgia, and Estonia. His work is not without its detractors. Many articles and books have been written about his work, some positive, some negative. He has won literary awards in his own country, and been subject to unfair criticism. In the early years of Azerbaijan's independence, liking his novels was considered a sign of good literary taste. In later years, not liking these works is considered a sign of good literary taste. Original language, world view, philosophical foundation, and mythological sense characterize his work. His writing features mountains invisible to the eye, and valleys of sorcerers where it is forever spring. Here ancient manuscripts come to life and history is re-read in a completely different way. Centaurs roam his favourite city, Baku, while in ancient Egypt, people turn into flowers, and flowers into people. The idolized heroes of his mythological texts are fleshed out as ordinary, everyday people. Sometimes dead people emerge from their images, restore justice, and then return to their images. Not satisfied with living in their own worlds, characters lead very different lives in parallel worlds. The story of Theseus and the Minotaur enters our own time, and finally the phantasmagoria reaches such a point that Paris gives the apple to Hera, not Aphrodite...