Fantasy

King of Thorns (The Broken Empire, Book 2) by Mark Lawrence

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By Mark Lawrence

In ebook one of many damaged Empire, Mark Lawrence delivered to lifestyles the “morbidly gripping”* (Publishers Weekly) tale of a boy looking for energy and vengeance. Now, in King of Thorns, that boy’s trip into manhood takes him to the darkish depths ready inside his soul…

The boy who will be King has won the throne...

Prince Honorious Jorg Ancrath vowed while he used to be 9 to avenge his slaughtered mom and brother—and punish his father for now not doing so. whilst he used to be fifteen, he started to satisfy that vow. Now he's eighteen—and he needs to carry on by means of energy of palms to what he took through torture and treachery.

King Jorg is a guy haunted: through the ghost of a tender boy, via a mysterious copper field, via his wish for the lady who rides together with his enemy. laid low with nightmares of the atrocities he dedicated, and of the atrocities dedicated opposed to him whilst he was once a baby, he's full of rage. or even as his desire for revenge maintains to eat him, twenty thousand males march towards the gates of his fort. His enemy is way superior than him. Jorg is familiar with that he can't win a good fight.

yet he has came across, in a chamber hidden underneath the citadel, historic and long-lost artifacts. a few could name them magic. Jorg isn't really certain—all he understands is that the secrets and techniques they carry will be placed to poor use within the coming battle...

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Additional info for King of Thorns (The Broken Empire, Book 2)

Sample text

When John Clute planned his Encyclopedia of Fantasy in the mid1990s, he envisaged it as a smaller and more tightly focused volume than the recently updated The Encyclopedia of Science Fiction; it ended up as a sprawling leviathan almost twice as large as originally intended. The immense difficulty Clute and Grant had in setting boundaries to the project and in discovering an adequate descriptive terminology for comparative and taxonomic purposes provides a graphic illustration of the manner in which the historical and critical writings of the 1970s had created more problems than they had solved.

A heterocosmic creator cannot organize the informational thread of a text in the same way as can the creator of simulacra. The reader’s attention must be drawn to similarities and differences between the world within the text and the primary world. The heterocosmic creator must not only work hard to establish the relevance of some aspects of the readers’ preexistent stocks of knowledge into the text, but must work at least as hard to ensure that certain other aspects are definitively excluded. The heterocosmic creator must separate into two distinct parts the readers’ ready-made understanding of the way a world might work and must then compensate for the part ruled irrelevant by supplying a new understanding to take its place.

Tolkien’s lecture “On Fairy Tales” offers an unprecedentedly robust apologia for fantasy literature. 1939 Unknown provides a vital arena for the development of chimerical fantasy. Flann O’Brien’s At Swim-Two-Birds takes metafiction to new extremes. James Thurber’s “The Secret Life of Walter Mitty” provides a classic description of everyday escapism. World War II begins in September. 1940 Jorge Luis Borges, Adolfo Bioy Casares, and Silvina Ocampo compile a showcase anthology of international fantasy literature.

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