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Sumerland: A Tale of Betrayal and Deliverance - Kindle edition by M. Buompensiero. Paranormal Romance Kindle eBooks @ leondumoulin.nl
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- Read More From K.G. Mc Abee
- Reviewer's Choice
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- Yeats and the Occult
Unprotected and on her own, Theo becomes the target of a ruthless killer. Was he the victim of a deranged killer, or was he a pervert who deserved what he got? When her prime suspects are murdered, only one fact is clear-the killer will strike again. Armed with nothing but a madman's cryptic notes, Theo scrambles to decipher the clues while the killer lurks in the shadows, poised to silence her for good.
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Author Loren Zahn is the pen name for M. Lee Buompensiero, author of the critically acclaimed "Sumerland - A tale of Betrayal and Deliverance" in bookstores now and also available on Amazon. Kuvaus Theo Hunter's world just got kicked to the curb. Tuotetiedot Kirjailija Loren Zahn. If Mary has historically been defined by comparison with Elizabeth, then she has been found wanting as the rival of a woman with great intellect, strength of will, and proficiency as a ruler. Mary has traditionally been viewed as the opposite: weak, incapable, and driven by selfish passions, which ultimately destroyed her.
Altering this view of her on film began in with Mary of Scotland, starring Katharine Hepburn. Mary of Scotland is a visual lovesong to Hepburn; she and its director, John Ford, were rumored to be romantically involved. The Catholic Ford, in a manner the historical Mary would doubtless have relished, renders the Scottish queen as a kind of beautiful martyr. His Mary is a godly woman, and one beset on all sides.
This is a far cry from the historical woman who, infatuated, disdained papal dispensation and barreled into the matrimonial state with Darnley; her third marriage would be even more precipitous. As heroine, this Mary cannot evince such questionable judgment. The widowed queen marries Darnley only when forced, and thereafter patiently endures his insulting behavior.
She is not involved in his eventual murder, nor is the Earl of Bothwell, her protector. Mary and Bothwell share a pure love, so neither must be implicated in wrongdoing. Mary is entirely innocent. She defers to the strongest man, is moral, domestic, and maternal. Strength and capability are unattractive. One might think the rise of feminism would spawn a Mary who is more than just a tragic, romantic figure. But no, this Mary is composed entirely of rushing sensibility — she is ecstatically in love, desperately despairing, murderously angry.
She is incredibly silly. I see you have learned nothing. She is a more than willing participant in adultery, conspiracy, and murder. When Moray imprisons her lover, Mary.
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She attempts to strike Elizabeth with her riding crop. The outlets for her self-expression are far from laudable think ill-behaved toddler , but at least this Mary is not passive. Mary has catapulted to the other end of the spectrum: no longer a romanticized saint, she has been completely humanized.
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Yet it is difficult to sympathize with a Mary who is essentially a spoiled and none-too-bright child, with all wounds self-inflicted. This role is usually reserved for Elizabeth, but this Elizabeth Margot Robbie is hamstrung by mental instability brought on by the successes of her younger, fairer cousin.
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Mary is a composed ruler who plays the English ambassador for a fool. Boundlessly open-minded, it is compassion that contributes to her downfall. Mary is ripe for marriage and motherhood; the viewer is treated to close-ups of her menstrual blood. It is Riccio, however, whom Darnley beds on his wedding night. She reminisces about their childhood closeness, temporally implausible perhaps he was eleven years her senior and she left Scotland at five , but showcasing yet again her depth of feeling. When Moray rebels, the staging of his defeat is an exemplar of the ways Mary is elevated.
As the superior tactician, she has outmaneuvered him and she inspires devotion in her army, but she chooses to show mercy. Moray will use it against her. As for Mary and Elizabeth, they are destined from the beginning to be close friends, sisters even, the realities of 16th-century politics be damned. These are the types of males Mary is pitted against. As a woman and fellow queen, surely Elizabeth sympathizes? All she needs do is acknowledge Mary as her superior and her heir, and both will live happily ever after as the true sisters they have always been.
The historical Elizabeth is easily transformed into a highly effective feminist bannerwoman; the historical Mary is problematic in such a role, which causes difficulties. To favor Mary as heroine, her characterization must be far removed from the historical woman, but also, Elizabeth must be significantly depreciated. How to accomplish this? Mary, by contrast, is perpetually young and beautiful, and this is the main point of contention — not that she openly decries Elizabeth as an inferior or presses a claim to her throne that endangers Elizabeth's life.
Not much, it seems, has changed since Much concerning the historical Mary remains unclear, as historians reexamine and reinterpret primary documents. What was the nature of her relationship with Bothwell?
Was she a tireless if inept plotter Shane Watson. Emily Yoshida. Steven Reid. She once watched every extant film version of Elizabeth I's life and wrote a book about it, entitled imaginatively Elizabeth I in Film and Televsion McFarland, One study published in the Journal of Applied Social Psychology quantifiably demonstrates how reading books like Harry Potter increases tolerance and reduces prejudice.
Combine fantasy with the distancing effect overall of any historically set fiction, and readers find a potent mix for examining controversy without building mental barriers. Exploring this mind-opening aspect of historical fantasy with several writers of the genre seemed particularly worthwhile amidst our current social debates.
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Tolkien is perhaps the most famous writer to have brought the realms of myth and magic into solidly historical contexts. Certainly, one result of this blending of history and fantasy is greater entertainment—escape, if you will. But, along with providing marvelous exits out of the everyday world, historical fantasy also appeals to so many readers because it is a particularly rich and effective medium to explore current social issues. More than one study shows that the genres of science fiction and fantasy promote deeper empathy in readers who are introduced.
I have argued for the universalizing effect of deploying the fantastic. Stories and themes from history cannot be read as specific only to a given time and place. Among other things, this can erode an a-historical sense that what we are living through is new.
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As has been said, history may not repeat, but it rhymes. Through historical fantasy, authors highlight issues that continue to concern modern society as well as help readers learn more about a topic. Starkston believes when readers experience a book that draws them into its own world, they tend to leave behind the locked, preconceived notions of how things are and how they ought to be.
Incorporating fantastical elements into historical events or people, said Starkston: lets us accept unusual solutions as entirely normal. When I talk about the historic queen who is the model for my main character, people are incredulous that a woman held such power and influence across the ancient Near Eastern world.