SKU: 19674425101

Dark Art

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Description

Dark ArtDark Art Steve Feasey lives in Hertfordshire with his wife and children. He says he didn't learn much at school, but he was always a voracious reader. He started writing fiction in his thirties, inspired by his own favourite writers: Stephen King, Elmore Leonard and Charles Dickens. His first book, Changeling, was shortlisted for the Waterstones Prize and became a successful series. He is also the author of the acclaimed Mutant City series. The first

Dark Art

Steve Feasey lives in Hertfordshire with his wife and children. He says he didn't learn much at school, but he was always a voracious reader. He started writing fiction in his thirties, inspired by his own favourite writers: Stephen King, Elmore Leonard and Charles Dickens. His first book, Changeling, was shortlisted for the Waterstones Prize and became a successful series. He is also the author of the acclaimed Mutant City series. The first book set in the world of Stromgard, Dark Blade, was published in 2019.

stevefeaseyThe second book in the sweeping epic fantasy series Whispers of the Gods, perfect for fans of the Summoner trilogy by Taran Matharu and Shadow and Bone by Leigh BardugoWHEN DESTINIES COLLIDE, WHO WILL EMERGE VICTORIOUS?Lann is hunting monsters. It's his destiny as bearer of the Dreadblade. But Lann would rather hunt down Kelewulf, the young necromancer who released them into the world. Consumed by his aunt's death, he can think of nothing but revenge.Across a dark sea, Kelewulf is mastering magic. He has persuaded the High Priestess of Hasz to tutor him. But he's hiding a more dangerous goal: finding the heart of a god. With this terrible object in hand, he'll return darkness to the world forever .Lann and Kelewulf know their fates are entwined. When they finally meet, what will prevail? Spells or steel? Vengeance or mercy? Only the gods can guess.This has everything you want from an epic fantasy adventure - devious Gods, hideous monsters, a portal to another dimension and a hero with an enchanted blade. Great stuffFans of Rick Riordan and John Flanagan have a whole new world of dark magic, mysterious gods and brave heroes waiting for themDark Blade is a razor-sharp, spellbinding read full of intrigue and magic. This tale truly takes the crown as the young heir to the likes of Game of Thrones and Throne of Glass An epic dark fantasy set in an arcane world where kings are murdered, monsters roam and ordinary boys are given extraordinary gifts

SPECIFICATIONS:

Author:Steve Feasey - Стив Физи

Publisher:Bloomsbury

Language:English

Publication Date:2020

Number of pages:320 pst

Format:Paperback

Width:129 mm / 5,1'

Height:198 mm / 7,8'

Weight:240 g

ISBN:9781408873410

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SKU: 19674425101

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4.9 ★★★★★
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Verified Purchase
David R. Papke
Boise, US
★★★★★ 5
Recommended for All Lawyers
Format: Paperback
Meyer proves his initial point that much of what lawyers do is storytelling, and he achieves his goal of providing a primer on narrative theory for lawyer-storytellers. The book is sophisticated but written in an engaging way using non-technical language. Examples from legal and literary works abound, and they range from courtroom arguments and appellate briefs on the one hand to an essay by Joan Didion and Vonnegut's "Slaughterhouse Five" on the other. Meyer's favorite stories are found in Hollywood movies, and although he seems unaware of the accomplishment,Meyer provides fresh interpretations of such movies as "HIgh Noon" and"Jaws." I strongly recommend "Storytelling for Lawyers" for all law students, lawyers, and judges.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on May 7, 2014
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DoubtfulReader
Waukegan, US
★★★★★ 3
Notes on Legal Style by a Law Professor and Experienced Lawyer.
Format: Kindle
BOOK REVIEW: MEYER, Philip N., Storytelling for Lawyers ISBN: 978-0-19-5396638 Read June, 13th-27th, 2017. This book discusses storytelling tools by presenting a series of examples of good storytelling, both in legal settings and in literary works and movies. If theoretical explanations are sometimes a bit dry, the frequent quoting of practical examples conveys fluidity and speed to the book. After an introduction presenting lawyers as storytellers, it deals with the roles played in storytelling by Plots (chapters 2 and 3); Character (4 and 5); Voice, Perspective, Details and Images, and Rhytm and Speed (which relate to Scene and Summary) (chapter 6); Place or Story Environment (chapter 7) and Narrative Time. Focusing maybe too narrowly on legal storytelling before American juries, plot is almost equated with melodrama. Films like Jaws and High Noon are extensively discussed, as Gerry Spence’s Closing Argument on Behalf of Karen Silkwood. The chapters on character offer interesting insights on character classification (“round” characters, with psychological depth, prone to suffer transformation as the story evolves, vs. “flat” ones), while discussing the tools for telling how a character is, as opposed to simply showing the psychological nature of each character’s character through dialogue or the actions the character performs. Examples include Tobias Wolff’s This Boy’s Life and Jeremiah Donovan’s Closing Arguments on Behalf of Louis Failla, in a 13-week trial the Author could scrupulously attend in person. Discussions on Voice, Perspective, Details and Images, Scene and Summary, criticize the basic assumptions of the neutrality of lawyers’ voices, exemplifies how to manage details to suggest ideas and emotions, draw on the distinction between showing and telling, and offers interesting insights into the narrative theory’s concept of stretch (the slowing of the narrative rhythm in relation to the narrated story’s). Environment depiction storytelling tools deals with Joan Didion’s The White Album and the Judicial Opinion in a Rape Case, quoting also from W. G. Sebald’s The Emigrants and the Petition Briefs in Reck v. Ragen and Miranda v. Arizona. Further examples are Kathryn Harrison’s While They Slept and the Petitioner’s Brief in Eddings v. Oklahoma. Finally, the chapter on Narrative Time draws on Kurt Vonnegut’s Slaughterhouse Five and explores time, rhythm or speed, discussing more deeply stretch and the relation of time of the narrative itself with the time of the facts dealt with in the narrative. Chronology is discussed and criticized; Analepsis or Flashback is didactically explained and exemplified, both in general storytelling theory and in its legal use; the same holds for Prolepsis (Flash-forward) and Ellipsis (the intentional omission of a part of the narrative, often with the purpose of emphasizing the omitted event. Pacing and Rhythm are discussed in more lenght, with the caveat - repeated somewhat throughout the book - that legal stories are often left unfinished by the lawyer, in order to allow the jurors or judges fill the end with their decision. The Author remarks his purpose was to suggest possible tools and ways of dealing with problems which arise in legal storytelling, and he delivers what he promises.
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Reviewed in the United States on June 27, 2017
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Matt M.
Waukegan, US
★★★★★ 5
Great book and great professor
Format: Paperback
Professor Meyer is a great writer. I had took his death penalty case at Vermont Law School. He writes for numerous magazines including the ABA. I would highly recommend this book and all of his writings.
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Reviewed in the United States on January 19, 2021
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J. Christian
Chelsea, US
★★★★★ 4
Interesting book
Format: Paperback
I am not a lawyer, nor a writer, but rather a reader. I found the correlation of legal storytelling with sceenplay, literary narrative quite interesting. Legal trials are theater.
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Reviewed in the United States on March 20, 2014
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Classics professor
Carnegie, US
★★★★★ 5
Highly recommended -- not just for lawyers!
Format: Paperback
I'm not a lawyer but a Classics professor looking for modern parallels to (and contrasts with) Cicero's persuasive strategies in Roman courts. This book was just what I was looking for: lucid, informative, smart, and as a bonus, well versed in narrative theory, which Meyer handles as an experienced teacher -- avoiding jargon and needless complication, illustrating the key ideas with well-known cinematic examples.
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Reviewed in the United States on April 20, 2017

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