Love. Loyalty. Sacrifice.Grey Flynn has dedicated her life to her mage, Kier.She will be his blade on the battlefield, his healer and protector. The deep well of raw power inside her is Kier's to use. Grey would do anything for Kier - be anything for him - if he would only ask.When a quest to protect the child of an enemy kingdom pulls them into the dangerous heart of their nation's war, Grey and Kier will need to decide what they are willing to sacrifice to protect their secret. For Grey is no ordinary magical well, but heir to the lost island of Locke - the root of all power. If she dies, all magic dies with her.The Second Death of Locke is a devastatingly romantic epic fantasy and about the undying bond between a knight and their mage, perfect for fans of Gideon the Ninth and The Six Deaths of the Saint.

From BookTok sensation and NYT bestselling author Rachel Gillig, comes the next big romantasy phenomenon: a gothic, mist-cloaked tale of a prophetess who is forced beyond the safety of her cloister on an impossible quest to defeat the gods with the one knight whose future is beyond her sight. Sybil Delling has spent nine years dreaming of having no dreams at all. Like the other foundling girls who traded a decade of service for a home in the great cathedral, Sybil is a Diviner. In her dreams she receives visions from six unearthly figures known as Omens. From them, she can predict terrible things before they occur, and lords and common folk alike travel across the kingdom of Traum's windswept moors to learn their futures by her dreams. Just as she and her sister Diviners near the end of their service, a mysterious knight arrives at the cathedral. Rude, heretical, and devilishly handsome, the knight Rodrick has no respect for Sybil's visions. But when Sybil's fellow Diviners begin to vanish one by one, she has no choice but to seek his help in finding them. For the world outside the cathedral's cloister is wrought with peril. Only the gods have the answers she is seeking, and as much as she'd rather avoid Rodrick's dark eyes and sharp tongue, only a heretic can defeat a god.

In a faraway land where members of the royal family are named for the virtues they embody, one young boy will become a walking enigma. Born on the wrong side of the sheets, Fitz, son of Chivalry Farseer, is a royal bastard, cast out into the world, friendless and lonely. Only his magical link with animals - the old art known as the Wit - gives him solace and companionship. But the Wit, if used too often, is a perilous magic, and one abhorred by the nobility. So when Fitz is finally adopted into the royal household, he must give up his old ways and embrace a new life of weaponry, scribing, courtly manners; and how to kill a man secretly, as he trains to become a royal assassin.

The Middle Ages: A Graphic History busts the myth of the ‘Dark Ages’, shedding light on the medieval period’s present-day relevance in a unique illustrated style. This history takes us through the rise and fall of empires, papacies, caliphates and kingdoms; through the violence and death of the Crusades, Viking raids, the Hundred Years War and the Plague; to the curious practices of monks, martyrs and iconoclasts. We’ll see how the foundations of the modern West were established, influencing our art, cultures, religious practices and ways of thinking. And we’ll explore the lives of those seen as ‘Other’ – women, Jews, homosexuals, lepers, sex workers and heretics. Join historian Eleanor Janega and illustrator Neil Max Emmanuel on a romp across continents and kingdoms as we discover the Middle Ages to be a time of huge change, inquiry and development – not unlike our own.

What makes for the ideal woman? How should she look, love, and be? In this vibrant, high-spirited history, medievalist Eleanor Janega turns to the Middle Ages, the era that bridged the ancient world and modern society, to unfurl its suppositions about women and reveal what’s shifted over time — and what hasn’t. Enshrined medieval thinkers, almost always male, subscribed to a blend of classical Greek and Roman philosophy and Christian theology for their concepts of the sexes. For the height of female attractiveness, they chose the mythical Helen of Troy, whose imagined pear shape, small breasts, and golden hair served as beauty’s epitome. Casting Eve’s shadow over medieval women, they derided them as oversexed sinners, inherently lustful, insatiable, and weak. And, unless a nun, a woman was to be the embodiment of perfect motherhood. In contrast, drawing on accounts of remarkable and subversive medieval women like Eleanor of Aquitaine and Hildegard of Bingen, along with others hidden in documents and court cases, Janega shows us how real women of the era lived. While often mothers, they were industrious farmers, brewers, textile workers, artists, and artisans and paved the way for new ideas about women’s nature, intellect, and ability. In The Once and Future Sex, Janega unravels the restricting expectations on medieval women and the ones on women today. She boldly questions why, if our ideas of women have changed drastically over time, we cannot reimagine them now to create a more equitable future.