Messenger is the masterful third novel in the Giver Quartet, which began with the dystopian bestseller The Giver, now a major motion picture.   Matty has lived in Village and flourished under the guidance of Seer, a blind man known for his special sight. Village once welcomed newcomers, but something sinister has seeped into Village and the people have voted to close it to outsiders. Matty has been invaluable as a messenger. Now he must risk everything to make one last journey through the treacherous forest with his only weapon, a power he unexpectedly discovers within himself.

They called her Water Claire. When she washed up on their shore, no one knew that she came from a society where emotions and colors didn’t exist. That she had become a Vessel at age thirteen. That she had carried a Product at age fourteen. That it had been stolen from her body. Claire had a son. But what became of him she never knew. What was his name? Was he even alive? She was supposed to forget him, but that was impossible. Now Claire will stop at nothing to find her child, even if it means making an unimaginable sacrifice. Son thrusts readers once again into the chilling world of the Newbery Medal winning book, The Giver, as well as Gathering Blue and Messenger where a new hero emerges. In this thrilling series finale, the startling and long-awaited conclusion to Lois Lowry’s epic tale culminates in a final clash between good and evil.

Thousands of them have lived underground. They've lived there so long, there are only legends about people living anywhere else. Such a life requires rules. Strict rules. There are things that must not be discussed. Like going outside. Never mention you might like going outside.Or you'll get what you wish for.

The third volume that contains the early myths and legends which led to the writing of J.R.R. Tolkien’s epic tale of war, The Silmarillion. This, the third volume of The History of Middle-earth, gives us a privileged insight into the creation of the mythology of Middle-earth, through the alliterative verse tales of two of the most crucial stories in Tolkien’s world—those of Turien and Luthien. The first of the poems is the unpublished Lay of The Children of Hurin, narrating on a grand scale the tragedy of Turin Turambar. The second is the moving Lay of Leithian, the chief source of the tale of Beren and Luthien in The Silmarillion, telling of the Quest of the Silmaril and the encounter with Morgoth in his subterranean fortress. Accompanying the poems are commentaries on the evolution of the history of the Elder Days, which was much developed during the years of the composition of the two Lays. Also included is the notable criticism in detail of the Lay of Lethian by C.S. Lewis, Tolkien's friend and colleague, who read the poem in 1929. By assuming that this poem is actually a fragment from a past lost in history, Lewis underlined the remarkable power of its author's imaginative talents and academic competence.

This tale of Middle-earth's First Age, which appeared in incomplete forms in the posthumously published The Silmarillion and Unfinished Tales, also edited by Tolkien's son, Christopher, only hinted at the depth and power of the tragic story of Túrin and Niënor, the children of Húrin, the lord of Dor-lómin, who achieved renown for having confronted Morgoth, who was the master of Sauron, the manifestation of evil in the Lord of the Rings. Six thousand years before the One Ring is destroyed, Middle-earth lies under the shadow of the Dark Lord Morgoth. The greatest warriors among elves and men have perished, and all is in darkness and despair. But a deadly new leader rises, Túrin, son of Húrin, and with his grim band of outlaws begins to turn the tide in the war for Middle-earth -- awaiting the day he confronts his destiny and the deadly curse laid upon him.

The tale of Beren and Lúthien was, or became, an essential element in the evolution of The Silmarillion, the myths and legends of the First Age of the World conceived by J.R.R. Tolkien. Returning from France and the battle of the Somme at the end of 1916, he wrote the tale in the following year. Essential to the story, and never changed, is the fate that shadowed the love of Beren and Lúthien: for Beren was a mortal man, but Lúthien was an immortal elf. Her father, a great elvish lord, in deep opposition to Beren, imposed on him an impossible task that he must perform before he might wed Lúthien. This is the kernel of the legend; and it leads to the supremely heroic attempt of Beren and Lúthien together to rob the greatest of all evil beings, Melkor, called Morgoth, the Black Enemy, of a Silmaril. In this book Christopher Tolkien has attempted to extract the story of Beren and Lúthien from the comprehensive work in which it was embedded; but that story was itself changing as it developed new associations within the larger history. To show something of the process whereby this legend of Middle-earth evolved over the years, he has told the story in his father's own words by giving, first, its original form, and then passages in prose and verse from later texts that illustrate the narrative as it changed. Presented together for the first time, they reveal aspects of the story, both in event and in narrative immediacy, that were afterwards lost. Published on the tenth anniversary of the last Middle-earth book, the international bestseller The Children of Húrin, this new volume will similarly include drawings and color plates by Alan Lee, who also illustrated The Lord of the Rings and The Hobbit and went on to win Academy Awards for his work on The Lord of the Rings film trilogy. 

In the Tale of The Fall of Gondolin are two of the greatest powers in the world. There is Morgoth of the uttermost evil, unseen in this story but ruling over a vast military power from his fortress of Angband. Deeply opposed to Morgoth is Ulmo, second in might only to Manwë, chief of the Valar: he is called the Lord of Waters, of all seas, lakes, and rivers under the sky. But he works in secret in Middle-earth to support the Noldor, the kindred of the Elves among whom were numbered Húrin and Túrin Turambar.   Central to this enmity of the gods is the city of Gondolin, beautiful but undiscoverable. It was built and peopled by Noldorin Elves who, when they dwelt in Valinor, the land of the gods, rebelled against their rule and fled to Middle-earth. Turgon King of Gondolin is hated and feared above all his enemies by Morgoth, who seeks in vain to discover the marvellously hidden city, while the gods in Valinor in heated debate largely refuse to intervene in support of Ulmo’s desires and designs.   Into this world comes Tuor, cousin of Túrin, the instrument of Ulmo’s designs. Guided unseen by him Tuor sets out from the land of his birth on the fearful journey to Gondolin, and in one of the most arresting moments in the history of Middle-earth the sea-god himself appears to him, rising out of the ocean in the midst of a storm. In Gondolin he becomes great; he is wedded to Idril, Turgon’s daughter, and their son is Eärendel, whose birth and profound importance in days to come is foreseen by Ulmo.   At last comes the terrible ending. Morgoth learns through an act of supreme treachery all that he needs to mount a devastating attack on the city, with Balrogs and dragons and numberless Orcs. After a minutely observed account of the fall of Gondolin, the tale ends with the escape of Túrin and Idril, with the child Eärendel, looking back from a cleft in the mountains as they flee southward, at the blazing wreckage of their city. They were journeying into a new story, the Tale of Eärendel, which Tolkien never wrote, but which is sketched out in this book from other sources.   Following his presentation of Beren and Lúthien Christopher Tolkien has used the same ‘history in sequence’ mode in the writing of this edition of The Fall of Gondolin. In the words of J.R.R. Tolkien, it was ‘the first real story of this imaginary world’ and, together with Beren and Lúthien and The Children of Húrin, he regarded it as one of the three ‘Great Tales’ of the Elder Days.

J.R.R. Tolkien’s writings on the Second Age of Middle-earth, collected for the first time in one volume. J.R.R. Tolkien famously described the Second Age of Middle-earth as a ‘dark age, and not very much of its history is (or need be) told’. And for many years readers would need to be content with the tantalizing glimpses of it found within the pages of The Lord of the Rings and its appendices, including the forging of the Rings of Power, the building of the Barad-dûr and the rise of Sauron. It was not until Christopher Tolkien published The Silmarillion after his father’s death that a fuller story could be told. Although much of the book’s content concerned the First Age of Middle-earth, there were at its close two key works that revealed the tumultuous events concerning the rise and fall of the island of Númenor. Raised out of the Great Sea and gifted to the Men of Middle-earth as a reward for aiding the angelic Valar and the Elves in the defeat and capture of the Dark Lord Morgoth, the kingdom became a seat of influence and wealth; but as the Númenóreans’ power increased, the seed of their downfall would inevitably be sown, culminating in the Last Alliance of Elves and Men. Even greater insight into the Second Age would be revealed in subsequent publications, first in Unfinished Tales of Númenor and Middle-earth, then expanded upon in Christopher Tolkien’s magisterial twelve-volume The History of Middle-earth, in which he presented and discussed a wealth of further tales written by his father, many in draft form. Now, adhering to the timeline of ‘The Tale of Years’ in the appendices to The Lord of the Rings, editor Brian Sibley has assembled into one comprehensive volume a new chronicle of the Second Age of Middle-earth, told substantially in the words of J.R.R. Tolkien from the various published texts, with new pencil illustrations by the doyen of Tolkien art, Alan Lee.