Issola
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What Makes This Book So Great
Jo Walton is an award-winning author of, inveterate reader of, and chronic re-reader of science fiction and fantasy books. What Makes This Book So Great? is a selection of the best of her musings about her prodigious reading habit. Jo Walton’s many subjects range from acknowledged classics, to guilty pleasures, to forgotten oddities and gems. Among them, the Zones of Thought novels of Vernor Vinge; the question of what genre readers mean by ‘mainstream’; the under-appreciated SF adventures of C. J. Cherryh; the field’s many approaches to time travel; the masterful science fiction of Samuel R. Delany; Salman Rushdie’s Midnight’s Children; the early Hainish novels of Ursula K. Le Guin; and a Robert A. Heinlein novel you have most certainly never read. Over 130 essays in all, What Makes This Book So Great is an immensely engaging collection of provocative, opinionated thoughts about past and present-day fantasy and science fiction, from one of our best writers.
Tiassa
Long ago, one of the gods fashioned an artifact called the silver tiassa. To Devera the Wanderer, it's a pretty toy to play with. To Vlad Taltos, it's a handy prop for a con he's running. To the Empire, it's a tool to be used against their greatest enemies—the Jenoine. To the Jhereg, it's a trap to kill Vlad. The silver tiassa, however, had its own agenda. Steven Brust's Tiassa tells a story that threads its way through more than ten years of the remarkable life of Vlad Taltos—and, to the delight of longtime fans, brings him together with Khaavren, from The Phoenix Guards and its sequels. Khaavren may be Vlad's best friend—or his most terrible enemy. At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.
Italian Literature IV: Il Tristano Riccardiano, MS 1729 (Parodi's Siglum 'F')
A critical edition with facing-page English translation of the fourteenth-century Il Tristano Riccardiano, MS 1729. The French prose Roman de Tristan circulated widely in medieval Italy as attested by numerous translations and adaptations in different dialects. Two of these, preserved in Florence's Biblioteca Riccardiana, reveal important links amongst the extant Italian Tristans. The longer version, Tristano Riccardiano, MS 2543, has been edited, re-edited and translated into English. However, its shorter sister, found in the fourteenth-century MS Ricc. 1729, has suffered almost complete critical neglect, perhaps due to its amateur production traits, complex amalgam of regional dialects and idiosyncratic script. While its contents (Tristan's birth, early adventures, love affair with Yseut) largely correspond to MS 2543, there are noteworthy variants. For example, the famous three-day tournament, conserved in the Tristano Panciatichiano and constituting the bulk of the Tristano Corsiniano, does not appear. MS 1729 also preserves the final episodes (Tristan's fatal wounding, the lovers' deaths, lamentation at Camelot), which are not found in MS 2543. This volume offers the first critical edition of this Italian exemplar, permitting further linguistic analysis; it is accompanied by a facing-page English translation, which will open the text to a wider audience. The full introduction considers the manuscript itself, looking at such matters as its dating, illustrations, watermarks and contents, and comparing it with other redactions, whilst notes, a bibliography and index of proper names complete the apparatus.