Historical Romance

Download The Price of Blood (The Emma of Normandy Trilogy, Book 2) by Patricia Bracewell PDF

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By Patricia Bracewell

Menaced via Vikings and enemies at court docket, Queen Emma defends her kids and her crown in a riveting medieval adventure.

Readers first met Emma of Normandy in Patricia Bracewell’s gripping debut novel, Shadow at the Crown. Unwillingly thrust into marriage to England’s King Æthelred, Emma has given the king a son and inheritor, yet theirs hasn't ever been a cheerful marriage. In The cost of Blood, Bracewell returns to 1006 whilst a beleaguered Æthelred, nonetheless haunted via his brother’s ghost, governs with an iron fist and a royal coverage that embraces murder.

As tensions strengthen and enmities solidify, Emma forges alliances to guard her younger son from formidable men—even from the fellow she loves. within the north there's treachery brewing, and whilst Viking armies ravage England, loyalties are shattered and not anyone is secure from the sword.

Rich with intrigue, compelling personalities, and engaging aspect a couple of little-known interval in historical past, The expense of Blood will captivate lovers of either old fiction and myth novels resembling George R. R. Martin’s Game of Thrones sequence.

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Extra info for The Price of Blood (The Emma of Normandy Trilogy, Book 2)

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The 24 ENGUSH MAGAZINE ILLUSTRATION lack of collaboration between novelist and illustrator in the post-1870 period (and the correspondingly increased role played by the editor) is a distinctive mark of the era. Punch illustrator George Du Maurier more than once expressed the advantages that would occur if author and illustrator could have consulted on the pictorial treatment that was to be given the particular novel. Ideally, each separate design should have been discussed. Conceding that this would have been impractical, Du Maurier suggested the next best way to handle the collaboration: If authors would learn a little how to draw themselves they would not put such difficulties in the artist's way, and expect the impossible from him, such as that he should draw three sides of a house in one picture, or show the heroine's full face, tearstained, as she gazes on the lover vanishing in the middle of the background.

After overhearing two men venting their dislike of the character Mrs. " This kind of impulsive responsiveness brought its own problems, as Trollope later discovered: "I have sometimes regretted the deed, so great was my delight in writing about Mrs. " 19 The ability of the author to change direction while he was actually publishing the novel put the illustrator at a disadvantage, since he did not have the completed manuscript', with all the character disposition, at hand. Later in the century, when it became more the practice to submit the completed manuscript to an editor (and illustrator), the advantage in author responsiveness was lost, but the illustrator or editor had the advantage of knowing the complete story, and could select a well balanced set of scenes for illustration.

In America, however, and especially after 1870, the situation was much better. " 24 It may not be coincidental that American magazines were known for the excellent quality of their engravings. On the other hand, the engraver could often improve the artist's work by interpreting the wash of the drawing into strong, clear lines, and by giving more care to small details than the artist had done. As the outstanding nineteenth century engraver Edmund Evans has observed: "The skill of the wood-engraver was often much greater than that of the artists whose work they were responsible for reproducing; their profession was at the very heart of the Victorian book and magazine world.

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