By Jane Shoup
At nineteen, Ammey McKeaf is a golden-haired good looks that's loved and guarded, not just by way of her father, the main respected basic in Azulland, but in addition by way of 5 elder brothers, all champions of the video games which are held within the medieval island kingdom. Her brothers have expert and challenged her all of her lifestyles, specially at swordsmanship, with a purpose to serve her well.
Trouble stirs whilst Marko Corin, the formidable chief of Bellux-Abry, seeks to achieve regulate of the rustic. His small bands of hugely informed infantrymen, often called ‘wolf packs,’ roam the rustic, reaping destruction and loss of life. whilst a pack moves as regards to the Forge, domestic to the McKeafs, Ammey is escorted to sanctuary -- yet sanctuary is something of the past.
As violence reigns, Ammey is rescued and brought into the magical Vihlae woodland, the place she discovers energy she didn't understand she possessed, and learns the paintings of survival from one in all her rescuers, sparking an indisputable ardour. As Ammey travels from one finish of Azulland to the opposite, combating to outlive and guard these round her, she's going to be attempted and verified past something she can have imagined, yet will her efforts be adequate to avoid wasting herself and people she loves?
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Extra info for Ammey McKeaf (The Chronicles of Azulland, Book 1)
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Lewis’s The Lion, the Witch and the Wardrobe establishes a crucial exemplar in children’s portal fantasy. James Thurber’s The Thirteen Clocks introduces a decadent flamboyance into children’s fantasy. 1951 L. Sprague de Camp introduces a lighter note to sword and sorcery in The Tritonian Ring. 1952 Italo Calvino’s The Cloven Viscount accommodates the substance of chivalric romance to modern fabulation. Mary Norton’s The Borrowers explores the narrative potential of miniaturization. E. B. White’s Charlotte’s Web introduces the oddest couple in animal fantasy.
Because they were couched so defensively, however, the ideas the Romantics formulated showed no conspicuous evolution for a long time. The 18thcentury opinions of Johann Musäus, Madame d’Aulnoy, Charles Perrault, Antoine Galland, Voltaire, Nathan Drake, and Samuel Taylor Coleridge regarding the utility and potential of literary fantasy were not much extended by the 19th-century and early 20th-century theorists who came after them, whose English representatives included Edward Bulwer-Lytton, Charles Dickens, Oscar Wilde, Arthur Machen, and G.