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Andre Norton & Lackey, Mercedes - Elvenbane 1 -The Elvenbane
A teenage boy born in space makes his first trip to Earth in this engrossing sci-fi adventure for fans of The Martian from award-winning author Nick Lake. Moon 2 is a space station that orbits approximately miles above Earth. It travels 17, miles an hour, making one full orbit every ninety minutes.
Born and raised on Moon 2, Leo and the twins, Orion and Libra, are finally old enough and strong enough to endure the dangerous trip to Earth. But has anything really prepared them for life on terra firma? Because while the planet may be home to billions of people, living there is more treacherous than Leo and his friends could ever have imagined, and their very survival will mean defying impossible odds.
Farseed: The Seed Trilogy. Book 2. Centuries ago, the people of Earth sent Ship into space. Deep within its core, it carried the seed of humankind More than twenty years have passed since Ship left its children, the seed of humanity, on an uninhabited, earthlike planet—a planet they named Home. Zoheret and her companions have started settlements and had children of their own. But, as on board Ship, there was conflict, and soon after their arrival, Zoheret's old nemesis, Ho, left the original settlement to establish his own settlement far away.
When Ho's daughter, fifteen-year-old Nuy, spies three strangers headed toward their settlement, the hostility between the two groups of old shipmates begins anew and threatens to engulf the children of both settlements. Can the divided settlers face the challenges of adapting to their new environment in spite of their conflicts?
And if they do, will they lose their humanity in the process?
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Beyond the Hidden Sky. Book 1. Moving to another planet is never easy. It's even harder when you never arrive Kenneth Oppel. Cruse, how high would you like to fly? Before they even set foot aboard the ship, catastrophe strikes: Kate announces she is engaged—and not to Matt. Honor Bound. Soon Zara will have to make a choice: run from the ultimate evil—or stand and fight.
Yours to Command
His left side is just slightly askew from the right. One can only see the issue if he points it out, but the head injury manifesting itself in the general lack of concentration and confusion he battles is abundantly clear—and frustrating. A bout of H1N1, which in turn became viral encephalitis, eventually killed his ability to work a nine-to-five job altogether.
Most people only sell a handful. He has been talking with other writers, pushing himself to find the information he needs to get this new career off the ground. Sometimes the one paragraph is as much as he can generate and other times he can concentrate for up to 45 minutes at a time. And he has plenty of business smarts to back this motived approach.
Everyone, from his editor. Marlise Toth. The Bondlings is a straight-forward read designed for the teenagers he was targeting when he initially got started. Any way one slices it, there is a tale to tell in Delisle. Christabel, Samuel Taylor Coleridge. In pov-1 erty, hung-1 er and dirt. The Song of the Shirt, Thomas Hood.
This follows the same method of accent versification. Walter de la Mare's most famous poem is built around a pattern of three accents to the line, as the second and fourth line below indicate; he uses unac- cented syllables where he pleases:. But on-1 ly a host of phantom listeners That dwelt in the lone house then, Stood lis-1 tening in the qui-1 et of the moonlight To that voice from the world of men. The Listeners, Walter de la Mare. Blank Verse and Free Verse Blank verse means simply unrhymed verse. Any line pattern, if unrhymed, is blank verse.
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Heroic blank verse is unrhymed five-foot iambic poetry or verse. Most of Shakespeare is written in heroic blank verse. Heroic couplets, beloved of Dryden and Pope, are pairs of five-foot iambic lines rhymed with each other. Free verse may be rhymed or unrhymed, although it is usually unrhymed, since rhyming is an even more unnatural convention of poetry than meter; and the poet who has abandoned formal meter will hardly, as a rule, still use the device of rhyming.
Free verse is verse without a metric pattern, but with a wider pattern than meter allows. It still tends toward regularity, rather than variety, and the final court of appeals as to whether any example should be classified as poetry or prose from a standpoint of content, or as verse or prose from a standpoint of technique, is the individual poet or reader him- self.
To many readers, the following are all poetry:. Lord, thou hast been our dwelling-place in all generations. Before the mountains were brought forth, or ever thou hadst formed the earth and the world, even from everlasting to everlasting, thou art God. Thou turnest man to destruction; and sayest, return, ye children of men. The Ninetieth Psalm. But, in a larger sense, we cannot dedicate—we cannot conse- crate—we cannot hallow—this ground. The brave men, living and dead, who struggled here, have consecrated it far above our poor power to add or to detract.
The world will little note, nor long remember, what we say here; but it can never forget what they did here. The Gettysburg Address, Abraham Lincoln. Out of the cradle endlessly rocking, out of the mockingbird's throat, the musical shuttle, out of the Ninth-month midnight, over the sterile sands, and the fields beyond, where the child leaving his bed wandered alone, bareheaded, barefoot, down from the show- ered halo, up from the mystic play of shadows twining and twisting as if they were alive.
Walt Whitman used the artificial line division of poetry to pre- sent the third of these selections; the King James version of the Bible and Lincoln used the natural line division so familiar in the printing of prose. Little or nothing is added by the artificial line division:. Out of the cradle endlessly rocking, Out of the mocking-bird's throat, the musical shuttle, Out of the Ninth-month midnight, Over the sterile sands, and the fields beyond, where the child leaving his bed wandered alone, bareheaded, barefoot, Down from the showered halo, Up from the mystic play of shadows twining and twisting as if they were alive.
It is poetry, to many, in either form; and the first form is the more natural and readable. Scan the Whitman selection, or any of the oth- ers, and the tendency toward regularity of rhythm becomes apparent: a wider regularity, perhaps only an up rhythm or a down rhythm, but still inevitably there. This distinguishes free verse from prose, from the technical point of view. Pocahontas' body, lovely as a poplar, sweet as a red haw in Novem- ber or a pawpaw in May, did she wonder?
Cool Tombs, Carl Sandburg. Again the lines can be extremely brief: It sits looking over harbor and city on silent haunches and then moves on. Fog, Carl Sandburg. The free verse writer devises his own line-division pattern. This form, eliminating the devices of meter and rhyme, calls on the poet to avoid the inconsequential and the trivial, and to write down only his important utterances.
If rhyme is a shelter for mediocrity, as Shelley wrote in his preface to The Revolt of Islam, free verse is a test of the best that the poet has in him. Line Length in Verse Oliver Wendell Holmes, himself a doctor, advanced the theory that line length in verse marked physiologically the normal breathing of the poet. In other words, a breath should be taken at the end of each line; and the line should be no longer than the poet's ability to hold his breath. No artificial line division is used in prose, to indicate where a breath should be taken.
There is no greater reason for artifi- cial line division in poetry. It still remains true that the long Greek lines, each consisting of six feet, called for huge-breasted warrior- bards to chant them; that the norm of English verse, the five-foot iambic line, indicates a lesser chest expansion in the typical English poet; and that the briefer modern tendency shows a further deteriora- tion in the chest expansion of poets. Where poetry consists in end-stopped lines—lines with a natural pause at the end of each line—there is more reason for an artificial line division.
Shakespeare began so; many poets never get beyond this, in the main. But when we come to poetry like—. Is rounded with a sleep, The Tempest, William Shakespeare. A sonnet set up in this manner appears:. O bitter moon, O cold and bitter moon, climbing your midnight hillside of bleak sky, the earth, as you, once knew a blazing noon.