By Elizabeth Haydon
Acclaimed writer Elizabeth Haydon returns with a heartbreaking story of affection and valor in The hole Queen, the 8th installment of her USA Today bestselling Symphony of Ages sequence that begun with Rhapsody.
Beset on each side by way of the forces of the service provider emperor Talquist, the Cymrian Alliance reveals itself in determined straits. Rhapsody herself has joined the conflict, wielding the Daystar Clarion, leaving her real identify in hiding along with her youngster son. Ashe attempts to enlist assistance from the ocean Mages. inside their fort of Scholarship lies the White Ivory tower, a spire which may carry the main to unraveling the entire quantity of Talquist's machinations. Achmed trips to the reportedly unassailable palace of Jierna Tal, to kill emperor Talquist—all the whereas figuring out that no matter if he succeeds, it might now not be adequate to prevent the momentum of the war.
As they fight to untangle the net of Talquist's treachery, the leaders of the Cymrian alliance are met with stumbling blocks at each flip. Rhapsody quickly realizes that the top of this battle will come at an incredible expense: the lives of these she holds dearest.
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Additional resources for The Hollow Queen (Symphony of Ages, Book 8)
The other had now achieved a unity of its own; but it was loud, and vain, and endlessly repeated; and it had little harmony, but rather a clamorous unison as of many trumpets braying upon a few notes. And it essayed to drown the other music by the violence of its voice, but it seemed that its most triumphant notes were taken by the other and woven into its own solemn pattern. In the midst of this strife, whereat the halls of Ilúvatar shook and a tremor ran out into the silences yet unmoved, Ilúvatar arose a third time, and his face was terrible to behold.
And it seemed at last that there were two musics progressing at one time before the seat of Ilúvatar, and they were utterly at variance. The one was deep and wide and beautiful, but slow and blended with an immeasurable sorrow, from which its beauty chiefly came. The other had now achieved a unity of its own; but it was loud, and vain, and endlessly repeated; and it had little harmony, but rather a clamorous unison as of many trumpets braying upon a few notes. And it essayed to drown the other music by the violence of its voice, but it seemed that its most triumphant notes were taken by the other and woven into its own solemn pattern.
Men come in inevitably: after all the author is a man, and if he has an audience they will be Men and Men must come in to our tales, as such, and not merely transfigured or partially represented as Elves, Dwarfs, Hobbits, etc. But they remain peripheral – late comers, and however growingly important, not principals. In the cosmogony there is a fall: a fall of Angels we should say. Though quite different in form, of course, to that of Christian myth. These tales are ‘new’, they are not directly derived from other myths and legends, but they must inevitably contain a large measure of ancient wide-spread motives or elements.