By Steven Erikson
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In the massive dominion of 7 towns, within the Holy wasteland Raraku, the seer Sha'ik and her fans organize for the long-prophesied rebellion referred to as the Whirlwind. remarkable in dimension and savagery, this maelstrom of fanaticism and bloodlust will embroil the Malazan Empire in a single of the bloodiest conflicts it has ever identified, shaping destinies and giving beginning to legends . . .
Set in a brilliantly learned international ravaged via darkish, uncontrollable magic, this exciting novel of struggle, intrigue and betrayal confirms Steven Erikson as a storyteller of breathtaking ability, mind's eye and originality--the writer who has written the 1st nice delusion epic of the recent millennium.
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Extra info for Deadhouse Gates (The Malazan Book of the Fallen, Book 2)
5 7 An early attempt to portray the American landscape in a long narrative poem, Alexander Wilson's " T h e Foresters" (1805) begins by regretting that no American bard had adequately praised the sublime grandeur of American scenery. Recounting his j o u r n e y into the wilderness, Wilson compares himself to Odysseus and ends with an extended description of the paradigm of N e w World sublimity, Niagara Falls. By the time Joel Barlow decided to revise The Vision of Columbus into The Columbiad, the expectation that the American epic w o u l d incorporate descriptions of the natural sublime had been firmly established.
Literary periodicals of the day reflect similar interests. Port Folio printed cantos of Voltaire's Henriade, commented guardedly about John Blair Linn's dismissal of epic rules, and published articles on Virgil and Camoens, as well as appraisals of such now-forgotten British epic poets as Richard Glover and William Wilkie. The Monthly Anthology and Boston Review, a magazine conducted by Federalist gentlemen who did not believe an American epic was possible, printed six articles on Virgil between 1807 and 1809, as well as articles on Homer, Cowper's translations, and Paradise Lost.
Aeneas provided the closest model, but his politics were vague and his military posture, once he arrived in Italy, seemed perilously close to that of Achilles. Americans sought a hero who would have the physical courage of Homer's warriors without their drive for personal honor, the piety and decency of Aeneas without his subservience to the imperial forces of history, and Christian Right Reason dedicated primarily to the New World rather than to God. The concept of heroism that resulted was a blending of Roman historical models, responses to heroic poetry, and recent national history.
Deadhouse Gates (The Malazan Book of the Fallen, Book 2) by Steven Erikson