By Fred Saberhagen
Lengthy, some time past, the Gods solid Twelve Swords of energy, every one with a distinct and lethal caliber. They solid too good, for the swords may possibly kill the Gods themselves. Then the swords have been misplaced, scattered around the land; and lots of are they, either solid and evil, who're desirous to locate them again.
This tale is of Farslayer, the sword that may kill from throughout a complete international. the sport is fierce; the prize is the sword. The gamers are Black Pearl, an ensorcelled mermaid, and Cosmos her treacherous lover; Prince Zoltan and Prince Mark; the evil macrowizard wooden; and an enigmatic lady who arrives astride a griffin.
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Extra info for Farslayer's Story (Lost Swords, Book 4)
Distraught and reproved by the representation of patriarchal authority, Charity decides to return to what she views as the more accommodating world of her mother. The trip, however, is cut short by Harney, who intercepts her on the way to the Mountain. Instead of returning to the Mountain, she retreats with her lover to the little gray house, halfway between North Dormer and the Mountain. Charity’s return to her mother is temporarily postponed by her affair with Harney, but when the affair ends and she realizes she is pregnant, she finally makes her way: Almost without conscious thought her decision had been reached; as her eyes had followed the circle of the hills her mind had also travelled the old round.
Each chapter opening formalistically represents an opportunity for Charity and her narrative to begin anew. The ebb and flow of Charity’s quest for agency and independence, however, is only reinforced by these secondary openings. The primary discursive beginning is marked by Charity’s attempt to move from a closed, constrained space (Royall’s house) into an open space of possibility and freedom (the road in and out of North Dormer). Similarly, each secondary discursive beginning in Summer opens with a description of a symbolic space, evoking either containment No Place for Her Individual Adventure 13 or freedom.
But Charity desperately desires to reach beyond and before this beginning, a desire that cannot be fulfilled because prior origins, maternal origins, are unavailable at best and fictive at worst. In many ways, Wharton’s novel is an example of what Margaret Homans and other theorists have called an adoption narrative. A particularly apt exemplification of what Homans calls “the unknowability of origins,” the narrative illustrates the fact that although knowledge about Charity’s past is “intensely but apprehensively sought” it is “not finally available” (“Adoption” 5).