By Carrie Vaughn
It was once a slim size of rusted metal, tapered to some degree at one finish and jagged on the different, as though it had damaged. 1000 humans might step over it and imagine it trash, yet no longer her.
This was once the end of a rapier.
Sixteen-year-old Jill has fought in dozens of fencing tournaments, yet she hasn't ever held a sharpened blade. while she unearths a corroded sword piece on a Caribbean seashore, she is readily intrigued and wallet it as her personal own treasure.
The damaged tip holds secrets and techniques, although, and it transports Jill via time to the deck of a pirate send. Stranded long ago and surrounded via strangers, she is compelled to join up as workforce. yet a pirate's lifestyles is bloody and short, and as Jill learns in regards to the darkish magic that introduced her there, she types a determined scheme to get home—one that dangers every thing in a duel to the loss of life with a villainous pirate captain.
Time shuttle, swordplay, and romance mix in an unique high-seas experience from New York Times bestseller Carrie Vaughn.
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Extra info for Steel
These modern forms of showbusiness, the clown shows, pantomime, the circus, popular music and street performances, are steeped in magical history. 70 Taylor is writing in the years before Cultural Studies had seriously problematized this rather romantic picture of a popular culture which offers a beneficial imaginative alternative to official culture. He also overstates his case: art fulfils various kinds of functions, not all of them derived from the shamanic healing journey to the Underworld, and some forms are more susceptible to this mode of analysis than others.
Objects appear, vanish, reappear in unexpected places; bodies are dismembered then miraculously restored to wholeness again; or else the conjuror himself ‘dies’ in a locked chest or coffin, only to return from the underworld unharmed. 80 The conjuror’s act, however, is more multi-layered than the shaman’s in this sense: that the latter depends on leading an audience/congregation into a secure belief (usually shared by the shaman him- or herself) in the performer’s ‘supernatural’ powers, in the certainty that the shaman stands on the threshold between two worlds: the natural world and the supernatural.
Magic tricks and illusions take place in the minds of spectators as much as they do in the hands of the prestidigitator – and this has several consequences. Spectators bring to performance a set of assumptions about how the world is, how it operates, the limits of possibility within that world, the place of performance within it, the limits of performance – and so on. An illusion such as the above performed within a culture which officially acknowledges the ability of humans to influence natural processes by means such as religious ritual will have a very different meaning from the same illusion performed in one which officially believes this to be impossible.