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'Ennae is a parallel world joined to our own world by the Sacred Pool, a portal that can only be opened by one with the Guardian blood running through their veins. It is through this watery gateway that Khatrene leaves her modern-day life behind forever, drawn into a quest that will take her into the depths of the unknown. Khatrene must fulfil her destiny as The Light, the woman whose child will unite the four elemental worlds. At each turn are real and imagined enemies who will do everything in their power to prevent her from fulfilling the prophecy, including the ethereal and erotic shadow woman, the enigmatic tattooed man, even her beloved brother Mihale. Talkis, her appointed Guardian, must help her through the dangerous terrain of Ennae, sacrificing everything to ensure her safety in a land where magic prevails and nothing is as it seems'.
Source: Bookwormers website (www.bookwormers.co.nz). Source: 7/2/11.
Australian Popular Medievalism
Notes
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Book 1 of the Shadow Through Time Series.
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Dedication: For Terry, Jake and Rachel - my rocks in the whirlpool of life..
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Epigraph: I am the memory of all things which abide in the minds of men, and I tell their tales of glory and legend and love. You who have lost glory, who forge no legends in your time and have forgotten that love can conquer even the greatest will, hark now to my tale of a forgotten place. A land so close in soul to your own, you know it yet. Attributed to the Great Guardian in the oral histories of The Four Worlds.
Publication Details of Only Known VersionEarliest 2 Known Versions of
Works about this Work
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The Publishing Ecosystems of Contemporary Australian Genre Fiction
2018
single work
— Appears in: Creative Industries Journal , vol. 11 no. 2 2018; (p. 203-221)'The cultural and commercial operations of the publishing industry have been dramatically reshaped by digital technologies, yet little is known about how these effects are differentiated across sectors of the industry. This article analyses data about the production of Australian-authored fantasy, romance and crime fiction titles to explore the specific publishing ecosystems of different genres and the roles played by multinational, small press and self-publishing in each. First, we show that there has been across-the-board growth in each genre and for each type of publisher. Second, we argue that multinational publishing activity in these genres has been characterized by broad stability, punctuated by experimentation with genre-specific imprints for romance and fantasy titles. Third, we find that small presses make diverse contributions to genre ecosystems, able to both activate prestige and experiment with formats. Finally, we note the immense growth in self-publishing, particularly in romance, and argue that self-publishing now operates in tandem with traditional publishing to create hybridized publishing ecosystems - with greater potential to transform the traditional publishing model than e-books.' (Publication abstract)
-
The Publishing Ecosystems of Contemporary Australian Genre Fiction
2018
single work
— Appears in: Creative Industries Journal , vol. 11 no. 2 2018; (p. 203-221)'The cultural and commercial operations of the publishing industry have been dramatically reshaped by digital technologies, yet little is known about how these effects are differentiated across sectors of the industry. This article analyses data about the production of Australian-authored fantasy, romance and crime fiction titles to explore the specific publishing ecosystems of different genres and the roles played by multinational, small press and self-publishing in each. First, we show that there has been across-the-board growth in each genre and for each type of publisher. Second, we argue that multinational publishing activity in these genres has been characterized by broad stability, punctuated by experimentation with genre-specific imprints for romance and fantasy titles. Third, we find that small presses make diverse contributions to genre ecosystems, able to both activate prestige and experiment with formats. Finally, we note the immense growth in self-publishing, particularly in romance, and argue that self-publishing now operates in tandem with traditional publishing to create hybridized publishing ecosystems - with greater potential to transform the traditional publishing model than e-books.' (Publication abstract)
