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Officially, I’m an award-winning author and specialist in the fields of psychology, trauma, and spirituality. I’m also a professionally trained therapist, clinical ethicist, and researcher. Ultimately, I’m an ardent believer that the same life that brings us joy also (sometimes) brings us pain. More importantly, that every aspect of life has a role to play in making us who we are today and who we’ll be tomorrow. We don’t always have control over the events in life, but the script we live by is ours to write—and write it we must, as only we can. I’m also a three-time heart attack survivor.
Markus Zusak’s book is definitely not for the faint of heart or those easily bored: its narrator is Death, and the book is over 500 pages long. Not really the kind of book you’d think of for those aged 12 and up (as it’s listed). But it is one that really ought to be universally read.
The book follows two young children battling for survival in Nazi Germany. Entropy hangs in the air like Death’s shadow. Life’s harsh realities—like evil, heartache, pain, and mortality—are ever-present. In Max's (the young boy) dreams, he is boxing with Hitler and lands a punch, knocking the Fuhrer down, but soon he’s overtaken by the crowd.
This is one of the reasons I appreciate this book: winners sometimes lose; bad things happen to good people. And yet, the response to this existential injustice isn’t to become a mere survivor, victim, or martyr. It’s to…
'Life affirming, triumphant and tragic . . . masterfully told. . . but also a wonderful page-turner' Guardian 'Brilliant and hugely ambitious' New York Times 'Extraordinary' Telegraph ___
HERE IS A SMALL FACT - YOU ARE GOING TO DIE
1939. Nazi Germany. The country is holding its breath. Death has never been busier. Liesel, a nine-year-old girl, is living with a foster family on Himmel Street. Her parents have been taken away to a concentration camp. Liesel steals books. This is her story and the story of the inhabitants of her street when the bombs begin to fall.
The 14th century had it all: the 100 Years' War, near-constant famines, and, of course, the Black Plague. As a medievalist studying the art of the time, I was struck by the representations of Death that emerged from this near-perfect storm of misery. Yes, Death was often portrayed accompanied by demons and devils, lumped willy-nilly with evil. But it was more often portrayed in the Danse Macabre as a skeletal partner, leading everyone—Pope and Emperor, Lord and Laborer—on a merry dance. I know it was meant as a warning, but I found the Danse Macabre to be oddly comforting, a vision of an ultimate democracy, with Death the final partner and companion to us all.
Leavitt’s story is a fairytale and like all good fairytales, there is a handsome prince except this one is played by Lord Death himself.
I love Keturah. She is brave enough not to be afraid and big-hearted enough to see beyond Death’s terrifying purpose to the underlying sadness of the feared and hated outsider. Through the course of the book, she also comes to appreciate the meaning he brings to life.
“It was Death who…made her see the sun in the blue sky and hear the trees in a spring wind. He made her see how much she loved her friends…Made her love the breath in her lungs. She knew she had never been truly alive as when she met him. Never so happy and content with her lot until she was touched by the sorrow of him.”
A young woman makes a bargain with Death himself-and only true love can set her free-in this spellbinding YA fantasy romance for fans of Robin McKinley.
For most of her sixteen years, beautiful Keturah Reeves has mesmerized the villagers with her gift for storytelling. But when she becomes hopelessly lost in the king's forest, her strength all but diminished, she must spin the most important of tale of life. With her fate hanging in the balance, she charms Death himself-a handsome, melancholy, and stern lord-with a story of a love so true that he agrees to…
I am a hybrid author (both traditionally and independently published), mother of one kid and three cats, and an avid gamer. I’ve been doing the publishing thing since 2012 though I’ve been writing for much longer than that. I have an advanced degree in Medieval Literature and still read things in Middle English for fun.
Season of Mists is my favorite of Gaiman’s graphic novels from his stellar Sandman run. Death, Dream’s older sister, appears at the end of the first arc and proved to be a fan favorite from that first on-page appearance. She’s a lovely, sweet, and utterly kind incarnation of the boundary that severs this life from whatever comes after. Gaiman creating a comforting presence out of an idea that terrifies most people. She’s charming in this installment, forcing her brother to face his misdeeds with compassion and honesty. It’s no wonder she is one of the only people in his family that Dream listens to!
Ten thousand years ago, Morpheus condemned a woman who loved him to Hell. Now the other members of his immortal family, The Endless, have convinced the Dream King that this was an injustice. To make it right, Morpheus must return to Hell to rescue his banished love and Hell s ruler, the fallen angel Lucifer, has already sworn to destroy him. Collects THE SANDMAN #21-28.
Maximilian Tundra is about to have an existential crisis of cosmic proportions.
When a physical duplicate of him appears in his living room, wearing a tight-fitting silver lamé unitard and speaking with an English accent, Max knows something bad is about to happen. Bad doesn’t cover it. Max discovers he’s the only human being who can prevent the end of the world, and not just on his planet! In the multiverse, infinite Earths will be destroyed.
★★★★★ "Funny, yet deep, this is definitely worth venturing into the multiverse for."
Amazing Stories says: "Snarky as Pratchet, insightful as Stephenson, as full of scathing social commentary as Swift or Voltaire, and weirdly reminiscent of LeGuin, Alpha Max is the only multiverse novel you need this month, or maybe ever."
Maximilian Tundra is about to have an existential crisis of cosmic proportions.
When a physical duplicate of him appears in his living room, wearing a tight-fitting silver lamé unitard and speaking with an English accent, Max knows something bad is about to happen. Bad doesn’t cover it. Max discovers…
I love a smart, capable, skilled, determined heroine who’ll risk it all for the people she loves and the things she believes in. History and popular culture have long overlooked, minimized, or outright ignored the contributions of women and girls, especially in times of strife or hardship. Writing the Devil’s Revolver series, I wanted women from all walks of life proactively working to change the world and their own circumstances, wherever their paths lead them. Throughout, my protagonist, Hettie Alabama, develops allyship and understanding with women who have their own ideas, opinions, dreams, and desires, and together, they shape their own destinies and the fate of the world.
The first time I saw Pretty Deadly on the shelves at my local comic book store, I was fascinated and chilled by the cover art, and the story within did not disappoint. This Eisner-Award-nominated graphic novel by Captain Marvel writer Kelly Sue DeConnick melds Western and horror genres for a macabre tale about Death’s daughter, Deathface Ginny, riding a horse made of smoke and wind across the harsh and unrelenting landscapes of a brutal Wild West, doling out retribution. I love me some grim reaping, and the same dark, evocative imager. I love me some grim reaping, and I wanted the same dark, evocative imagery to come through on my pages and through Hettie’s own journey with the cursed gun Diablo at her side.
Kelly Sue DeConnick (Avengers Assemble, Captain Marvel) and
Emma Rios (Dr. Strange, Osborn) present the collected opening arc
of their surprise-hit series that marries the magical realism of Sandman
with the western brutality of Preacher. Death's daughter rides the wind
on a horse made of smoke and her face bears the skull marks of her father. Her
origin story is a tale of retribution as beautifully lush as it is unflinchingly
savage.
"It's a perfect match for the gorgeous, dizzying artwork in a sumptuous
palette-overlaid panels add intricate choreography to fight scenes, and
detailed, whirling splash pages beg for long-lingering…
I first got fascinated with fantasy as a very reluctant high school reader. I didn’t like to read all that much because I was a slow reader and it was a laborious task for me. A high school friend offered me a fantasy book to read sophomore year and I couldn’t put it down. That one book started me on a reading journey that has never stopped. I also studied English, became a teacher, and finally began writing my own fantasy. These books took a reluctant reader in high school to the man and author I am today. I hope my own work does the same for future writers.
This is the first book of the Incarnation series. What got me to read this book was the description. A man sees the incarnation of Death (the dark hooded grim reaper) and he shoots and kills him. Now that he has killed death, he must take Death’s place and become Death himself.
The second book in the series is about Chronos (time) and he lives his life backwards! The entire novel is written with time moving opposite of everyone else in the novel. I read these books in my early twenties and a lot of the series plot points still stick with me today. I have been influenced by it because in my series if one kills a mage, they must take their place as that mage.
I think The Doctor in Doctor Who and his wife moving opposite in time might have been influenced by the second book, I…
In this first novel of the Incarnations of Immortality, Piers Anthony combines a gripping story of romance and conflicting loyalties with a deeply moving examination of the meaning of life and death. This is a novel that will long linger in the reader's mind.
Shooting Death was a mistake, as Zane soon discovered. For the man who killed the Incarnation of Death was immediately forced to assume the vacant position! Thereafter, he must speed over the world, riding his pale horse, and ending the lives of others.
Zane was forced to accept his unwelcome task, despite the rules that seemed…
The 14th century had it all: the 100 Years' War, near-constant famines, and, of course, the Black Plague. As a medievalist studying the art of the time, I was struck by the representations of Death that emerged from this near-perfect storm of misery. Yes, Death was often portrayed accompanied by demons and devils, lumped willy-nilly with evil. But it was more often portrayed in the Danse Macabre as a skeletal partner, leading everyone—Pope and Emperor, Lord and Laborer—on a merry dance. I know it was meant as a warning, but I found the Danse Macabre to be oddly comforting, a vision of an ultimate democracy, with Death the final partner and companion to us all.
What’s unique about Klune’s psychopomp, is that he is human.
Hugo Freeman is able to interact with the dead but unlike the usual eternal beings, he is alive, has a backstory, and the ability to empathize with the fears and regrets of his reluctant clients, most recently, the jerk-lawyer, Wallace Price.
The action is circumscribed, taking place entirely within Charon’s Crossing, which serves as a teahouse for the living and a waystation for the dead. And as any fan of Klune’s work will anticipate, the hearth that gathers a found family.
When a reaper comes to collect Wallace Price from his own funeral, Wallace suspects he really might be dead. Instead of leading him directly to the afterlife, the reaper takes him to a small village. On the outskirts, off the path through the woods, tucked between mountains, is a particular tea shop, run by a man named Hugo. Hugo is the tea shop's owner to locals and the ferryman to souls who need to cross over. But Wallace isn't ready to abandon the life he barely lived. With Hugo's help, he finally starts to learn about all the things he…
The 14th century had it all: the 100 Years' War, near-constant famines, and, of course, the Black Plague. As a medievalist studying the art of the time, I was struck by the representations of Death that emerged from this near-perfect storm of misery. Yes, Death was often portrayed accompanied by demons and devils, lumped willy-nilly with evil. But it was more often portrayed in the Danse Macabre as a skeletal partner, leading everyone—Pope and Emperor, Lord and Laborer—on a merry dance. I know it was meant as a warning, but I found the Danse Macabre to be oddly comforting, a vision of an ultimate democracy, with Death the final partner and companion to us all.
The older sister of Dream, Death of the Endless manifests as a perky goth girl, a fan of Mary Poppins.
The most powerful of the Endless, she is also the warmest and most caring. For one day out of every century, Death consigns herself to take on the form of a mortal fated to die in order to remember the value of the gift she is taking. This is the setting of The High Cost of Living, my favorite of the Sandman comics featuring Death. "It always ends," Death says when her day is over. "That's what gives it meaning."
Written by Neil Gaiman; Art by Chris Bachalo, Mark Buckingham, and Dave McKean From the pages of Neil Gaiman's SANDMAN comes the young, pale, perky, and genuinely likable Death. One day in every century, Death walks the Earth to better understand those to whom she will be the final visitor. Today is that day. As a young mortal girl named Didi, Death befriends a teenager and helps a 250-year old homeless woman find her missing heart. What follows is a sincere musing on love, life and (of course) death.
Growing up in a rural area influenced by both Protestantism and Catholicism, I found that the daily habits of devoutly religious people were often contradictory to the basic practices of their religion. I also discovered that people were every day forced to adjust their beliefs and behaviors depending on which microcosm within the culture they were in at a given moment participating. People unable to play by these ever-shifting cultural rules would quickly lose respect. This scared the hell out of me, as I was never good at adjusting to different social situations on the fly, but I also found it interesting, and it therefore became the primary theme of my book.
Most all of Terry Pratchett’s books do an excellent job of turning absurdity into humor while remaining thought provoking, and this one is probably my favorite.
In terms of style and humor, I really found myself thinking of Kurt Vonnegut and Douglas Adams while reading this, which is obviously good company to be in. Essentially, the book deals with the question: “What happens to religion when no one believes in its God?”
Fans of Sir Terry Pratchett will love this stunning graphic novel adaptation of his bestselling standalone Discworld novel Small Gods. Beautifully brought to life by illustrator Ray Friesen, it takes a close look at religion's institutions, its people, its practices and its role in politics in Pratchett's unique way...
'An intriguing satire on institutionalized religion corrupted by power...' - Independent 'Deftly weaves themes of forgiveness, belief and spiritual regeneration' - The Times 'I loved this book. I wish it could go on and on and on because it was so enjoyable to read. I wish more books are like this…
My great interests have been ships and space travel, and if one takes time to consider the similarities the parallels stand out. Ships, especially submarines, travel in a medium and through an environment that is hostile to human life. In space travel, the ‘ship’ becomes the only habitat in which we can survive for any extended period, leaving it without a space suit is a fatal move. I cannot claim to be an expert in closed environments, but it's a subject that has fascinated me throughout my life. Every ‘biosphere’ is unique and incredibly complex and depends on the symbiosis of an enormous number of living creatures right down to bacteria and even viruses.
This book and the others, including The Globe, Darwin’s Watch, and Judgement Day, are wonderful in their mix of fantasy – Pratchett’s Discworld Wizards mixing it up in their quest to understand the “Round World” they accidentally created – and real science introduced and explained by Ian Stewart and Jack Cohen. The fantasy and the science are seamlessly interwoven in a way that make some complex subjects not just understandable but very readable. Like the explanation of exploring particle physics in the Large Hadron Collider by comparing it to a race that has never seen a piano, cannot see the piano, and try to determine its function and properties by hitting it and eventually pushing it out of a window five stories up and then naming the sounds it makes on hitting the ground…
When a wizardly experiment goes adrift, the wizards of Unseen University find themselves with a pocket universe on their hands: Roundworld, where neither magic nor common sense seems to stand a chance against logic. The Universe, of course, is our own. And Roundworld is Earth. As the wizards watch their accidental creation grow, we follow the story of our universe from the primal singularity of the Big Bang to the Internet and beyond. Through this original Terry Pratchett story (with intervening chapters from Cohen and Stewart) we discover how puny and insignificant individual lives are against a cosmic backdrop of…
I love fantasy, particularly comic fantasy. But there's an art to making something that is mind-meltingly silly feel real and meaningful, at the same time. To make it feel solid. If something is too chaotic, too randomly silly, then the narrative integrity disintegrates. You're left feeling, ‘yes, I know that the troll has now mysteriously turned into a chicken; but really, what’s the point?’ On the other hand, if the story isn’t silly enough…well, then it becomes straight fantasy, which is wonderful when it’s done well, but can feel mundane and derivative when it is not. I've deliberately limited this list to include only two Discworld books. To include any more would seem, well—silly.
This is the second book in the Guards sequence, but it’s easy enough to start here. This detective story set in the sprawling, smelly metropolis of Ankh-Morpork, featuring dwarves, werewolves, and (occasionally) humans, is a laugh-out-loud and anarchic book, managing to be hugely joyous and page-turningly compelling at the same time. Insanely silly and utterly real, with characters so solid you can see (or in some cases, smell) them long after you turn the last page.
There's evil in the air and murder afoot. The City Watch needs all the help it can get, as Captain Vimes is about to hang up his badge. From the author of "Small Gods" and "Lords and Ladies", this book is part of the "Discworld" humorous fantasy series.
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