A Darkness Forged in Fire (The Iron Elves, Book 1) by Chris Evans

By Chris Evans

We don't worry the flame, even though it burns us,
We don't worry the hearth, although it consumes us,
And we don't worry its light,
Though it finds the darkness of our souls,
For therein lies our power.
-- Blood Oath of the Iron Elves
First in a gorgeous debut sequence, A Darkness solid in fireplace introduces an unforgiving international of musket and cannon...bow and arrow...magic, international relations, and oaths -- every one wielding poor strength in an Empire teetering on the point of war.
In this global, Konowa speedy Dragon, former commander of the Empire's elite Iron Elves, is appeared upon as something yet traditional. He's murdered a Viceroy, been court-martialed, noticeable his loved regiment disbanded, and eventually been banished in shame to the single position he despises the main -- the forest.
Now, all he desires is to be left by myself together with his misery...but for Konowa, not anything is ever that straightforward. The mysterious and inviting Visyna Tekoy, the highborn daughter of an elfkynan governor, seeks him out within the risky wild with a royal decree that he resume his fee as an officer in Her Majesty's Imperial military, powerful immediately.
For within the east, a falling crimson big name heralds the go back of a magic lengthy vanished from the earth. uprising grows in the Empire as a frantic race to arrive the superstar unfolds. it's a likelihood for Konowa to redeem himself -- whether the full affair seems to be doomed to be a suicide mission...
and that the warriors recruited for the duty aren't in any respect what he expects. And worse, his key adversary within the perilous race for the superstar is the feared Shadow Monarch -- a mythical elf-witch whose machinations for absolute domination unfold deeper than Konowa may possibly ever imagine....

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The Iights in H enry 's apart­ ment begin ro fl icke r. "e a lamp is pluggeJ in , spa rks Ay ou t. A backgro und hu m grows louder and loude r. iog, he emphasizes the de­ Lynch inelu des a series of al te rnating shots of H enry's head and the ba­ stru cti l"c ;'less of Henry 's embrace of the fantasm a ti c alterna tivc. In the by's hea d in ra pid succession . T his scq uCllce co nelu ues with a c\ose-up Iast instancc , l:'mserhead endorses H enry's act as a political gesture th at uf the lig h t, w hich fi na ll y burns ou t into a total da rkncss th a t covcrs the uol eashes the enj oy mcnt tha t he has sacrificed to capita list p roduction .

Though the in itial appearan ce ofMerrick's body d isrupts the world of des ire crea ted in the opening of T he E lephant Ma n, the fi lm su bse­ quently integrates the presence of thi s di stur bil1g obj ect into íts ficl d of representation. 9 In th e rest of the film, Me rrick ceases to be an absence that haunts the frame ancl a ppea rs present wi th in the fr ame ü ke m e other characters. In fact, Merr ick'~ bocly appears so fr eque ntJ y in the film that it complctely loses its ability to distu rb the specta tor.

41t is rhe position ofrhe subjeet that rend ers the object im ­ possible, and th us fantasy im;lgines the object without the presence of the subject. The subject's very jC1cntity is tied ro its status as lacking; if one eliminatcs this Iack, one simultaneousl y elimina tes (he subject. This is w hy every fantasy, not just that of John Merrick, is a fantasy of the subj ect's disappearance. Most of the tim e, however, we indulge in fan­ tasy w ithout recognizing w hat it entails. The R/ephant Man dema nd s thar we becorne cogni zant of the ramificati ons of fa ntasy as ir condudes with the fantasy-d riven death of Mcrri ck.

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