An immersive, sultry, heart-pounding historical reimagining of the Robin Hood ballads, told through the piercing eyes of one of his spies.Jane Crowe is an ordinary peasant girl who never dreamed she would work for the infamous Lord of the Greenwood. But when she’s forced out of her home, she has no choice but to turn to Robin Hood for help—and he makes her an irresistible offer. He needs a pair of eyes in the King’s Houses, and quiet, unassuming Jane—who has spent her whole life going unnoticed—will be the perfect spy.At first, Jane’s work for Robin seems straightforward. She whispers to him about the nobles at King’s Houses and all their secrets, including the new Sheriff of Nottingham, who would like nothing more than to see Robin Hood’s head on a spike. But the more Jane is drawn into Robin’s world, the more she’s drawn to Robin himself—a man as charismatic as he is cunning, capable of plucking at her heart as easily as he notches an arrow. As Robin’s tricks grow increasingly dangerous, and shockingly violent, Jane starts to suspect that her hero cares more about his own legacy than helping the common people—and that despite his declarations of affection, he sees her as just another object to be stolen.When Robin’s schemes implicate Jane in a brutal murder, she must decide: is she a prize to be won, a pawn to be used and discarded—or is she an equal player in the game between nobles and thieves?
The Year's Work in Medievalism 2009 includes papers delivered at the 23rd Annual Conference on Medievalism, organized by the International Society for Studies in Medievalism, and held at Wesleyan College in Macon, Georgia in October 2008. The topic of the conference was "e;Regional Medievalisms,"e; a topic this volume conceives of broadly; the enclosed essays address medievalism in different genres and academic fields as well as geographic regions. The conference was organized by Amy S. Kaufman, who is the editor of this volume; the Director of Conferences and Series Editor of the Year's Work in Medievalism is Gwendolyn Morgan. Contributors:--Gwendolyn Morgan, Beowulf and the Middle Ages in Film --Cory James Rushton, Canadian Grail--Alexander Moffett, "e;Certain Fragments of Yellow Parchment"e;: Remembering the Medieval in Virginia Woolf's "e;The Journal of Mistress Joan Martyn"e;--Kathleen Coyne Kelly, Russ Meyer, Bricoleur: King Arthur, Wonder Woman, and Nazis in Beyond the Valley of the Dolls--Karl Fugeslo, Regional Medievalisms in Academia: Pictorial vs. Textual Responses to the Divine Comedy--M.J. Toswell, Earle Birney: Medievalist Bard of British Columbia--Cory Lowell Grewell, Vanquishing the Beast Within: Christianization of the Hero Ethos in Robert Zemeckis's Beowulf
An immersive, sultry, heart-pounding historical reimagining of the Robin Hood ballads, told through the piercing eyes of one of his spies.Jane Crowe is an ordinary peasant girl who never dreamed she would work for the infamous Lord of the Greenwood. But when she’s forced out of her home, she has no choice but to turn to Robin Hood for help—and he makes her an irresistible offer. He needs a pair of eyes in the King’s Houses, and quiet, unassuming Jane—who has spent her whole life going unnoticed—will be the perfect spy.At first, Jane’s work for Robin seems straightforward. She whispers to him about the nobles at King’s Houses and all their secrets, including the new Sheriff of Nottingham, who would like nothing more than to see Robin Hood’s head on a spike. But the more Jane is drawn into Robin’s world, the more she’s drawn to Robin himself—a man as charismatic as he is cunning, capable of plucking at her heart as easily as he notches an arrow. As Robin’s tricks grow increasingly dangerous, and shockingly violent, Jane starts to suspect that her hero cares more about his own legacy than helping the common people—and that despite his declarations of affection, he sees her as just another object to be stolen.When Robin’s schemes implicate Jane in a brutal murder, she must decide: is she a prize to be won, a pawn to be used and discarded—or is she an equal player in the game between nobles and thieves?
The Year's Work in Medievalism 2009 includes papers delivered at the 23rd Annual Conference on Medievalism, organized by the International Society for Studies in Medievalism, and held at Wesleyan College in Macon, Georgia in October 2008. The topic of the conference was "e;Regional Medievalisms,"e; a topic this volume conceives of broadly; the enclosed essays address medievalism in different genres and academic fields as well as geographic regions. The conference was organized by Amy S. Kaufman, who is the editor of this volume; the Director of Conferences and Series Editor of the Year's Work in Medievalism is Gwendolyn Morgan. Contributors:--Gwendolyn Morgan, Beowulf and the Middle Ages in Film --Cory James Rushton, Canadian Grail--Alexander Moffett, "e;Certain Fragments of Yellow Parchment"e;: Remembering the Medieval in Virginia Woolf's "e;The Journal of Mistress Joan Martyn"e;--Kathleen Coyne Kelly, Russ Meyer, Bricoleur: King Arthur, Wonder Woman, and Nazis in Beyond the Valley of the Dolls--Karl Fugeslo, Regional Medievalisms in Academia: Pictorial vs. Textual Responses to the Divine Comedy--M.J. Toswell, Earle Birney: Medievalist Bard of British Columbia--Cory Lowell Grewell, Vanquishing the Beast Within: Christianization of the Hero Ethos in Robert Zemeckis's Beowulf