By Megan Whalen Turner
Sophos, inheritor to the throne of Sounis, has disappeared and not using a hint. Eugenides, the hot and not likely king of Attolia, hasn't ever stopped pondering what occurred to his good friend. Nor has the Queen of Eddis, who as soon as provided Sophos her hand. They ship spies. They pay informants. They entice the gods. yet as time is going by way of, it turns into much less and no more sure that they're going to ever see their pal alive back.
Battles are fought, bribes are provided, and conspiracies are set in movement. around the sea, a ruthless empire watches for even the slightest weak spot. And Sophos, nameless and by myself, bides his time. till, drawing on his thoughts of Gen, Pol, the magus—and Eddis—Sophos units out on an experience that would swap all in their lives without end.
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Additional resources for A Conspiracy of Kings (The Queen's Thief, Book 4)
All of this brings us back to the improbable figure of Damien Hirst, his dead shark, and the recurring question: but is it art? The subjective question is one that’s explored in documentaries like My Kid Could Paint That (Bar-Lev, 2007) and in 27 CHAPTER 1 books about the fluctuating art industry like The $12 Million Stuffed Shark: The Curious Economics of Contemporary Art (Thompson, 2010). In seeing this model being enacted in the publishing world, the question is if the conglomeration of writing and design and marketing and product placement can be suitably considered literature.
Though some of this demographic may be purchasing YA titles for friends, siblings, and children, the report clarifies that 78 percent of this demographic are typically buying these books for their own reading. Again, in isolation, this statistic can be lead toward incorrect inference about book buyers: one could assume that book readers that only recently became adults or hit their 20s are continuing to draw on their youthful interests and reading the YA books that they grew up with. This isn’t the case.
In doing so, I will explore the online writing and social community, Figment. It is one of several online spaces focused on young people writing, sharing, and discussing young adult literature. And though the site and the way it helps challenge traditional understandings of the YA genre are discussed in that chapter, it is important to acknowledge, here, Figment’s implicit contribution to this book. In early 2012, I was preparing to teach my first Adolescent Literature course at Colorado State University.
A Conspiracy of Kings (The Queen's Thief, Book 4) by Megan Whalen Turner