The Phantom King (The Kings, Book 2) by Heather Killough-Walden

By Heather Killough-Walden

Siobhan Ashdown used to be born of magic; it rides her blood like a phantom, tainted and darkish and unpredictable. She is a warlock, and the ability inside of her is in contrast to any sooner than identified to her sort. So it’s no shock that the main robust of the demons who feed off of this warlock magic not just acknowledges the large capability she represents yet determines that he'll own her at any cost.
Even if it potential conflict with the complete supernatural world.

Thanatos has governed Purgatory because the Phantom King in view that time immemorial. King of an enormous airplane of solitude, he's a loose spirit, a lone rider, a tattooed guy of wind and dirt and nonexistent obstacles. Then he turns round one morning to discover himself nose to nose with Siobhan Ashdown, a lady with hair as purple and wild as his soul, eyes like melted gold, and a spirit as elusive as his personal. Time stops, the realm tilts, and the truth that she assaults him correct off the bat does little to discourage his romantic convictions.

Thirteen Kings are severed by means of lust and greed, an old vampire and his rogue production lay declare to what's no longer theirs, the whisperings of battle start to shake the basis of the supernatural global, and primordial evil awakens from its shut eye to slither around the land during this moment installment within the giant undesirable Wolf derivative sequence, The Kings, through Heather Killough-Walden.

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Extra info for The Phantom King (The Kings, Book 2)

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A fourth-century colossal head of Asklepios was found in a cave on Melos, which also contained a statue base and figurines of Hygieia, as well as a votive bone inscribed with the names ofboth. 23 In Athens there was a sacrifice for Asklepios and Hygieia on the day of the Dissoteria. 24 Votive thank offerings are commonly dedicated to the pair. This is not to argue that Hygieia's importance is equal to that of Asklepios-on the contrary, her cult is almost entirely dependent on his. The point is that while we think of Asklepios as an individual healing figure, the experience of the person actually participating in the cult would have been of a pair or a family group.

These scenes, of course, lack such heroic attributes as snake, horse, and armor. 59 54 55 ICONOGRAPHY A N D HEROIC CULT Heroines in Votive Reliefs Heroines in Votive Reliefs In general, then, the "hero feast" is not shown on vases, and even the stereotypical scene of the banqueting "husband-wife" pair is avoided. A striking exception to this rule is a cup by the Kodros painter, dated 450-425. 60 It shows five divine couples in the familiar banqueting pose. In the central position are Persephone and Pluto, who holds a large cornucopia, the symbol of his ability to grant abundance.

2 The shape of the relief itself is significant; sepulchral reliefs are usually stelai, tall and relatively narrow, while votive reliefs for gods or heroes, including the Totenmahl reliefs, are oblong and wide, often intended to fit into the wall of a shrine. 3 Inscriptions on Totenmahl and other heroic reliefs are rare, suggesting that they generally were not used to commemorate the recently dead. Moreover, the few inscriptions we have show quite clearly that 42 43 Heroines in Votive Reliefs Heroines in Votive Reliefs the Totenmahl reliefs were dedicated primarily to heroes, and sometimes to deities with similar cults, such as chthonic Dionysos, Zeus Meilichios or Philios, and Asklepios.

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