By Rebecca Hahn
A gorgeous debut novel a few woman who's part dragon, part human, and completely herself.
As the single inheritor to the throne, Marni must have been surrounded via wealth and privilege, now not dwelling in exile-but now the time has come while she needs to choose from claiming her birthright as princess of a realm whose king desires her useless, and lifestyles with the daddy she hasn't ever identified: a wild dragon who's sending his magical woods to seize her.
Fans of Bitterblue and Seraphina can be captured by means of A Creature of Moonlight, with its richly layered storytelling and the robust offerings its robust heroine needs to make.
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Additional info for A Creature of Moonlight
21 But this is not the end of the story, since such a reduction would simply replace one form of objectification (metaphysics or logic) with another (psychology). His later, 'indirect' assault on the aesthetic consciousness would, in fact, explode the categories of existential psychologism as thoroughly as it demolishes Hegelian claims to objective metaphysical knowledge. We are not, yet, however, equipped to develop this statement further. 22 Instead, we shall, for the present, confine ourselves to Kierkegaard's early journals, where we can study the germination and flowering of a psychological understanding of art and of Romanticism which- though he himself would 'go beyond' it- was to continue to resonate throughout his authorship.
Among these H. L. Martensen was particularly prominent. A theologian (who, in 1834, had been taken by Kierkegaard as his tutor), Martensen was nonetheless profoundly engaged in aesthetic and philosophical issues. In a lengthy review of Lenau's Faust for Heiberg's journal Perseus (A Journal for the Speculative Idea) he criticises both Lenau's and Goethe's handling of the 22 Kierkegaard: The Aesthetic and the Religious Faust idea. He sees the legend of Faust as having an essential relation to Christianity, since it depends on the recognition that evil is a spiritual reality, rather than simply consisting in the power of the material world to limit or obscure spiritual existence.
Although he respects and admires the achievements and the outlook of the 'men of 1803', and their ideal of informing the intellectual comprehension of life with the warmth, passion and enthusiasm of imagination and feeling, he has clear doubts as to the sustainability of their project in the circumstances of the 1830s and 1840s. His very earliest writings show that he regards Romanticism as, in a sense, already history, an object of concern and enquiry and, moreover, as a movement which has, in its more extreme forms, spawned a multitude of undesirable consequences.
A Creature of Moonlight by Rebecca Hahn