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'Unrelenting pace, brilliant action and characters. A masterwork.' Conn Iggulden ________ Norway 785 AD. It began with the betrayal of a lord by a king . . . King Gorm puts Jarl Harald’s family to the sword, but makes one fatal mistake – he fails to kill Harald’s youngest son, Sigurd. His kin slain, his village seized and its people taken as slaves, Sigurd wonders if the gods have forsaken him. Hunted by powerful men, he is unsure who to trust and yet he has a small band of loyal followers at his side. With them - and with the help of the All-Father, Odin - he determines to make a king pay in blood for his treachery. Using cunning and war-craft, Sigurd gathers together a fellowship of warriors – including his father's right-hand man Olaf, Bram (who men call Bear), Black Floki who wields death with a blade, and the shield maiden Valgerd, who fears no man – and convinces them to follow him. For, whether Ódin is with him or not, Sigurd will have vengeance. And neither men nor gods had best stand in his way . . . ________ God of Vengeance is a must-read for all who enjoy thrilling, action-packed fiction - from Bernard Cornwell to George R R Martin's Game of Thrones.
FROM THE SUNDAY TIMES BESTSELLING AUTHOR OF LANCELOT 'A stirring tale of comradeship, bloodshed and treachery. It’s perfect for fans of historical fiction and fantasy alike, from Cornwell to Abercrombie.' Ben Kane Norway, AD 785 – a vow of vengeance must be kept . . . Sigurd Haraldarson has proved himself a great warrior . . . and a dangerous enemy. He has gone a long way towards avenging the murder of his family. And yet the oath-breaker King Gorm, who betrayed Sigurd’s father, still lives. And so long as he draws breath, the scales remain unbalanced. The sacred vow to avenge his family burns in Sigurd’s veins, but he must be patient and bide his time. He knows that he and his band of warriors are not yet strong enough to confront the treacherous king. They need silver, they need more spear-brothers to rally to the young Viking’s banner – but more than these, they need to win fame upon the battlefield. And so the fellowship venture west, to Sweden, to fight as mercenaries. And it is there – in the face of betrayal and bloodshed, on a journey that will take him all too close to the halls of Valhalla – that Sigurd’s destiny will be forged. There, in the inferno of winter’s fire . . . The Vikings return in this thrilling, thunderous sequel to Giles Kristian’s bestselling God of Vengeance.
Bloomfield and Dunn describe the varying roles which "poets" have historically filled within society, whether ancient, medieval, or pre-modern and identify the key functions of the poet figure. He (or sometimes she) supports the ruler and is in turn rewarded for a central service to the tribe; he exercises his authority by an apparently magical understanding of the past, present, and future; and, whenever called upon to perform an official rite, he knows how to wield the appropriate traditional, esoteric utterances. In order to illustrate the ways in which this kind of poetic function can be seen to have been exercised in early Irish literature, pre-modern Scottish Gaelic, early Welsh, early Norse and Old English the authors draw on a wide-range of texts. The study concludes with an examination of the implications of their findings for twentieth century readers exploring the utterances of poets remote from them in time or space.

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