Foretellings have no place for goodness, only greatness. Princess Ezrahli is far from good, but she is a great woman in a conventional Kingdom, followed by whispers and scorn. However, across the waters is un-convention, magic, and fable. Her existence has been foretold in the battle against dark magic, and destiny shall weave itself into her life because darkness cannot be fought with goodness, only greatness.
Smuggling and sorcery leads to adventure, and adventure leads to destiny. Reed is a prince of the streets, but what he lacks in title, he makes up for in skill; a skill that sets him on a path already written in fate. Can he be more than what is expected? Can he enable greatness in another and survive the process?
Vengeance is a motivator, but it can never be your friend. In the end, it will ask for sacrifice, and only the great will pay the fare.
A prince disguises himself to find true love—
Prince Nolan has had enough of Princess Blythe—the woman to whom he has been betrothed since infancy—and her simpering letters. Does the princess truly not have a brain in her head? Never before has he communicated with someone who seemed so childish and spoiled. It was time he met her for himself, to decide if he could actually follow through with this marriage. But to do it right, she must not see how handsome he is. He needs a disguise—something that would show him her true nature.
Nolan asks an old herb woman to transform him into a creature that is disgusting to any female—a frog. The spell will last thirty days unless the princess does the impossible and kisses him. Now the true test begins. Will Blythe prove to be as monstrously annoying as he believes she is, or will he learn to see past his judgments and find a loving princess waiting for him?
Dance with the Devil if you must, but be sure you call the tune.
Alex Brightsmith’s debut novel is an intriguing introduction to the girl currently calling herself Kathryn Blake.
Kate is a flamboyant traceuse, a nerveless pickpocket, an unrivalled cat-burglar . . . Kate is whatever she needs to be; what better place to meet her than Vienna, that city of a thousand faces? If she herself is disappointed with the city, it is because she has half expected, beyond all reasonable probability, to walk into her mother’s baroque fantasy, but she can reconcile herself to that. So it is not her mother’s city, well she is not her mother’s daughter, and she is not in Vienna for the dancing.
Kate is wrong: Vienna is always about dancing, if not her mother’s bright waltzes by candlelight, then her father’s intricate cold war quadrilles in the dark.
The cold war is over, but the dance goes on.