A classic masterwork of spiritual tension and realization from Paulo Coelho, this powerful story of one man’s battle with self-doubt and fear is now available in a beautiful new package from HarperOne. An essential volume alongside Coelho’s other bestselling and influential books, such as The Alchemist, The Pilgrimage, Brida, and The Winner Stands Alone, the searing and unforgettable narrative in The Valkyries asks the questions most central to all literature—and all of humanity’s quest for understanding. Why is it that we destroy the things we love most? And how can we learn to let go of the past and believe in the future?

Using textiles to understand gender and economy in Norse societies In The Valkyries’ Loom, Michèle Hayeur Smith examines Viking textiles as evidence of the little-known work of women in the Norse colonies that expanded from Scandinavia across the North Atlantic in the ninth century AD. While previous researchers have overlooked textiles as insignificant artifacts, Hayeur Smith is the first to use them to understand gender and economy in Norse societies of the North Atlantic.  This groundbreaking study is based on the author’s systematic comparative analysis of the vast textile collections in Iceland, Greenland, Denmark, Scotland, and the Faroe Islands, materials that are largely unknown even to archaeologists and span 1,000 years. Through these garments and fragments, Hayeur Smith provides new insights into how the women of these island nations influenced international trade by producing cloth (vaðmál); how they shaped the development of national identities by creating clothing; and how they helped their communities survive climate change by reengineering clothes during the Little Ice Age. She supplements her analysis by revealing societal attitudes about weaving through the poem “Darraðarljoð” from Njál’s Saga, in which the Valkyries—Óðin’s female warrior spirits—produce the cloth of history and decide the fates of men and nations.  Bringing Norse women and their labor to the forefront of research, Hayeur Smith establishes the foundation for a gendered archaeology of the North Atlantic that has never been attempted before. This monumental and innovative work contributes to global discussions about the hidden roles of women in past societies in preserving tradition and guiding change.

Paste Magazine Pick for Best New Fantasy Books of July 2022 From the time she was born, Sigrid has only ever been ordinary. Being paired at birth with a plain horse—instead of the powerful winged mare of a valkyrie—meant there would be no warrior path for her. No riding the skies, no glory among the nine worlds. Just the simple, unremarkable life of a stable hand. Everything changes when a terrible enemy ambushes Vanaheim and Sigrid sees a vision of herself atop a mythical stallion, leading the valkyries into a harrowing battle. Finally, she can grab her future with her own two hands and become the hero of her own story...if she dares. But her destiny is tied up with Mariam, a fallen valkyrie who’s allied herself with the very enemy Sigrid is trying to stop. Now Sigrid has left ordinary behind as she begins a journey with the beautiful—if treacherous—valkyrie, each step bringing her closer to answers...and to awakened feelings for Mariam. But the life Sigrid left behind is starting to look a lot like paradise...especially when her destiny lies in the one place no mortal should tread: the gates of Hel. The Sigrid and The Valkyries series is best enjoyed in order. Reading Order: Book #1 The Valkyrie’s Daughter Book #2 The Valkyrie’s Shadow

From the bestselling author of the Pegasus books, Kate O’Hearn, comes an exciting new series that puts a fresh twist on Norse mythology. Valkyrie: Norse Goddess. Reaper of Souls. Defender of the Weak. Not someone you want to mess with… Freya is dreading her upcoming birthday when she’ll officially have to take up her duties as a Valkyrie. She doesn’t want to follow in the footsteps of the legends before her—legends including her mother and sisters. And she certainly doesn’t want anything to do with humans! Freya thinks humans are cruel, hate-filled creatures, but as she observes their world, she begins to wonder what it would be like to make friends with the girls or laugh with the boys she sees. And what would it be like to live without the fear that she could cause someone’s death with a single touch? Then when she’s sent on her first mission, she reaps the soul of a fallen soldier with unfinished business…business that sends her on an epic quest to the mortal world. Will Freya find the true meaning of being a human, or will she finally accept her destiny?

Through a series of lively and accessible biographical essays, Red Valkyries explores the history of socialist feminism century Eastern Europe. By examining the revolutionary careers of five prominent socialist women active in the 19th and 20th centuries-the aristocratic Bolshevik, Alexandra Kollontai; the radical pedagogue, Nadezhda Krupskaya; the polyamorous firebrand, Inessa Armand; the deadly sniper, Lyudmila Pavlichenko; and the partisan turned scientist turned global women's activist, Elena Lagadinova-Kristen Ghodsee tells the story of the personal challenges faced by earlier generations of socialist and communist women. None of these women were "perfect" leftists. Their lives were filled with inner conflicts, contradictions, and sometimes outrageous privilege, but they still managed to move forward their own political projects through perseverance and dedication to their cause. Always walking a fine line between the need for class solidarity and the desire to force their sometimes callous male colleagues to take women's issues seriously, these five women pursued novel solutions with lessons for activists of today. In brief conversational chapters-with plenty of concrete examples from the history of the state socialist countries in Eastern Europe and contemporary reflections on the status of women in the world today-Ghodsee renders the big ideas of socialist feminism accessible to those newly inspired by the emancipatory politics of insurgent left feminist movements around the globe.

In the tradition of Stacy Schiff’s Cleopatra, Brown lays to rest the hoary myth that Viking society was ruled by men and celebrates the dramatic lives of female Viking warriors “Once again, Brown brings Viking history to vivid, unexpected life—and in the process, turns what we thought we knew about Norse culture on its head. Superb.” —Scott Weidensaul, author of New York Times bestselling A World on the Wing "Magnificent. It captured me from the very first page." —Pat Shipman, author of The Invaders In 2017, DNA tests revealed to the collective shock of many scholars that a Viking warrior in a high-status grave in Birka, Sweden was actually a woman. The Real Valkyrie weaves together archaeology, history, and literature to imagine her life and times, showing that Viking women had more power and agency than historians have imagined. Nancy Marie Brown uses science to link the Birka warrior, whom she names Hervor, to Viking trading towns and to their great trade route east to Byzantium and beyond. She imagines her life intersecting with larger-than-life but real women, including Queen Gunnhild Mother-of-Kings, the Viking leader known as The Red Girl, and Queen Olga of Kyiv. Hervor’s short, dramatic life shows that much of what we have taken as truth about women in the Viking Age is based not on data, but on nineteenth-century Victorian biases. Rather than holding the household keys, Viking women in history, law, saga, poetry, and myth carry weapons. These women brag, “As heroes we were widely known—with keen spears we cut blood from bone.” In this compelling narrative Brown brings the world of those valkyries and shield-maids to vivid life.

PREFACE In the following pages an attempt has been made to render as closely as possible into English narrative prose the libretto of Wagner's "Valkyrie". The story is one little known to English readers, and even those who are familiar with the gigantic music may find in the story something which, even when rendered into homely prose, will reveal to them some new greatness of the master-mind of its author. It is in this hope that I have attempted this version. Whether I have attempted a task either absolutely impossible, or impossible to my capacity, I cannot tell, for so huge is the scale of the original, so big with passion, so set in the riot of storm-clouds and elemental forces, that perhaps it can only be conveyed to the mind as Wagner conveyed it, through such sonorous musical interpretations as he alone was capable of giving to it. Yet even because the theme is so great, rather than in spite of it, any interpretation, even that of halting prose, may be unable to miss certain of the force of the original. The drama itself comes second in the tetralogy of the Ring, being preceded by the Rheingold. But this latter is more properly to be considered as the overture to a trilogy than as the first drama of a tetralogy. In it the stage is set, and Heaven above, rainbow-girt Walhalla, and the dark stir of the forces beneath the earth, Alberich and the Niebelungs, enter the arena waiting for the puny and momentous sons of men to assert their rightful lordship over the earth, at the arising of whom the gods grow grey and the everlasting foundations of Walhalla crumble. From the strange loves of Siegmund and Sieglinde, love not of mortal passion, but of primeval and elemental need, the drama starts; this is the first casting of the shuttle across the woof of destiny. From that point, through the present drama, through Siegfried, through the dusk of the gods the eternal grinding of the mills continues. Once set going the gods themselves are powerless to stop them, for the stream that turns them is stronger than the thunderings of Wotan, for the stream is "That which shall be."