Fans of Serafina and the Black Cloak and The Night Gardener will devour Shadow Weaver, the first in a dark middle-grade fantasy duology that's filled with shadows, danger, magic, and has the feel of a new classic. Emmeline's gift of controlling shadows has isolated her from the rest of the world, but she's grown to be content, hidden away in her mansion with Dar, her own shadow, as her only company. Disaster strikes when a noble family visits their home and offers to take Emmeline away and cure her of magic. Desperate not to lose her shadows, she turns to Dar who proposes a deal: Dar will change the noble's mind, if Emmeline will help her become flesh as she once was. Emmeline agrees but the next morning the man in charge is in a coma and all that the witness saw was a long shadow with no one nearby to cast it. Scared to face punishment, Emmeline and Dar run away. With the noble's guards on her trail, Emmeline's only hope of clearing her name is to escape capture and perform the ritual that will set Dar free. But Emmeline's not sure she can trust Dar anymore, and it's hard to keep secrets from someone who can never leave your side.

"Breaks new ground for Joyceans. . . . Weaver's work embodies a perceptive, believable explication of Joyce's interpolation of verbal and musical modalities, and in the process makes the reader eminently aware of the interlocking nature of the two art forms."--Zack Bowen, University of Miami Jack Weaver explains all of Joyce's writing in terms of music and evaluates the music--its form, kind, and technique--in each work. Using Joyce's own rhetoric of theme and variation, Weaver moves from one character to another, through the poems, fiction, and drama, noting improvisations and finding intricate musical patterns throughout the canon. As Joyce's work grows in philosophical complexity, Weaver says, its music becomes more recognizable. In Chamber Music and part of Dubliners, Joyce at first merely mentions musical titles, instruments, and forms. In other stories in Dubliners, he alludes to them. His writing in A Portrait of the Artist as a Young Man begins to approximate musical techniques, and music reflects and dominates its story and characters. By the time of Finnegans Wake, it replaces both. Within the works, Weaver cites examples of musical augmentation, diminution, harmony, counterpoint, and key signatures, showing how the works become more experimental and increasingly dissonant in the manner of avant-garde composers. Exploring fresh territory in the study of Joyce and music and of music and literature, Weaver argues that Joyce's characters and works operate between the extremes of order and disorder, harmony and chaos, music and noise, and that these polarities both signal and contribute to the rhetoric within the texts. Finally, he says, Joyce's rhetoric itself becomes music. Jack W. Weaver, professor of English at Winthrop University in Rock Hill, South Carolina, has written numerous articles and book chapters on Joyce, music, and Irish literature.

The author tells her story of being a Latina in the Jim Crow South.

This book constitutes the refereed proceedings of the Third European Conference on Model Driven Architecture: Foundations and Applications, ECMDA-FA 2007, held in Haifa, Israel in June 2007. The papers address all current issues of model-driven architecture, including foundational topics and application–oriented issues.

David Jongeward brings to life the artistic journey of master weaver Carolyn Jongeward, beginning with her apprenticeship to Navajo weavers in Arizona and extending to her studies in sacred geometry and number symbolism, Native American philosophy, Jungian psychology, and creation mythology.