Distopia (Land of Dis, Book 2) by Robert Kroese

By Robert Kroese

"Set one thousand years (give or take) earlier than the occasions of upset, Distopia tells the tale of Wyngalf the daring, the mythical hero well known for ridding the land of Dis of the scourge of dragons. the tale starts off as Wyngalf, a tender missionary for an vague non secular sect, arrives within the port urban of Skuldred. desirous to end up his worthy to his superiors, Wyngalf reveals himself drafted into top a missionary voyage around the sea to the semi-legendary land of Dis.

Accompanied by means of a gorgeous stowaway named Evena and an oddball goblin who has been refrained from via his extended family, Wyngalf is constantly thwarted in his makes an attempt to proselytize through a variety of useful concerns--chief between those being the truth that the land of Dis is being terrorized by means of a fearsome dragon. Wyngalf realizes that during order to end up his religion and get Evena domestic, he needs to summon the braveness and resourcefulness to defeat the dragon. yet what if his religion isn't enough?

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As a key member of a group of late nineteenth-century intellectuals, nicknamed ‘the Souls’*, Violet talked about art and berated the philistinism of the Victorian age. She was also much admired for her own amateur gifts, with several of her busts and her silver-point and pencil portraits exhibited in London galleries. A reputation for being different, even mildly rebellious, had attached itself to her. While Violet deferred to the formal duties of a Duke’s wife, she clearly preferred intimate suppers to grand dinners and court events.

1 Yet over the following days she would be feted by artists and critics as a black pearl, an ebony Venus, a jazz age vamp with the soul of an African goddess. Postcards of ‘La Baker’ went on sale, as did a range of Josephine dolls. Her shiny black hair and coffee-coloured skin, the source of so much abuse back home, were harnessed to the marketing of French beauty products: hair pomade for the glossing of Eton crops; walnut oil for the faking of summer tans. Her hard, supple body was celebrated as an icon of contemporary style – reflecting the glossy streamlined aesthetic of art deco and the gamine flair of the French garçonne.

They were written about by the same novelists and journalists, photographed for the same publications. But biography is essentially about the colour and detail of individual lives and in writing this book I’ve been fortunate to profit from the groundwork of many other fine biographers. To their research and knowledge I owe a profound debt. In the matter of language, the 1920s was a world away from our own politically conscious era. Young women were girls, blacks were often niggers, female actors were actresses, and even though this usage can grate on modern ears, I’ve opted to retain a flavour of it, for the sake of period accuracy.

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