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Should they greenlight The Queen of Attolia, they won’t be able to pull any punches, as it were, with that book’s hand-cutting scene. Most of the books include in-universe mythology as well, with the manner of storytelling and its morals often reflecting one of the characters’ struggles. The main character, a boy named Gen (short for Eugenides), is released from prison by the magus of the King of Sounis. An Attolian soldier (who we all know is Costis, even if he isn’t named for the majority of the book) endeavors to spirit him away to Attolia, but they run into all manner of setbacks as they make their way around the Mede empire: fleeing the emperor’s highly skilled Namreen assassins; impersonating escaped slaves; fighting off a lioness; freeing other slaves; and occasionally stopping on the way for a hot meal, soft bed, and some live theater. Down below, Gen revealed his talent with a sword, scattering the soldiers and killing a man before being impaled from behind.
The Thief – HarperCollins The Thief – HarperCollins
IV: Close to midnight now, the magus tells the story of the dystopia, of Eugenides and the Great Fire.
He picks open the first door and steps inside, only to notice that there is no keyhole in the door at the far end. Gen hides atop a boulder, then launches himself onto an Attolian riding past and scatters the troops before fleeing into the olive trees, hoping to get far enough away to hide. The lamp sputters and Gen begins to panic, unsure how much oil he has lost or what time he has left.
The Thief by Megan Whalen Turner - Books on Google Play The Thief by Megan Whalen Turner - Books on Google Play
Gen gets the blessings of his gods to steal the stone from a rapidly-flooding temple, but they are attacked by Attolians on their way back to Sounis, and the stone is lost. When I saw that Harper Collins India was going to be publishing the first four books in Megan Whalen Turner’s The Thief series here in India with the GORGEOUS new covers, I was beyond excited. Cleverly constructed and unpredictable, this historical fantasy abounds with suspenseful set pieces, twisty double-crosses and a vivid set of main characters. Contentious material about living persons that is unsourced or poorly sourced must be removed immediately from the article and its talk page, especially if potentially libelous. The novel, which ostensibly seems like a proto-Greek fantasy tale for young readers, is an exercise in sly misdirection: Eugenides the thief tricks both his captors and his readers by playing to various fantasy tropes, only to reveal himself as something else entirely and steal all our hearts.It’s not until Sophos gets him alone that he finally gets to glimpse Eugenides, with the two old friends getting only one private moment to plot how Sounis will earn the respect of his barons and fight off the latest Mede ambassador, Akretenesh. It and four more stand-alone volumes bring to life a world of epics, myths, and legends, and feature one of the most charismatic and incorrigible characters of fiction, Eugenides the thief. But then, four years later, Turner followed up The Thief with The Queen of Attolia, by laying low her beloved protagonist in the most devastating way.
Questions for Disney+’s Adaptation of Megan Whalen Turner’s 7 Questions for Disney+’s Adaptation of Megan Whalen Turner’s
You could even do this with new moments, like showing Gen’s family as the magus must see them (poor, unskilled, estranged) when he initially describes them, and then how they actually are (royal, highly trained, yet still idiosyncratic). The Thief is a young adult fantasy novel by Megan Whalen Turner published in 1996 by Greenwillow Books, an imprint of William Morrow (later, of HarperCollins). He seemed like a half acute observer, and until they reached the Temple, there was NO THIEVEING HAPPENING. Then there’s the truly eerie scene in which Costis tries to coax a seemingly-drunk Eugenides off the roof, only for the king to demonstrate how his patron god will not let him fall—not yet, at least.
Even when Gen stumbles upon the gods’ court of living statues in Hephestia’s temple, the scene is presented in flashes of movement and hints of contact rather than explicit interactions. The biggest ones are from Costis’ perspective, as his view of the king becomes the readers’ (despite the information we already know), and so it almost seems as if Eugenides and Attolia do not actually love one another. We’re not refusing this gift from the entertainment powers that be, but we do have some follow-up questions.
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