Twelve (The Danilov Quintet, Book 1) by Jasper Kent

By Jasper Kent

The voordalak—a creature of legend, the stories of that have terrified Russian young children for generations. yet for Captain Aleksei Ivanovich Danilov—a baby of extra enlightened times—it is a legend that has lengthy been forgotten. along with, within the autumn of 1812, he faces a extra tangible enemy: the Grande Armée of Napoleon Bonaparte.
City after urban has fallen to the advancing French, and it now turns out that just a miracle will maintain them from Moscow itself. In desperation, Aleksei and his comrades enlist the aid of the Oprichniki—a team of twelve mercenaries from the furthest reaches of Christian Europe, who declare that they could flip the tide of the warfare. it kind of feels an idle boast, however the Russians quickly realize that the Oprichniki are certainly fairly in a position to gratifying their promise … and lots more and plenty extra.
Unnerved by way of the truth that so few can accomplish loads, Aleksei recollects these formative years tales of the voordalak. And as he involves comprehend the real, awful nature of those twelve strangers, he wonders on the nightmare they’ve unleashed of their midst....
Full of historic element, exciting motion, and heart-stopping supernatural moments, Twelve is storytelling at its most unique and interesting.

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Extra resources for Twelve (The Danilov Quintet, Book 1)

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He has only been able to glimpse this recognition of his own wrongdoing because he has entered into a relationship with Buffy. Good or evil must be seen in terms of relationship with others, not absolutes of action. For Spike, Buffy is no longer just an object, just vampire food, or a Slayer to conquer, or even just a sexual object. The transformational nature of this event (the reaction to the attempted rape) is further signified by his leaving behind his coat. Any Buffy reader knows that Spike’s black leather coat is his signature of self—“It’s Spike!

As Buffy moves closer to adulthood in later seasons, the vampire opponents are not just adults, but distorted reflections of herself—vampires such as the youngappearing leather-clad Spike8 or Sunday, the cool college vamp, who speak in contemporary slang. But in the first season almost all of the vampires and the adults are clearly tied together linguistically, among other ways. Occasionally the teens will display their ability to speak the foreign language of adulthood. In “The Pack,” for instance, Buffy speaks with Principal Flutie about the little pig mascot he has bought for the school’s team.

Each—Esther the illegitimate, and Buffy the odd hero—has fought to be a normal girl. And each realizes the shining pain involved in the cost of return and connection: One of the great themes of Dickens’s Bleak House is our interconnection, and one of the great themes of Buffy is the virtue of community (Playdon; Rose; Wilcox, “Who”). Through the pain of light, the authors of each imagaically recognize both the desire and difficulty of such goals. ” The camera calls attention to the border between light and dark as he walks to the edge of the shadow and stops, and Buffy tells him he may remain.

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