![]() ![]() Martin's Sword is not magicalThere's no magic in the sword, as speculated by many of the characters. What about Arven (From "The Long Patrol".)?.Some of the main qualifications for being Martin (in all the books that I remember) include successfully wielding Martin's sword, which Bragoon does but Horty does not (he wounded his footpaw by stabbing himself with the sword while he was showing off) getting a vision from Martin, which none of the three get, though Saro jokes about Martin warning her and Bragoon to leave years ago and surviving till the end of the book, which Horty does but Bragoon and Saro do not. Judging by the rest of the examples, none of these three qualify.Bragoon, Sarobando, or Horty (From Loamhedge).This also eliminates Martin II, Matthias' grandson. Plus he was alive at the same time as Matthias, who was definitely a reincarnation of Martin. ![]() Mattimeo (From Mattimeo) Does not count as a reincarnation, because he has had little, if any communication with Martin's spirit.So as well as Martin the Warrior, we have: In one case, one of his successors magically learn his skills by touching his sword. After he died, his spirit still roams Redwall, giving visions to the good guys and scaring the crap out of the bad guys. Martin The Warrior is an animal reincarnation of the Avatar.As well as all of the creatures he chose to succeed him. ![]()
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![]() ![]() As the Omega Point rebels prepare to fight the Sector 45 soldiers, Adam is more focused on the safety of Juliette, Kenji, and his brother. Watch through Adam's eyes as he bridges the gap between Unravel Me and Ignite Me. But when the Supreme Commander of The Reestablishment arrives, he has very different plans for Juliette. Even though Juliette shot him in order to escape, Warner can't stop thinking about her - and he'll do anything to get her back. The mind-blowing events between Shatter Me and Unravel Me are told here from Warner's point of view. Perfect for fans of Tahereh Mafi's New York Times bestselling Shatter Me trilogy, this book collects the first two companion novellas, Fracture Me and Destroy Me, for a thrilling insight into the minds of Juliette's two great loves - Adam and Warner. ![]() Even though Juliette shot him in order to escape, Warner can't stop. ![]() ![]() ![]() ![]() ![]() First and foremost, I am hesitantly shelving this one as a YA instead of NA. This was unlike any other Hoover book I've read. ![]() Without spoiling too much, I just want to say that there are trigger warnings for attempted suicide and depression. Maybe it's the perspective and assumptions that make all the difference. But perhaps she's seeing things from a glass half empty perspective. Her sister's boyfriend, Sagan, kissed her accidentally and has now all but moved into the house. Their older brother, Utah, did something he should never have when they were younger and Merit cannot forgive him. Merit's twin sister, Honor, has decided after the death of her first love to only be with guys who are dying. Her father is seemingly oblivious to the problems around his house. Her mother has agoraphobia and doesn't leave the basement of their church-turned-house, even after the divorce. The story follows the perspective of seventeen-year-old Merit and her family. ![]() ![]() ![]() Despite much critical misunderstanding and neglect, in his own time and in ours, Crane achieved a superb poetic style, idiosyncratic yet central to American tradition. He suffered also from his honesty as a homosexual poet and lover during a period in American life unsympathetic to his sexual orientation. A born poet, totally devoted to his art, Crane suffered his warring parents as well as long periods of a hand-to-mouth existence. Born in Garrettsville, Ohio, on July 21, 1899, Crane died at sea on April 27, 1932, an apparent suicide. Hart Crane, prodigiously gifted and tragically doom-eager, was the American peer of Shelley, Rimbaud, and Lorca. ![]() This edition features a new introduction by Harold Bloom as a centenary tribute to the visionary of White Buildings (1926) and The Bridge (1930). ![]() |