Emma and the Minotaur by Jon Herrera

By Jon Herrera

All tales are true. 

Emma Wilkins is 11 years previous and she or he lives on Belle Street.

within the forests of Saint Martin, a good strength has woke up. Whispers abound of a monster that lurks within the darkness as increasingly more of the city's citizens pass lacking. referred to as by means of the tune of a tree, the diminutive Emma unearths herself nose to nose with the substantial Minotaur. Following a slender break out, Emma discovers that she is the one person who has any likelihood to forestall him.

On her option to an most unlikely war of words, Emma will research that the challenge is bigger than it sort of feels, and that at stake are the fates of these she cares concerning the so much, and that of the full global.

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By Jon Herrera

All tales are true. 

Emma Wilkins is 11 years previous and she or he lives on Belle Street.

within the forests of Saint Martin, a good strength has woke up. Whispers abound of a monster that lurks within the darkness as increasingly more of the city's citizens pass lacking. referred to as by means of the tune of a tree, the diminutive Emma unearths herself nose to nose with the substantial Minotaur. Following a slender break out, Emma discovers that she is the one person who has any likelihood to forestall him.

On her option to an most unlikely war of words, Emma will research that the challenge is bigger than it sort of feels, and that at stake are the fates of these she cares concerning the so much, and that of the full global.

Show description

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Extra resources for Emma and the Minotaur

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These are the First-born, the Elves; and the Followers Men. The doom of the Elves is to be immortal, to love the beauty of the world, to bring it to full flower with their gifts of delicacy and perfection, to last while it lasts, never leaving it even when ‘slain’, but returning – and yet, when the Followers come, to teach them, and make way for them, to ‘fade’ as the Followers grow and absorb the life from which both proceed. The Doom (or the Gift) of Men is mortality, freedom from the circles of the world.

Anyway all this stuff* is mainly concerned with Fall, Mortality, and the Machine. With Fall inevitably, and that motive occurs in several modes. With Mortality, especially as it affects art and the creative (or as I should say, sub-creative) desire which seems to have no biological function, and to be apart from the satisfactions of plain ordinary biological life, with which, in our world, it is indeed usually at strife. This desire is at once wedded to a passionate love of the real primary world, and hence filled with the sense of mortality, and yet unsatisfied by it.

But it proved to be the discovery of the completion of the whole, its mode of descent to earth, and merging into ‘history’. As the high Legends of the beginnings are supposed to look at things through Elvish minds, so the middle tale of the Hobbit takes a virtually human point of view – and the last tale blends them. I dislike Allegory – the conscious and intentional allegory – yet any attempt to explain the purport of myth or fairytale must use allegorical language. ) Anyway all this stuff* is mainly concerned with Fall, Mortality, and the Machine.

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