Oddkins: A Fable for All Ages by Dean Koontz, Phil Parks PDF
By Dean Koontz, Phil Parks
Blockbuster writer Dean Koontz's first novel for younger readers, a superbly illustrated and visually beautiful tale a couple of magical band of residing toys who learn how to conquer the fears all of us face within the dark
Toymaker Isaac Bodkins created the Oddkins, a gaggle of residing toys, for extraordinarily certain little ones who face problems in existence and wish actual buddies. There's Amos, the courageous crammed undergo; Skippy, the rabbit who goals of being a famous person; Butterscotch, the mild, floppy-eared domestic dog; Burl the elephant; the clever and scholarly Gibbons; and Patch the cat. The Oddkins are given to teenagers to motivate, help, and love them, specifically in periods of adversity. merely now, the toys themselves are those who want help.
Before he dies, Mr. Bodkins can provide a dire caution to Amos the endure: beware of an evil toymaker and his harmful creations! Locked up at the hours of darkness sub-basement, one other workforce of toys is mountain climbing out of bins and crates and coming to existence in addition. those undesirable toys—like Rex and Lizzie, the puppets without strings; equipment, the vicious robotic; and Stinger, the horrid humming bumblebee together with his knife-sharp stinger—were made to harm kids, now not support them. Leering, giggling, and lethal, they're let out into the area via a terrifying force.
Frightening because it can be, the Oddkins needs to pass on a trip to discover Colleen Shannon, Mr. Bodkins’s selected successor as a life-giving toymaker and the one one who can keep them. The stormy evening is perilous and the Oddkins face a possibility that threatens not just their magic . . . however the magic in us all.
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Additional resources for Oddkins: A Fable for All Ages
Europe’s greatest intellectuals, heralds of modernity, promoted magical beliefs and practices that are characteristically primitive. How could that be? 39 Although Yates’s writings show no interest at all in anthropology, her solution to the problem reflects Frazer’s conception of magic in its relation to science. “The same principles which the magician applies in the practice of his art,” claims Frazer, are implicitly believed by him to regulate the operations of inanimate nature; in other words, he tacitly assumes that the Laws of Similarity and Contact are of universal application and are not limited to human actions.
The first archaeological traces of the religion that the Magi practiced are fire-holders dated shortly after 539. The religion was older, the Zoroastrian faith that originated in eastern Iran among a pastoral, and eventually nomadic, people – around 1700 at the earliest, by 1100 at the latest. The Zoroastrianism about which anything is securely known, however, was the religion that entered Achaemenid Persia in Figure 9. Sassanian Coin from India with a Zoroastrian Fire Altar, Third Century ce. com/fifty-coins2, coin #16) 27 Introduction the mid-sixth century, when Astyages was king; it probably came from Median Magi, whose people had established their kingdom in 711, when they were already Zoroastrian.
23 Introduction Walker’s key insight about music was that air – the medium of music – is like the pneuma or spiritus that ancient Greeks and Romans treated as a physical and explanatory link between lightly embodied spiritual things (like the lower human soul) and highly rarefied material things (like smoke from a sacrifice). Observing how the strings of a lyre resonate through air or spirit with the cosmic music of planets and stars, a magus can use this natural medium, without help from demons, to draw power down from the heavens.
Oddkins: A Fable for All Ages by Dean Koontz, Phil Parks