'Hal and the Heron brotherband are on the trail of Zavac and his precious cargo. Will they be able to find the pirates when the weather clears? And when they do, how can they possibly beat the mighty Raven and its crew of vicious cut-throats and killers?
'A chance discovery will lead them to their prey, but the pirates have a well-fortified position. The Herons must drive out the invaders - and to succeed, Hal will need to devise a foolproof plan. In the icy waters of the Stormwhite, the smallest mistake could prove fatal.' (Publisher's blurb)
'Hal and his fellow Herons have returned home to Skandia after defeating the pirate captain Zavac and reclaiming Skandia's most prized artifact, the Andomal. With their honor restored, the Herons turn to a new mission: tracking down an old rival turned bitter enemy. Tursgud—leader of the Shark Brotherband and Hal's constant opponent—has turned from a bullying youth into a pirate and slave trader. After Tursgud captures twelve Araluen villagers to sell as slaves, the Heron crew sails into action . . . with the help of one of Araluen's finest Rangers!
'In this fourth book in the Brotherband Chronicles, a new battle unfolds as old rivalries are renewed, peace treaties are put to the test, and the action builds to a pulse-pounding finale. Perfect for fans of J.R.R. Tolkien’s Lord of the Rings, T.H. White’s The Sword in the Stone, Christopher Paolini’s Eragon series, and George R. R. Martin’s Game of Thrones / A Song of Ice and Fire series.' (Publisher's blurb)
'When the worlds of Ranger's Apprentice and Brotherband cross over, action and adventure are guaranteed!
'King Duncan of Araluen has an urgent mission for Hal and the Heron Brotherband. One assassination attempt on Princess Cassandra was foiled. But the killers won't be satisfied until they have fulfilled their honour-bound duty.
'The Herons, along with Ranger Gilan, set off for Arrida. There they must track the cult of killers across the desert, and infiltrate the cult's mountain lair to find their leader – and stop him.
'But the giant assassin isn't the only threat they will face. There is a seaside battle looming, and the Herons are called upon to help an old friend of Araluen in his fight.
'Trapped in an unfamiliar land, their forces split between searing hot land and treacherous seas, can the Herons complete their mission – before the killers find their royal target?' (Publication summary)
'When the Herons are caught in a massive storm at sea, they're blown far off course – so far that they wash up on the shores of a land to the west that Hal can't recognise from his maps. They sense they're being watched but don't encounter the locals until they have to rescue two children from a marauding bear.
'This action earns them the gratitude of the Mawagansett tribe and the two groups finally meet. But the peace is short-lived. The ruthless, warmongering Ghostfaces are heading their way, and the Herons will have to help their new friends repel an invasion.
'Among the heart-stopping action and nail-biting battles, one Heron will find love, the twins finally receive payback for their identity swapping, and a homesick Skandian will discover that home is where the heart is.' (Publication summary)
'Stig is contesting the annual Maktig competition to decide Skandia’s greatest warrior. But an unexpected visitor arrives with a request Stig, Hal and the brotherband can’t refuse: a rescue mission of epic proportions.
'Pirates have kidnapped the son of the Empress of Byzantos, a city-state far to the south. The brotherband sets sail to recover the boy, only to find that the pirates’ fortress seems impenetrable, sitting atop towering cliffs above the deep lagoon – the caldera – of a volcanic crater.
'Culminating in a battle for survival on the high seas, The Caldera sees the Herons take on one of their most difficult missions yet as the fate of an empire rests on their shoulders.' (Publication Summary)
'In a battle of Skandians vs Temujai, the brotherband are facing their most formidable enemy yet.
'The Heron brotherband are home in Skandia – but their usually peaceful country is in danger. The Temujai have never given up on their ambition to claim Skandia for their own. The ruthless warriors from the Eastern Steppes waited a number of years after the Skandians thwarted them last time - with the help of the legendary Rangers of Araluen - but now they're on the move.
'The Skandians are concentrating their defences on the one pass through the mountains, and they're ready for battle – but what if the Temujai can find another way down to the coast? Erak sends Hal and his crew to investigate.
'And stop the Temujai – whatever it takes.'
Source: Publisher's blurb.
'Pirates have stolen the Skandians' best ship and it's up to Hal and the Heron brotherband to find them in the unputdownable ninth adventure in the New York Times bestselling series.
'Outnumbered but determined, the Herons are ready for action. The scene is set for an epic battle at sea . . .
'For years now, the Skandians have been the guardians of the Stormwhite Sea, stopping piracy wherever they find it. But there are some who don’t like the Skandians' new role.
'When their enemies strike at the heart of Hallasholm, damaging every ship and stealing the pride of the fleet, there is one hope. Hal's ship, the newly rebuilt Heron, was being repaired so the attackers didn't find her.
'Hal and the Heron brotherband - along with the Oberjarl, Erak - set off to find Wolfwind. But when they discover the thieves are using Wolfwind to plunder ships and towns - and blame the Skandians - Hal knows these pirates must be stopped, whatever it takes.' (Publication summary)
'Writing in 2012, Edward James comments that ‘one of the most unexpected developments of the last decade has been the domination of the popular fantasy genre by Australian women (and some Australian men)’ (76; see Wilkins 265). This trend has continued in the years since, with authors such as Emily Rodda, Kate Forsyth, Isobelle Carmody, Jessica Townsend, Garth Nix, John Flanagan, Michael Pryor and Jay Kristoff finding success in Australia and internationally. There is, however, very little distinctively ‘Australian’ about fantasy series by these writers, which largely conform to conventions of the genre that prevail internationally. Unlike Australian literary fiction, which values ‘complex’, original books that celebrate distinctive Australian features (Wilkins 267-9), genres such as fantasy value familiarity and commercial viability (Gelder 13-17, 26-7, 41). James argues that many Australian writers ‘have only been a success because they have been able to market their books to publishers in the UK and USA’ (76). Often, the global outlook of Australian genre fiction writers means publishers do not emphasise the Australian identity of these writers, and their books do not include extrinsically Australian features. In the highly commercial genre fiction industry, failure to adhere to the strict, if evolving, conventions that govern book production in a narrative and professional sense can mean that a writer does not get published, or at the least, does not achieve success in the global market.' (Introduction)
'Writing in 2012, Edward James comments that ‘one of the most unexpected developments of the last decade has been the domination of the popular fantasy genre by Australian women (and some Australian men)’ (76; see Wilkins 265). This trend has continued in the years since, with authors such as Emily Rodda, Kate Forsyth, Isobelle Carmody, Jessica Townsend, Garth Nix, John Flanagan, Michael Pryor and Jay Kristoff finding success in Australia and internationally. There is, however, very little distinctively ‘Australian’ about fantasy series by these writers, which largely conform to conventions of the genre that prevail internationally. Unlike Australian literary fiction, which values ‘complex’, original books that celebrate distinctive Australian features (Wilkins 267-9), genres such as fantasy value familiarity and commercial viability (Gelder 13-17, 26-7, 41). James argues that many Australian writers ‘have only been a success because they have been able to market their books to publishers in the UK and USA’ (76). Often, the global outlook of Australian genre fiction writers means publishers do not emphasise the Australian identity of these writers, and their books do not include extrinsically Australian features. In the highly commercial genre fiction industry, failure to adhere to the strict, if evolving, conventions that govern book production in a narrative and professional sense can mean that a writer does not get published, or at the least, does not achieve success in the global market.' (Introduction)