Joshua David Bellin has been writing books since the age of eight (though his first few were admittedly very, very short). He is the author of Freefall, Survival Colony 9, and Scavenger of Souls. When he’s not writing, he spends his time drawing, catching amphibians, and watching monster movies with his kids. A Pittsburgh native, Josh has taught college English, published three nonfiction books (one about monsters!), and taken part in the movement to protect the environment. You can find him online at JoshuaDavidBellin.com.
Sixteen years ago the Kingdom of Winter was conquered and its citizens enslaved, leaving them without magic or a monarch. Now the Winterians' only hope for freedom is the eight survivors who managed to escape, and who have been waiting for the opportunity to steal back Winter's magic and rebuild the kingdom ever since.
Orphaned as an infant during Winter's defeat, Meira has lived her whole life as a refugee. Training to be a warrior—and desperately in love with her best friend, Winter's future king—she would do anything to help Winter rise to power again.
So when scouts discover the location of the ancient locket that can restore Winter's magic, Meira decides to go after it herself—only to find herself thrust into a world of evil magic and dangerous politics—and ultimately comes to realize that her destiny is not, never has been, her own.
In The Demon of the Continent, Joshua David Bellin probes the complex interrelationships among Native American and Euro-American cultures and literatures from the mid-seventeenth to the mid-nineteenth centuries. He asserts that cultural contact is at the heart of American literature. For Bellin, previous studies of Indians in American literature have focused largely on the images Euro-American writers constructed of indigenous peoples, and have thereby only perpetuated those images. Unlike authors of those earlier studies, Bellin refuses to reduce Indians to static antagonists or fodder for a Euro-American imagination.
Drawing on works such as Henry David Thoreau's Walden, William Apess' A Son of the Forest, and little known works such as colonial Indian conversion narratives, he explores the ways in which these texts reflect and shape the intercultural world from which they arose. In doing so, Bellin reaches surprising conclusions: that Walden addresses economic clashes and partnerships between Indians and whites; that William Bartram's Travels encodes competing and interpenetrating systems of Indian and white landholding; that Catherine Sedgwick's Hope Leslie enacts the antebellum drama of Indian conversion; that James Fenimore Cooper and Henry Wadsworth Longfellow struggled with Indian authors such as George Copway and David Cusick for physical, ideological, and literary control of the nation.
The Demon of the Continent proves Indians to be actors in the dynamic processes in which America and its literature are inescapably embedded. Shifting the focus from textual images to the sites of material, ideological, linguistic, and aesthetic interaction between peoples, Bellin reenvisions American literature as the product of contact, conflict, accommodation, and interchange.