At the age of seven, already a devoted bookworm, I came upon a large stack of early-20th century children's magazines filled with stories, poems, and especially fairy tales, some the classic kind, and some weird, scary or unfamiliar. I don't know where those dog-eared, well-thumbed annuals came from, or what happened to them afterward – they were lost or given away when our family moved, I suppose. But I have never forgotten them, or the effect they had on my imagination and longings. I've been searching for those long-lost tales ever since... and it finally led me to decide I would just have to write a few of my own.
Slipper is the history of a poor orphaned stepchild, a would-be princess, whose search for one true love or another takes her all over 17th-Century England, France, and the Low Countries. Born under mysterious circumstances, she grows up to be a dreamer, a cinder sweep, a runaway, a camp follower, a kisser of frogs, a beggar, a mother, and an artist. Along the way, she finds a mentor, Charles Perrault, the original author of the world's most beloved fairy tales, and tells him her story. It is hardly an exaggeration to say that hers is a fairy tale come true.
Angela Carter is my hero; in dreaming up her own provocative, macabre-erotic takes on classic fairy tales, she drills down into some of our most primordial fears and desires. The Bloody Chamber is the book that inspired me to reconsider the stories I loved as a child, to explore what it is about those tales that are so universally appealing, and how they relate to our own lives. I need hardly mention, of course, the lush, evocative writing, horrifying and seductive all at the same time.
With an introduction by Helen Simpson. From familiar fairy tales and legends - Red Riding Hood, Bluebeard, Puss in Boots, Beauty and the Beast, vampires and werewolves - Angela Carter has created an absorbing collection of dark, sensual, fantastic stories.
Of all the fantastical worlds I have been drawn into, Mervyn Peake's Gormenghast Trilogy has stayed with me the longest, in all its gothic, gloomy glory. It's the story of young Titus Groan (the name says it all!), the next Lord of Gormenghast, a claustrophobic, decaying, sprawling castle cut off from the outside world and steeped in bizarre rituals and dark intrigue. I suspect that J.K. Rowling was influenced by Gormenghast when she began the Harry Potter series. Don't expect heart-stopping adventures, though; read it for the atmosphere and the stunningly imaginative writing.
Enter the world of Gormenghast...the vast crumbling castle to which the seventy-seventh Earl, Titus Groan, is Lord and heir. Gothic labyrinth of roofs and turrets, cloisters and corridors, stairwells and dungeons, it is also the cobwebbed kingdom of Byzantine government and age-old rituals, a world primed to implode beneath the weight of centuries of intrigue, treachery, manipulation and murder.
Gormenghast is more than a sequel to Titus Groan - it is an enrichment and deepening of that book.The fertility of incident, character and rich atmosphere combine in a tour de force that ranks as one of the twentieth century's most…
My inner child is still captivated by the Lilliputian world of T.H. White's Mistress Masham's Repose every time I read it. I don't know why the idea of discovering a secret miniature kingdom is so alluring: I think it may have something to do with my love for dollhouses when I was a child. T.H. White was best known for The Once and Future King and The Sword in the Stone, based on the Arthurian legends; he was a master at taking an old story (Gulliver's Travels in the case of Mistress Masham's Repose) and making it truly his own.
'One of the finest, most magical and extraordinary children's books ever written.' - Anne Fine, author and former Children's Laureate
Ten-year-old orphan Maria lives in her ancestors' crumbling mansion. Exploring the grounds one day, Maria discovers a wild, half-forgotten island in the middle of a neglected lake - and an extraordinary secret. For the island is home to a community of tiny people - the Lilliputians that Gulliver first met on his famous travels. But as Maria grows closer to her new friends, her own life is in grave danger. Her wicked governess and the cruel vicar are plotting to…
The 19th-century Scottish writer George MacDonald is said to be the father of the modern fairy tale, inspiring C.S. Lewis, Tolkien, and many others. I chose The Light Princess because I find it his most charming tale: it's about a princess under a wicked spell who has been made weightless, unable to obey the laws of gravity. As in all good fairy tales, a prince eventually comes along to drag her back down to earth. He must sacrifice himself for her, but in the end, it is she who rescues him – from a feminist perspective, a most gratifying conclusion.
George MacDonald (1824-1905), the great nineteenth-century innovator of modern fantasy, influenced not only C. S. Lewis but also such literary masters as Charles Williams and J. R. R. Tolkien. Though his longer fairy tales Lilith and Phantastes are particularly famous, much of MacDonald’s best fantasy writing is found in his shorter stories. In this volume editor Glenn Sadler has compiled some of MacDonald’s finest short works―marvelous fairy tales and stories certain to delight readers familiar with MacDonald and those about to meet him for the first time.
When I was young I devoured Bullfinch's Mythology from cover to cover. Looking back, I am amazed that I had the time and the devotion to read the whole 900-odd pages, which give short, matter-of-fact recaps of the Greek and Roman myths, as well as the legends of King Arthur and Charlemagne. You'll find these tales far more beautifully told in the original Ovid or Virgil versions, I suppose, but if you just want the facts, Ma'am, the who's who of it all, then this is a fine place to start.
Legendary tales of myth and romance written so everyone can enjoy the stories!
Can’t keep all your gods and goddesses straight? Wondering about mythological references in classic literature? Bulfinch’s Mythology offers approachable accounts of ancient legends in a compilation of the works of Thomas Bulfinch, banker and Latinist. This volume includes all three of Bulfinch’s original titles: The Age of Fable, The Age of Chivalry, and The Legends of Charlemagne. Bulfinch states his purpose for the book clearly: “Our work is not for the learned, nor for the theologian, nor for the philosopher, but for the reader of English literature...who…
I grew up on a family farm surrounded by larger vegetable and dairy operations that used migrant labor. From an early age, my siblings and I were acquainted with the children of these workers, children whom we shared a school desk with one day and were gone the next. On summer vacations, our parents hauled us around in a station wagon with a popup camper, which they parked in out-of-the-way hayfields and on mountainous plateaus, shunning, much to our chagrin, normal campgrounds, and swimming pools. Thus, I grew up exposed to different cultures and environments. My writing reflects my parents’ curiosity, love of books and travel, and devotion to the natural world.
After her mother is killed in a rare Northern Michigan tornado, Sadie Wixom is left with only her father and grandfather to guide her through young adulthood. Miles away in western Saskatchewan, Stefan Montegrand and his Indigenous family are displaced from their land by multinational energy companies. They are taken in temporarily by Sadie’s aunt, a human rights activist who heads a cultural exchange program.
Stefan promptly runs afoul of local authority, but Sadie, intrigued by him and captivated by his story, has grown sympathetic to his cause and complicit in his pushback against prejudiced accusations. Their mutual attraction is stymied when Stefan’s older brother, Joachim, who stayed behind, becomes embroiled in the resistance, and Stefan is compelled to return to Canada. Sadie, concerned for his safety, impulsively follows on a trajectory doomed by cultural misunderstanding and oncoming winter.
After her mother is killed in a rare Northern Michigan tornado, Sadie Wixom is left with only her father and grandfather to guide her through the pitfalls of young adulthood. Hundreds of miles away in western Saskatchewan, Stefan Montegrand and his Indigenous family are forced off their land by multinational energy companies and flawed treaties. They are taken in temporarily by Sadie's aunt, a human rights activist who heads a cultural exchange program. Stefan, whose own father died in prison while on a hunger strike, promptly runs afoul of local authority, but Sadie, intrigued by him and captivated by his…
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