Fans pick 68 books like Mythical and Fabulous Creatures

This first complete English translation of a twelfth-century Latin bestiary has served me well as a partial map for following mythical beasts through time—from when the unicorn, griffin, and other fantastic creatures were considered part of God’s animal kingdom. T.  H. White supplements his translation of the moralized Christian bestiary with his own learned and entertaining footnotes and afterword. His “Family Tree” graph of Western animal studies highlights classical and medieval authors and ends with “Sir Thomas Browne’s Vulgar Errors,” the end of bestiary lore and the beginning of modern biology.

The unicorn and the dragon are still the two most ubiquitous animals to emerge from the host of fantastic creatures that began spreading through popular books, art, and film in the late 1970s. Years before the unicorn’s commercial popularity, Odell Shepard’s classic book, The Lore of the Unicorn, traced the millennia-long cultural transformations of the mysterious animal, beginning with an early traveler’s tale of the wild asses of India. 

I admire Shepard’s blending of personal voice with wide-ranging research and commentary. He opens his introduction with, “On the table before me, there lies a long straight wand of ivory,” a walking stick made of narwhal tusk, which for centuries had been accepted as unicorn horn.

I love this lavishly produced 2013 book. It overarches my other recommended “best books for following mythical beasts through time.” Titles of early chapters—“What is an Imaginary Animal?” “Every Real Animal is Imaginary,” and “Every Imaginary Animal is Real”—encompass the book’s interplay between nature’s animals, imaginary ones, and human beings.

Open Imaginary Animals anywhere to get a glimpse of its variety and scope. Boria Sax’s interdisciplinary, learned, and conversational text sweeps across folklore, legends, myths, and natural history of worldwide cultures from antiquity to today. Accompanying art, much in color, spans a Lascaux cave painting and a photograph of a human-looking robot; throughout are fantastic creatures in paintings, early natural history engravings, and other pictorial forms.

As Dr. Sax writes, “Imaginary creatures can be overwhelming in their multiplicity.”

Don’t be scared off by this 1646 book. It’s essential for anyone who follows mythical beasts through time. One of the best-known parts of Browne’s influential book is Book III: “Of divers popular and received Tenets concerning Animals, which examined, prove either false or dubious.” By discrediting the classical and medieval authorities that perpetuated them, he considers the griffin, basilisk, unicorn, amphisbaena, and phoenix to be “fabulous,” thus separating them from the actual animal kingdom after centuries of general belief.

The now obscure Alexander Ross, “Champion of the Ancients,” refuted Browne’s book virtually point for point in his 1652 Arcana Microcosmi. Ross lost that Battle of the Books between the ancients and the moderns. Mythical animals rarely appeared in eighteenth-century literature, but they rose again a century later.

This book holds a very special place in my heart because this is the book I was reading on the day I decided to become an author. The way the characters, world-building, mythos, and action came together in this story was pure magic, and I wanted more.

I’ve since read the entire series, though it’s ongoing, and I haven’t been disappointed. The heart and soul of this book is how much the main character cares about her friends and how far she will go to keep them safe. Joining Mercy’s pack, even for just a few pages at a time, feels like coming home.

If you like something with a little less spice and a lot of spunk, you want to read KM Shea.

Crown of Shadows is the second trilogy in her Magiford world and in my humble opinion, the best. This world is wonderfully built, with wickedly funny characters and romances that don’t reduce the heroine into quivering limp puddles. Instead, she races around on hellish looking horses and demands to marry an assassin. What a woman. 

I love a lot of K.M. Shea’s work because her plots involve character growth as well as a mystery to be solved. One of my favorite series begins with The King’s Captive.

The main is a little cat shifter. She is not a powerful shifter or even a powerful person. She’s down on her luck but thrifty, scrappy, and courageous. She’s also a cat, so she’s sneaky and clever, even if she does lose tufts of fur to her enemies now and then. She needs help to survive, but finding it and trusting others, well, that’s all part of the great journey.

As research, I read a lot of books about werewolves. Some were bad, some were decent, and some were too academic. This one was, in the words of Goldilocks, just right. I loved that it was written in a language anyone could understand and that it wasn’t focused on just one geographic location or culture.

Douglas presents everything from Greek mythology to Norse, Japanese, American Indian, and others. He keeps his personal commentary to a minimum and presents the reader with much information. I see this book as a primer for understanding just about everything about the shapeshifter in legend and literature. If the fiction author has done his/her job well, the shapeshifter will have roots in something Douglas has told us about.

I’m a big fan of vampires and werewolves in fiction, and I think the Fangborn series is one of the most original takes on the legends I’ve encountered. Vampires and werewolves are parts of the same family—as in a vampire sister and a werewolf brother in the first Fangborn story—and both types of supernatural creatures use their special abilities to fight evil. After debuting the series in the mystery story “The Night Things Changed,” Cameron went on to write three excellent Fangborn books, but I really enjoy the variety of the short stories, and I’m so pleased that she recently collected them into this volume. 

A happy ever after is nice ‘n all, but sometimes I want angst and torture blocking the path of true love. The Children of The Morning Star series delivers that, plus more. Pavlik has crafted a complex, layered world, woven with religious dogma, which I could have taken at face value, but once I dwelt on the motives, beliefs, and loyalties of the characters (both good and bad) it left me contemplating the age-old battle between good and evil until the wee small hours. Lucifer’s vampires, created to aid the war effort between heaven and hell, strike a deal with God, and with this metaphorical handshake, chaos is unleashed. Way beyond the usual vampire trope, for me, this series has a whiff of the classical rising from its pages.