Here are 90 books that The Lady of Shalott fans have personally recommended if you like
The Lady of Shalott.
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I grew up loving the works of Shakespeare and the Romantic poets. Now I write romantic fantasy with a lyrical, fairy-tale vibe. The Seasons Cycle is a spin-off series from my main Lake Traveler saga. My poetry includes Poems of Myth & Magick, andSongs of Love & Longing. I compose songs and background music for key scenes in my stories. My music has been described as GoT meets LoTR with a lyrical twist and a musical theatre vibe. You can check out my songs and instrumental pieces on my youtube channel and my music website.
"The Forsaken Merman" is one of the most beautiful and saddest fantasy poems I have ever read. Being a songwriter, I have a keen ear for music in words. This is a lyrical poem that sings in rhyme and meter. It’s a tragic song to love lost. The longing is real. You will feel it and you will be moved by it.
I grew up loving the works of Shakespeare and the Romantic poets. Now I write romantic fantasy with a lyrical, fairy-tale vibe. The Seasons Cycle is a spin-off series from my main Lake Traveler saga. My poetry includes Poems of Myth & Magick, andSongs of Love & Longing. I compose songs and background music for key scenes in my stories. My music has been described as GoT meets LoTR with a lyrical twist and a musical theatre vibe. You can check out my songs and instrumental pieces on my youtube channel and my music website.
"La Belle Dame Sans Merci" may not be Keats’ most well-known poem but it’s right up there with his best, and Keats’ best might just be the very best when it comes to romantic poetry. This is a beautiful fantasy poem that’s both hot and disturbing. It’s dark fantasy at its best. Its lyrical and sensuous beauty will give you chills and goosebumps.Other fantasy-themed poems in this collection include "Endymion," "Lamia and Hyperion," "Isabella," and "St Agnes’ Eve," all based on myths and legends.
'What the imagination seizes as Beauty must be truth' So wrote the Romantic poet John Keats (1795-1821) in 1817. This collection contains all of his poetry: the early work, which is often undervalued even today, the poems on which his reputation rests including the 'Odes' and the two versions of the uncompleted epic 'Hyperion', and work which only came to light after his death including his attempts at drama and comic verse.
It all demonstrates the extent to which he tested his own dictum throughout his short creative life. That life spanned one of…
I grew up loving the works of Shakespeare and the Romantic poets. Now I write romantic fantasy with a lyrical, fairy-tale vibe. The Seasons Cycle is a spin-off series from my main Lake Traveler saga. My poetry includes Poems of Myth & Magick, andSongs of Love & Longing. I compose songs and background music for key scenes in my stories. My music has been described as GoT meets LoTR with a lyrical twist and a musical theatre vibe. You can check out my songs and instrumental pieces on my youtube channel and my music website.
Yeats is one of my favourite poets, and while you may not associate him with fantasy, he did write some extraordinarily beautiful poems that are retellings of Irish folk tales and legends. Teeming with faeries, immortals, and other fey creatures, these are poems in the tradition of the great Romantic poets such as Byron, Shelley, Keats, and Tennyson. The titular poem is only one of many beautiful fantasy poems in this collection.
I grew up loving the works of Shakespeare and the Romantic poets. Now I write romantic fantasy with a lyrical, fairy-tale vibe. The Seasons Cycle is a spin-off series from my main Lake Traveler saga. My poetry includes Poems of Myth & Magick, andSongs of Love & Longing. I compose songs and background music for key scenes in my stories. My music has been described as GoT meets LoTR with a lyrical twist and a musical theatre vibe. You can check out my songs and instrumental pieces on my youtube channel and my music website.
This book is a beautifully illustrated work of art. I absolutely adore the well-chosen excerpts from some of the Bard's most famous plays, including his fantasy ones (The Tempest and Midsummer Night’s Dream). This book contains some of the most beautiful passages in the English language. If you love the language of Shakespeare, you will swoon over this book. I do every single time.
An engaging introduction to Shakespeare, this lyrically llustrated anthology has been carefully edited to be accessible both to older children and teenagers. More then 200 short gems of verse, arranged in thematic sections -- heroics and love, good and evil, fun and frolic, magic and mystery -- capture the rich, powerful language and imagery of Shakespeare without overwhelming the reader who is new to Elizabethan poetry. A beautiful book that the whole family can treasure. Includes index of plays and first lines.
I grew up surrounded by a library of dusty vintage novels, so perhaps it wasn’t that surprising that I went on to write my own gaslamp fantasy influenced by English folklore and Victorian heroines. I love historical novels that provoke wonder, and magical novels that are rich with history, and (blame it on being an only child?) most of all I love a female protagonist I’d want to have tea with.
I loved the soft and quiet governess Elaine and the way she uses her unique magic. The surprising 1820s post-apocalyptic setting draws you in immediately, and the allusions to The Lady of Shallot are perfect.
I’d like to share a nice cup of tea with Elaine, and with her magical abilities, we would always have fresh water for the teapot.
Elaine thought she’d be safe in Brighton. But then the sea rose up and flooded the city. Now, fish dwell in submerged ground floors, mists wreathe the ruined houses, and faery creatures roam the watery streets.
Trapped in an attic for several months, protected by small enchantments, Elaine’s supplies are running low. But she doesn't dare risk the dangers outside, until the night her hiding place is discovered by a roguish treasure hunter who brings trouble in his wake.
Forced into the open, Elaine must finally confront her past, battle an old foe, and protect the family legacy…
I have been writing poetry for over 50 years and realized that as soon as I read Milton’s Paradise Lost – which blew my mind and emotions with its power of language – that epic poetry is the highest and greatest form of poetry. Thus, I have been assiduously reading epics ever since! I love them. And I write books on poetry writing (e.g. The Poetry Show: Macmillan, 1987), write on poetry for New York’s The Epoch Times, and am on the Advisory Board of The Society of Classical Poets. My own HellWard demonstrates a lifetime’s distillation about writing epic poetry, and shortly volume 2, StairWell, will be available.
Sometimes one has to come clean: does nepotism rule? It’s true: Joseph Sale is my son, a successful horror and fantasy novelist. But here he has taken Edmund Spenser’s C16th masterpiece, The Faerie Queen, which was unfinished, and completed it using a different stanzaic form. I’d like to recommend The Faerie Queen itself, but it is too dense and archaic. Joseph’s sequel, by way of contrast, is modern, fast-paced, action-packed, thrilling, and imaginative in the highest order. To see what the heroic is like (and bring out the warrior in you) read Book 6 and Canto 5: the epic descent of Thoth into hell – a match for Gandalf and the Balrog in writing style and power.
Virtue’s End is a spell, a magickal incantation designed to invoke and vivify that which has been lost by the modern world. This lyrical, occult fantasy-epic follows the account of Horus, a magickal sorcerer blessed with both hellish and heavenly powers, who, upon meeting the demon Melmoth, embarks on a strange quest to save the mystical realm of Ethismos, the seat of human imagination. There, Horus will meet great warriors and friends who will aid him in his battle against the coming darkness, as well as ghosts of his past, spectres of the traumas he has endured, and old enemies…
When I was nine years old, I joined a book club. The members were me and my dad. He’d throw detective books into my room when he was done with them, and I’d read them. We’d never discuss them. But that’s why hard-boiled detective fiction is comfort food for me and how I know it so well. I’ve been binging on it most of my life and learning everything the shamus-philosophers had to teach me. Now I write my own, the Ben Ames series, for the joy of paying it forward.
Early Autumn made me cry from two directions. As a tween, reading about Spenser’s rescue of Paul, a shut-down, emotionally neglected boy that Spenser first assesses as “an unlovely little bastard”, I cried in sympathy and relief for Paul.
Over a summer, Spenser taught him skills, built up his strength and gave him the confidence to find his own dreams, before leaving him at the doorway to the life he now knew he wanted. As an adult, I cried with joy for Spenser, who connected with a stranger, taught what he had to teach, and changed a life.
Really helping someone in a lasting way is rarely so easy as it was in this book, but it’s a worthwhile dream and this Cinderella story gets me every time.
“[Robert B.] Parker's brilliance is in his simple dialogue, and in Spenser.”—The Philadelphia Inquirer
A bitter divorce is only the beginning. First the father hires thugs to kidnap his son. Then the mother hires Spenser to get the boy back. But as soon as Spenser senses the lay of the land, he decides to do some kidnapping of his own.
With a contract out on his life, he heads for the Maine woods, determined to give a puny 15 year old a crash course in survival and to beat his dangerous opponents at their own brutal game.
I fell in love with the British Romantic poets when I took a course about them, and I fixated like a chick on the first one we studied, William Blake. He seemed very different from me, and in touch with something tremendous: I wanted to know about it. Ten years later I wrote my doctoral dissertation on Blake, and then published quite a bit about him. Meanwhile there were other poets, poets in other countries, and painters and musicians: besides being accomplished at their art, I find their ideas about nature, the self, art, and society still resonate with me.
Though he declines to define it, Berlin says “The importance of romanticism is that it is the largest recent movement to transform the lives and the thought of the Western world.” In this brief set of lectures he dwells mainly on German writers, since Germany was arguably the homeland of romanticism. Berlin seems to know everything, but his erudition does not interfere with his lively style. What the book lacks in thoroughness it more than makes up with sharp and provocative ideas.
In The Roots of Romanticism, one of the twentieth century's most influential philosophers dissects and assesses a movement that changed the course of history. Brilliant, fresh, immediate, and eloquent, these celebrated Mellon Lectures are a bravura intellectual performance. Isaiah Berlin surveys the many attempts to define romanticism, distills its essence, traces its developments from its first stirrings to its apotheosis, and shows how it still permeates our outlook. He ranges over a cast of some of the greatest thinkers and artists of the eighteenth and nineteenth centuries, including Kant, Rousseau, Diderot, Schiller, the Schlegels, Novalis, Goethe, Blake, Byron, and Beethoven.…
I am a chameleon scholar. Though my first love is poetry, I have written about all the arts, about 18th-century authors (especially Samuel Johnson), about theories of literature and literary vocations, about Sappho and other abandoned women, about ancients and moderns and chess and marginal glosses and the meaning of life and, most recently, the Scientific Revolution. But I am a teacher too, and The Ordering of the Arts grew out of my fascination with those writers who first taught readers what to look for in painting, music and poetry—what works were best, what works could change their lives. That project has inspired my own life and all my writing.
This book about rebels itself rebels against historians such as Abrams, who view Romanticism as a single movement unified by an expressive theory of art.
Instead, Butler argues, there are many different sorts of Romantics, and they are best understood not through theories of art but through "the fierce personal and artistic politics of an age in the midst of profound change." That Age of Revolution had begun in the 1760s, and the ordering of the arts reflects debates about the social standing of the arts, not any consensus. Butler relishes these conflicts.
She pays attention to the groundswell of "art for the people" as well as "the war of the intellectuals," and she is not afraid to embrace the chaos and complications that thwart any effort to paint all arts and artists with one brush.
The Age of Revolutions and its aftermath is unparalleled in English literature. Its poets include Blake, Wordsworth, Coleridge, Byron, Shelley, and Keats; its novelists, Jane Austen and Scott. But how is it that some of these writers were apparently swept up in Romanticism, and others not? Studies of Romanticism have tended to adopt the Romantic viewpoint. They value creativity, imagination and originality - ideas which nineteenth-century writers themselves used to promote a new image of their calling. Romantics, Rebels and Reactionaries puts the movement in to its historical setting and provides a new insight in Romanticism itself, showing that one…
I fell in love with the British Romantic poets when I took a course about them, and I fixated like a chick on the first one we studied, William Blake. He seemed very different from me, and in touch with something tremendous: I wanted to know about it. Ten years later I wrote my doctoral dissertation on Blake, and then published quite a bit about him. Meanwhile there were other poets, poets in other countries, and painters and musicians: besides being accomplished at their art, I find their ideas about nature, the self, art, and society still resonate with me.
Art history also knows a Romantic movement, as does music history. Brown’s book has 250 color plates, mostly of painting from Constable, Turner, Blake, Friedrich, Delacroix, Goya, and many others, but also of some architectural wonders. Brown makes continual connections to the poetry and philosophy of the time, and to political events, as he organizes his chapters by theme: the cult of the artist, the religion of nature, the sense of the past, orientalism, and the exotic, and so on. There are several fine books on Romantic painting, but this is probably the best place to begin.
Romanticism was a way of feeling rather than a style in art. In the period c.1775-1830 - against the background of the French Revolution and the Napoleonic Wars - European artists, poets and composers initiated their own rebellion against the dominant political, religious and social ethos of the day. Their quest was for personal expression and individual liberation and, in the process, the Romantics transformed the idea of art, seeing it as an instrument of social and psychological change.
In this comprehensive volume, David Blayney Brown takes a thematic approach to Romanticism, relating it to the concurrent, more stylistic movements…
