Prince Sigismund has grown up hearing fantastical stories about enchantments and faie spells, basilisks and dragons, knights-errant and heroic quests. He'd love for them to be true--he's been sheltered in a country castle for most of his life and longs for adventure--but they are just stories. Or are they? From the day that a mysterious lady in a fine carriage speaks to him through the castle gates, Sigismund's world starts to shift. He begins to dream of a girl wrapped, "trapped," in thorns. He dreams of a palace, utterly still, waiting. He dreams of a man in red armor, riding a red horse--and then suddenly that man arrives at the castle! Sigismund is about to learn that sometimes dreams are true, that the world is both more magical and more dangerous than he imagined, and that the heroic quest he imagined for himself as a boy . . . begins now.

    Consisting of a series of episodes in the story of the English outlaw Robin Hood and his band of Merry Men, the novel compiles traditional material into a coherent narrative in a colorful, invented "old English" idiom that preserves some flavor of the ballads, and adapts it for children. The novel is notable for taking the subject of Robin Hood, which had been increasingly popular through the 19th century, in a new direction that influenced later writers, artists, and filmmakers through the next century.[1]Pyle had been submitting illustrated poems and fairy tales to New York publications since 1876, and had met with success. The Merry Adventures of Robin Hood was the first novel he attempted. He took his material from Middle Age ballads and wove them into a cohesive story, altering them for coherence and the tastes of his child audience. For example, he included "Robin Hood and the Curtal Friar" in the narrative order to reintroduce Friar Tuck. He needed a cooperative priest for the wedding of outlaw Allan a Dale (Pyle's spelling of the original Alan-a-Dale) to his sweetheart Ellen. In the original "A Gest of Robyn Hode", the life is saved of an anonymous wrestler who had won a bout but was likely to be murdered because he was a stranger. Pyle adapted it and gave the wrestler the identity of David of Doncaster, one of Robin's band in the story "Robin Hood and the Golden Arrow." In his novelistic treatment of the tales, Pyle thus developed several characters who had been mentioned in only one ballad, such as David of Doncaster or Arthur a Bland. Pyle's book continued the 19th-century trend of portraying Robin Hood as a heroic outlaw who robs the rich to feed the poor; this portrayal contrasts with the Robin Hood of the ballads, where the protagonist is an out-and-out crook, whose crimes are motivated by personal gain rather than politics or a desire to help others.[1] For instance, he modified the ballad "Robin Hood's Progress to Nottingham", changing it from Robin killing fourteen foresters for not honoring a bet to Robin defending himself against a band of armed robbers. Pyle has Robin kill only one man, who shoots at him first. Tales are changed in which Robin steals all that an ambushed traveler carried, such as "Robin Hood and the Bishop of Hereford", so that the victim keeps a third and another third is dedicated to the poor. Pyle did not have much concern for historical accuracy, but he renamed the queen-consort in the story "Robin Hood and Queen Katherine" as Eleanor (of Aquitaine). This made her compatible historically with King Richard the Lion-Hearted, with whom Robin eventually makes peace. The novel was first published by Scribner's in 1883, and met with immediate success,[1] ushering in a new era of Robin Hood stories. It helped solidify the image of a heroic Robin Hood, which had begun in earlier works such as Walter Scott's 1819 novel Ivanhoe. In Pyle's wake, Robin Hood has become a staunch philanthropist protecting innocents against increasingly aggressive villains.[1] Along with the publication of the Child Ballads by Francis James Child, which included most of the surviving Robin Hood ballads, Pyle's novel helped increase the popularity of the Robin Hood legend in the United States. The Merry Adventures also had an effect on subsequent children's literature. It helped move the Robin Hood legend out of the realm of penny dreadfuls and into the realm of respected children's books.[2] After Pyle, Robin Hood became an increasingly popular subject for children's books: Louis Rhead's Bold Robin Hood and His Outlaw Band (1912) and Paul Creswick's Robin Hood (1917), illustrated by Pyle's pupil N. C.

    In 1558, while exiled by Queen Mary Tudor to a remote castle known as Perilous Gard, young Kate Sutton becomes involved in a series of mysterious events that lead her to an underground world peopled by Fairy Folk—whose customs are even older than the Druids’ and include human sacrifice.

    On her first swim to the surface, she is drawn towards a human boy. She longs to join his carefree world, but how much will she have to sacrifice? What will it take for the little mermaid to find her voice? Hans Christian Andersen's original fairy tale is reimagined through a searing feminist lens, with the stunning, scalpel-sharp writing and world building that has won Louise her legions of devoted fans. A book with the darkest of undercurrents, full of rage and rallying cries: storytelling at its most spellbinding.

    From the tortured mind of Edgar Allan Poe, these three tales, "The Black Cat," "The Fall of the House of Usher," and "The Cask of Amontillado," speak to the hidden places inside us all.Capturing the mist and shadows rising from the stories are illustrations by prominent artist Gary Kelley. Angular and dark, his work heightens the Gothic terror that is Poe's trademark and creates windows into Poe's world.

    M. Barrie's Peter Pan!In August 2004 the Special Trustees of Great Ormond Street Children's Hospital, who hold the copyright in Peter Pan, launched a worldwide search for a writer to create a sequel to J. M. Barrie's timeless masterpiece. Renowned and multi award-winning English author Geraldine McCaughrean won the honor to write this official sequel, Peter Pan in Scarlet. Illustrated by Scott M. Fischer and set in the 1930s, Peter Pan in Scarlet takes readers flying back to Neverland in an adventure filled with tension, danger, and swashbuckling derring-do!

    Tolkien’s five acclaimed modern classic ‘fairie’ tales in the vein of The Hobbit.Enchanted by a sand-sorcerer, the toy dog Roverandom explores a world filled with strange and fabulous creatures; the fat and unheroic Farmer Giles of Ham is called upon to do battle with the dragon Chrysophylax; Hobbits, princesses, dwarves and trolls partake in the adventures of Tom Bombadil; Smith of Wootton Major journeys to the land of Faery via the magical ingredients of a giant cake; and Niggle the painter sets out to paint the perfect tree.

    Action-packed and suspenseful, heart-tugging and wise, it weaves a spell both hauntingly familiar and utterly irresistible for those who have ever surrendered themselves to flights of fancy, and have whispered in their hearts, “I believe.”Paul Dear is a good and clever boy, doted on by a father who fills his son’s head with tall tales, thrilling legends, and talk of fairy-folk, and by a mother who indulges these fantastic stories and tempers them with common sense. But Paul is special in ways that even his adoring parents could never have imagined. For by day, in London’s Kensington Gardens, he walks and talks with the pixies and sprites and other magical creatures that dwell among the living–but are unseen by most. And at night in his room, a boy much like himself, yet not, beckons to Paul from the mirror to come adventuring. It’s a happy life for Paul, made all the more so by the birth of his baby sister. But everything changes when tragedy strikes, and Paul concludes that there’s only one course of action he can take to dispel the darkness and make things right again. And like countless heroes before him, he knows that he must risk everything to save the day. Thus begins a quest that will lead Paul down the city’s bustling streets, to a curio shop where a magical ally awaits him, and launches him into the starry skies, bound for a realm where anything is possible. Far from home, he will run with fierce Indian warriors, cross swords with fearsome pirates, befriend a magnificent white tiger, and soar beside an extraordinary, ageless boy who reigns in a boundless world of imagination.Brimming with the sly humor and breathless excitement of a traditional Victorian bedtime story, deftly embroidered with its own unique wisdom and wonder, Tigerheart is a hymn to childhood’s happiness and heartbreak, a meditation on the love, courage, sacrifice, and faith that shape us and define our lives, and a splendidly rendered modern fable–for readers of any age–that brilliantly proves itself a worthy brother to the timeless classic that serve as its inspiration.From the Hardcover edition.

    Her mother hates the cold, so every few months her parents pack their bags and drag her off after the sun. She’s grown up lonely and longing for magic. She doesn’t know that it’s magic her parents are running from. When Sarah’s mother walks out on their family, all the strange old magic they have tried to hide from comes rising into their mundane world. Her father begins to change into something wild and beastly, but before his transformation is complete, he takes Sarah to her grandparents—people she has never met, didn’t even know were still alive. Deep in the forest, in a crumbling ruin of a castle, Sarah begins to untangle the layers of curses affecting her family bloodlines, until she discovers that the curse has carried over to her, too. The day she falls in love for the first time, Sarah will transform into a beast . . . unless she can figure out a way to break the curse forever.

    Perilous quests, true love, and animals that talk. The traditional stories of Ireland, Scotland, Brittany, and Wales transport us to the fantastical world of Celtic folklore. These timeless tales brim with wit and magic, and each on is brought to life with elegant silhouette art in this special illustrated edition.

    Morgenstern classic, The Princess Bride. But as a grown-up he discovered that the boring parts were left out of good old Dad's recitation, and only the "good parts" reached his ears.Now Goldman does Dad one better. He's reconstructed the "Good Parts Version" to delight wise kids and wide-eyed grownups everywhere.What's it about? Fencing. Fighting. True Love. Strong Hate. Harsh Revenge. A Few Giants. Lots of Bad Men. Lots of Good Men. Five or Six Beautiful Women. Beasties Monstrous and Gentle. Some Swell Escapes and Captures. Death, Lies, Truth, Miracles, and a Little Sex.In short, it's about everything.

            The stories are divided into three sections: The Age of Fable or Stories of Gods and Heroes (first published in 1855); The Age of Chivalry (1858), which contains King Arthur and His Knights, The Mabinogeon, and The Knights of English History; and Legends of Charlemagne or Romance of the Middle Ages (1863). For the Greek myths, Bulfinch drew on Ovid and Virgil, and for the sagas of the north, from Mallet's Northern Antiquities. He provides lively versions of the myths of Zeus and Hera, Venus and Adonis, Daphne and Apollo, and their cohorts on Mount Olympus; the love story of Pygmalion and Galatea; the legends of the Trojan War and the epic wanderings of Ulysses and Aeneas; the joys of Valhalla and the furies of Thor; and the tales of Beowulf and Robin Hood. The tales are eminently readable. As Bulfinch wrote, "Without a knowledge of mythology much of the elegant literature of our own language cannot be understood and appreciated. . . . Our book is an attempt to solve this problem, by telling the stories of mythology in such a manner as to make them a source of amusement."Thomas Bulfinch, in his day job, was a clerk in the Merchant's Bank of Boston, an undemanding position that afforded him ample leisure time in which to pursue his other interests. In addition to serving as secretary of the Boston Society of Natural History, he thoroughly researched the myths and legends and copiously cross-referenced them with literature and art. As such, the myths are an indispensable guide to the cultural values of the nineteenth century; however, it is the vigor of the stories themselves that returns generation after generation to Bulfinch.

    Wealthy cannibals who dine on the discarded limbs of peculiars. A fork-tongued princess. The origins of the first ymbryne. These are but a few of the truly brilliant stories in Tales of the Peculiar—known to hide information about the peculiar world—first introduced by Ransom Riggs in his Miss Peregrine’s Peculiar Children series.Riggs now invites you to share his secrets of peculiar history, with a collection of original stories, as collected and annotated by Millard Nullings, ward of Miss Peregrine and scholar of all things peculiar.

    There she would receive the gift of foretelling. But when that call never comes, Ryber finds herself the only Sister without the Sight.Years pass and Ryber’s misfit pain becomes a dull ache, until one day, Sisters who already possess the Sight are summoned into the mountain, never to return. Soon enough, Ryber is the only Sister left. Now, it is up to her to save her Sisters, though she does not have the Sight—and though she does not know what might await her inside the mountain.On her journey underground, she encounters a young captain named Kullen Ikray, who has no memory of who he is or how he got there. Together, the two journey ever deeper in search of answers, their road filled with horrors, and what they find at the end of that road will alter the fate of the Witchlands forever.Set a year before Truthwitch, Sightwitch is a companion novella that also serves as a set up to Bloodwitch, as well as an expansion of the Witchlands world.

    Traditional fairytales are rife with cliches and gender stereotypes: beautiful, silent princesses; ugly, jealous, and bitter villainesses; girls who need rescuing; and men who take all the glory. But in this rousing new prose and poetry collection, Nikita Gill gives Once Upon a Time a much-needed modern makeover. Through her gorgeous reimagining of fairytale classics and spellbinding original tales, she dismantles the old-fashioned tropes that have been ingrained in our minds. In this book, gone are the docile women and male saviors. Instead, lines blur between heroes and villains. You will meet fearless princesses, a new kind of wolf lurking in the concrete jungle, and an independent Gretel who can bring down monsters on her own. Complete with beautifully hand-drawn illustrations by Gill herself, Fierce Fairytales is an empowering collection of poems and stories for a new generation.