Thousands of fans all over the world have been waiting for several months for the continuation of the epic saga by Andrey Vasilyev, and here it is! Are you ready to log in? It’s time to come back to life! Or to the afterlife? Well, at least Hagen’s new teammates couldn’t be considered alive. Are you excited? So, to battle! In the clash between the clans MacMagnus and MacPratt, Harriton’s alter ego Hagen fights on the side of King Lossarnakh, vowing to bring him a cursed relic that will bestow great power upon its owner. Yet rival factions are ever watchful, and helping his liege will not be easy for our hero, who finds himself challenged time and again as he becomes embroiled in the intrigue that will change the face of Fayroll. Meanwhile, the return of the Departed Gods seems imminent, and more and more schemers, players and NPCs alike, endeavor to use Hagen for their ends, promising him the assistance he so desperately craves. Over and over, he finds himself indebted to powerful entities, prompting the question — will their help be worth the cost? While the dark threat looms over Fayroll, the real world is getting even more frightening and menacing. Hiding from murderers and surviving assassination attempts is not the stuff a journalist’s dreams are made of. At least he has some real friends, now in both worlds. In The Blades of Borderlands, readers will join Harriton on a journey throughout the Borderlands and the perilous Way Between the Ways, braving new dangers and meeting new adversaries. Hagen will face shifting alliances and fearsome enemies, including the dead themselves, rising to defend their abode from insolent invaders. Andrey Vasilyev has created a balanced mix of contemporary fantasy, urban Russian features, pop culture, swords, and magic. The most popular MMORPG game with virtual reality, full of action and adventure, this life-changing game is ready to reveal new secrets and invite new characters.

    A quiescent mother. A house that feels like anything but a home. Natasha gathers the strength to leave, and comes upon a little house in the wood: A house that walks about on chicken feet and is inhabited by a fairy tale witch. In finding Baba Yaga, Natasha finds her voice, her power, herself...

    Noted French scholar and linguist discusses the gods of the continental Celts, the beginnings of mythology in Ireland, heroes, and the two main categories of Irish deities: mother-goddesses — local, rural spirits of fertility or of war — and chieftain-gods: national deities who are magicians, nurturers, craftsmen, and protectors of the people.

    In six hundred years, the Celts had produced some of the finest artistic and scientific masterpieces of the ancient world. In 58 BC, Julius Caesar marched over the Alps, bringing slavery and genocide to western Europe. Within eight years the Celts of what is now France were utterly annihilated, and in another hundred years the Romans had overrun Britain. It is astonishing how little remains of this great civilization. While planning a bicycling trip along the Heraklean Way, the ancient route from Portugal to the Alps, Graham Robb discovered a door to that forgotten world--a beautiful and precise pattern of towns and holy places based on astronomical and geometrical measurements: this was the three-dimensional "Middle Earth" of the Celts. As coordinates and coincidences revealed themselves across the continent, a map of the Celtic world emerged as a miraculously preserved archival document.Robb--"one of the more unusual and appealing historians currently striding the planet" (New York Times)--here reveals the ancient secrets of the Celts, demonstrates the lasting influence of Druid science, and recharts the exploration of the world and the spread of Christianity. A pioneering history grounded in a real-life historical treasure hunt, The Discovery of Middle Earth offers nothing less than an entirely new understanding of the birth of modern Europe.

    Intelligent and brutally direct talk to a reader about our times, Russia, the Russians, and much more.

    The tales draw on pre-Christian Celtic mythology, international folktale motifs and early medieval historical traditions. While some details may hark back to older Iron Age traditions, each of the tales is the product of a developed medieval Welsh narrative tradition, both oral and written.Lady Charlotte Guest in the mid 19th century was the first to publish English translations of the collection, popularising the name "Mabinogion". The stories appear in either or both of two medieval Welsh manuscripts, the White Book of Rhydderch or Llyfr Gwyn Rhydderch, written c.1350, and the Red Book of Hergest or Llyfr Coch Hergest, written c.1382 – 1410, tho texts or fragments of some of the tales have been preserved in earlier 13th century and later mss.Scholars agree that the tales are older than the existing mss, but disagree over just how much older. The different texts originated at different times. Debate has focused on the dating of the Four Branches of the Mabinogi. Sir Ifor Williams offered a date prior to 1100, based on linguistic and historical arguments, while later Saunders Lewis set forth a number of arguments for a date between 1170 and 1190; Th Charles-Edwards, in a paper published in 1970, discussed both viewpoints, and while critical of the arguments of both scholars, noted that the language of the stories fits the 11th century. More recently, Patrick Sims-Williams argued for a plausible range of about 1060 to 1200, the current scholarly consensus.

    Each entry provides a full commentary which examines problems of interpretation in both historical and anthropological terms, and in light of contemporary research.

    At least, not to her mother.

    Quality assurance was conducted on each of these books in an attempt to remove books with imperfections introduced by the digitization process. Though we have made best efforts - the books may have occasional errors that do not impede the reading experience. We believe this work is culturally important and have elected to bring the book back into print as part of our continuing commitment to the preservation of printed works worldwide.

    Not since Bettelheim's The Uses of Enchantment has the underlying significance of fantasy and fairy tales been so insightfully and entertainingly mined.

    In preparing the legends I sought especially for weird beauty; and I could not forget this striking observation in Sir Walter Scott's "Essay on Imitations of the Ancient Ballad" "The supernatural, though appealing to certain powerful emotions very widely and deeply sown amongst the human race, is, nevertheless, a spring which is peculiarly apt to lose its elasticity by being too much pressed upon." -- Lafcadio Hearn

     In "The Kelpie," by Patricia A. McKillip, a carefree circle of bohemian artists is confronted by a being more powerful than any muse. Jane Yolen and Midori Snyder weave a tale of two sisters long-exiled from their magical realm who must survive in ours, in "Except the Queen." In Tanith Lee's "UOUS," a young woman with a rotten family is granted three wishes by a handsome elf-and learns that nothing good comes free of charge. A hapless slob finds his world turned upside-down when an eager brownie moves in and proceeds to clean house, in Megan Lindholm's "Grace Notes." Kim Newman introduces an intrepid government investigator whose latest case pits him against a sinister brood of fairy folk known as "The Gypsies in the Wood." And the serenity of the Elves is tested in a wry fable of a long-suffering magical apprentice who can't catch a break, in Craig Shaw Gardner's "The Embarrassment of Elves.

    But her greatest joy is to visit the sea, where whales gather every morning to gaily spout rainbows.Then, one day, she finds a man in the mist where a whale should be: Reu, who has taken human form out of his Great Love for her. Together these first humans become parents to two whales, and then to mankind. Even after Reu dies, Nau continues on, sharing her story of brotherhood between the two species. But as these origins grow more distant, the old woman's tales are subsumed into myth--and her descendants turn increasingly bent on parading their dominance over the natural world.Buoyantly translated into English for the first time by Ilona Yazhbin Chavasse, this new entry in the Seedbank series is at once a vibrant retelling of the origin story of the Chukchi, a timely parable about the destructive power of human ego--and another unforgettable work of fiction from Yuri Rytkheu, "arguably the foremost writer to emerge from the minority peoples of Russia's far north" (New York Review of Books).

     Fate and fortune. Power and passion. What does it take to be the queen of a kingdom when you're only seventeen?Maya is cursed. With a horoscope that promises a marriage of Death and Destruction, she has earned only the scorn and fear of her father's kingdom. Content to follow more scholarly pursuits, her whole world is torn apart when her father, the Raja, arranges a wedding of political convenience to quell outside rebellions. Soon Maya becomes the queen of Akaran and wife of Amar. Neither roles are what she expected: As Akaran's queen, she finds her voice and power. As Amar's wife, she finds something else entirely: Compassion. Protection. Desire...But Akaran has its own secrets -- thousands of locked doors, gardens of glass, and a tree that bears memories instead of fruit. Soon, Maya suspects her life is in danger. Yet who, besides her husband, can she trust? With the fate of the human and Otherworldly realms hanging in the balance, Maya must unravel an ancient mystery that spans reincarnated lives to save those she loves the most. . .including herself.A lush and vivid story that is steeped in Indian folklore and mythology. The Star-Touched Queen is a novel that no reader will soon forget.

    Anyone caught by surprise in the open fields or depths of the woods would see a bizarre procession of demons, giants, hounds, ladies of the night, soldiers, and knights, some covered in blood and others carrying their heads beneath their arms. This was the Wild or Infernal Hunt, the host of the damned, the phantom army of the night--a theme that still inspires poets, writers, and painters to this day. Millennia older than Christianity, this pagan belief was employed by the church to spread their doctrine, with the shapeshifters' and giants of the pagan nightly processions becoming sinners led by demons seeking out unwary souls to add to their retinues. Myth or legend, it represents a belief that has deep roots in Europe, particularly Celtic and Scandinavian countries. The first scholar to fully examine this myth in each of its myriad forms, Claude Lecouteux strips away the Christian gloss and shows how the Wild Hunt was an integral part of the pagan worldview and the structure of their societies. Additionally, he looks at how secret societies of medieval Europe reenacted these ghostly processions through cult rituals culminating in masquerades and carnival-like cavalcades often associated with astral doubles, visions of the afterlife, belief in multiple souls, and prophecies of impending death. He reveals how the nearly infinite variations of this myth are a still living, evolving tradition that offers us a window into the world in which our ancestors lived.