Steeped in folklore and fantasy, it is a rich and diverse account of the part that fairies and fairy stories have played in culture and society.The pretty pastel world of gauzy-winged things who grant wishes and make dreams come true--as brought to you by Disney's fairies flitting across a woodland glade, or Tinkerbell's magic wand--is predated by a darker, denser world of gorgons, goblins, and gellos; the ancient antecedents of Shakespeare's mischievous Puck or J.M. Barrie's Peter Pan. For, as Diane Purkiss explains in this engrossing history, ancient fairies were born of fear: fear of the dark, of death, and of other great rites of passage, birth and sex. To understand the importance of these early fairies to pre-industrial peoples, we need to recover that sense of dread.This book begins with the earliest manifestations of fairies in ancient civilizations of the Mediterranean. The child-killing demons and nymphs of these cultures are the joint ancestors of the medieval fairies of northern Europe, when fairy figures provided a bridge between the secular and the sacred. Fairies abducted babies and virgins, spirited away young men who were seduced by fairy queens and remained suspended in liminal states.Tamed by Shakespeare's view of the spirit world, Victorian fairies fluttered across the theater stage and the pages of children's books to reappear a century later as detergent trade marks and alien abductors. In learning about these often strange and mysterious creatures, we learn something about ourselves--our fears and our desires.

    His only clue … a piece of paper with his name on it. Since then, he’s discovered he’s a powerful sorcerer and has used his abilities to work as a thief for hire. But he’s never stopped hunting for his true identity, and those who erased his memory have never stopped hunting for him. When the barrier holding his past captive begins to crumble, Nathan swears to protect a young girl who is key to his enemy’s plans. But with his enemies closing in, and everyone he cares about becoming a target for their wrath, Nathan is forced to choose between the life he’s built for himself and the one buried deep inside him.Crimes Against Magic is an Urban Fantasy set in modern-day London with Historical flashbacks to early fifteenth-century France. It's book one of the Hellequin Chronicles, a series about Nathan (Nate) Garrett, a centuries-old sorcerer.

    These are stories that passed down through the ages virtually unaltered in their telling. To those who told and listened to them, they expressed something fundamental about Irish culture and the Irish way of life. The stories in this volume feature a wide variety of fantastic beings, including ghosts, witches, fairies, and changelings, but several feature creatures that are virtually exclusive to Ireland: the banshee, the merrow, the pooka, and the leprechaun. Read these tales of frightening supernatural horrors, brave folk heroes, and everyday people clever enough to outwith the devil, and you'll agree that they could only take place on Irish soil.

    A reporter photographs the miracle, and wealthy, skeptical, Jewish psychiatrist Camillo Lombardi arrives in Naples to investigate. When she materializes the ghost of his dead mother, he risks his reputation and fortune to finance a tour of the Continent, challenging the scientific and academic elite of Europe to test Alessandra's mysterious powers. She will help him rewrite Science. His fee will help her escape her sadistic husband Pigotti and start a new life in Rome. Newspapers across Europe trumpet her Cinderella story and baffling successes, and the public demands to know - does the "Queen of Spirits" really have supernatural powers? Nigel Huxley is convinced she's simply another vulgar, Italian trickster. The icy, aristocratic detective for England's Society for the Investigation of Mediums launches a plot to trap and expose her. Meanwhile, the Vatican is quietly digging up her childhood secrets, desperate to discredit her supernatural powers; her abusive husband Pigotti is coming to kill her; and the tarot cards predict catastrophe. Inspired by the true-life story of controversial Italian medium Eusapia Palladino (1854-1918), The Witch of Napoli masterfully resurrects the bitter,19th-century battle between Science and religion over the possibility of an afterlife.

    But the carnival’s newest act, a peculiar young woman with latent magical powers, may hold the key to defeating it. Her time has come.Abandoned by her family, alone on the wrong side of the color line with little to call her own, Eliza Meeks is coming to terms with what she does have. It’s a gift for communicating with animals. To some, she’s a magical tender. To others, a she-devil. To a talent prospector, she’s a crowd-drawing oddity. And the Bacchanal Carnival is Eliza’s ticket out of the swamp trap of Baton Rouge.Among fortune-tellers, carnies, barkers, and folks even stranger than herself, Eliza finds a new home. But the Bacchanal is no ordinary carnival. An ancient demon has a home there too. She hides behind an iridescent disguise. She feeds on innocent souls. And she’s met her match in Eliza, who’s only beginning to understand the purpose of her own burgeoning powers.Only then can Eliza save her friends, find her family, and fight the sway of a primordial demon preying upon the human world. Rolling across a consuming dust bowl landscape, Eliza may have found her destiny.

    Unknown to even her closest friends, Zoe is not entirely human. She's a werewolf and a daughter of the "Fangborn," a hidden race of werewolves, vampires, and oracles.Zoe's attempt to rescue her cousin leads her on a quest for artifacts—including Pandora's Box, an object of world-ending power. With the fate of humanity in the balance, Zoe will be forced to renew family ties and pit her own supernatural abilities against a dark and nefarious fo.At once captivation, deftly worded, and character-rich Seven Kinds of Hell expands vampire legend and werewolf noir in both intensity and charismatic bite.

    By day, they gather herbs for Auntie’s healing potions; by night, Auntie spins tales of faraway lands and wicked fairies. Clara’s favorite story tells of three orphan infants—Clara, who was brought to Auntie by a stork; Maren, who arrived in a seashell; and their best friend, O’Neill, who was found beneath an apple tree.One day, Clara discovers shimmering scales just beneath her sister’s skin: Maren is becoming a mermaid and must be taken to the sea or she will die. So Clara, O’Neill, and the mermaid-girl set out for the shore. But the trio encounters trouble around every bend. Ensnared by an evil troupe of traveling performers, Clara and O’Neill must find a way to save themselves and the ever-weakening Maren.And always in the back of her mind, Clara wonders, if my sister is a mermaid, then what am I?

    Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions that are true to the original work.

    But when he meets the hauntingly pale, steely-eyed Joshua York, he is certain. For York doesn’t care that the icy winter of 1857 has wiped out all but one of Marsh’s dilapidated fleet. Nor does he care that he won’t earn back his investment in a decade. York has his own reasons for wanting to traverse the powerful Mississippi. And they are to be none of Marsh’s concern—no matter how bizarre, arbitrary, or capricious his actions may prove. Marsh meant to turn down York’s offer. It was too full of secrets that spelled danger. But the promise of both gold and a grand new boat that could make history crushed his resolve—coupled with the terrible force of York’s mesmerizing gaze. Not until the maiden voyage of his new sidewheeler Fevre Dream would Marsh realize he had joined a mission both more sinister, and perhaps more noble, than his most fantastic nightmare...and mankind’s most impossible dream. Here is the spellbinding tale of a vampire’s quest to unite his race with humanity, of a garrulous riverman’s dream of immortality, and of the undying legends of the steamboat era and a majestic, ancient river.

    While working the case, Sydney finds herself inexplicably drawn to Kade, fighting the passion she feels towards him. Kade, determined to solve the case and mete out justice, is captivated by the independent, fiery detective. As he attempts to protect her from a very real murderer, Kade grows concerned that the beautiful, but very human detective, could easily end up dead should she tangle with supernatural forces that are beyond her control.The investigation leads them into a dark and dangerous world, deep in the heart of New Orleans, where together, they search for the perpetrators of the Voodoo killings. Sydney soon becomes the target of the killer and ends up fighting for her life and love in the Big Easy. If she makes it out alive, will she give into the intoxicating desire she feels for Kade?Warning: This book contains several love scenes and is intended for adult readers only.

    these ancient northern deities gave their names to the very days of our week. Nevertheless, most of us know far more of Mars, Mercury, Jupiter, Venus, and the classical deities. Recent researches in archaeology and mythology have added to what was already a fairly consistent picture (largely derived from a twelfth-century Icelandic account) of the principal Scandinavian gods and goddesses. This new study - the first popular treatment of the subject to appear in English for many years - is the work of a scholar who has long specialized in Norse and Germanic mythology. She describes the more familiar gods of war, of fertility, of the sky and the sea and the dead, and also discusses those puzzling figures of Norse mythology - Heimdall, Balder, and Loki. All these deities were worshipped in the Viking Age, and the author has endeavoured to relate their cults to daily life and to see why these pagan beliefs gave way in time to the Christian faith.

    A bride arrives on her wedding night and leaves the next day...or did she? Sixteen years later her long-deceased corpse is found at the inn and the unraveling of the mystery of her death begins.Anna Katharine Green (1846-1935), a prolific author and “the mother of the detective novel,” wrote The Forsaken Inn in 1889. It is a standalone murder mystery with hints of gothic paranormal influences.©1909 Anna Katharine Green (P)2020 Voices of Today

    My life had just become surreal, impossible, and one enormous lie. I needed to go, to run somewhere, anywhere to beat back the reality that was rapidly closing in around me. The image of him was burned into my retina, flashing over and over again like a warning. He was trapped somewhere between human and decidedly not, and I realized that was my new reality. I was too."After the death of her parents, Ruby awakens from a lifetime of shadows and finds herself alone, thrust into a world of lies, deceit, betrayal and the supernatural.As her quest for truth continues to come up short, she realizes that maybe some questions really are best left unanswered.When her true identity is finally unveiled, she is forced to choose between two of the mysterious men who continually seem to crop up in her life.She chooses poorly.Now abandoned, Ruby must learn to call on the darkness within to survive, or spend a hellish eternity imprisoned because of it.(Content Advisory: language, mild violence)

    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.