The original Little Golden Book from the 1940s featuring Walt Disney’s Cinderella is back! This enchanting fairy tale is beautifully rendered with vintage artwork bringing Cinderella and her cruel stepsisters to life.

    It recounts the mercurial lot of Keawe, a Hawaiian who purchases a bottle inhabited by an imp capable of granting any wish. Yet this enticing object holds a dark curse: anyone who dies with it in his possession will burn forever in hell. And here's the rub: one can sell the bottle only for less than its purchase price. Keawe rids himself of the bottle after acquiring a palatial home. But when he needs it again to ensure his happiness with a newfound love, its cost is, chillingly, one cent, and the responsibility of ownership becomes a good deal more complex.Newly designed and typeset in a modern 5.5-by-8.5-inch format by Waking Lion Press.

    Odin All Father crossed the Rainbow Bridge to walk among men in Midgard. Thor defended Asgard with his mighty hammer. Mischievous Loki was constantly getting into trouble with the other gods, and dragons and giants walked free. This collection of Norse sagas retold by author Padraic Colum gives us a sense of that magical time when the world was filled with powers and wonders we can hardly imagine.

    It was first published in the May 1954 issue of Universe Science Fiction, and has since been republished in several collections and anthologies, including Earth Is Room Enough (1957) and The Best Science Fiction of Isaac Asimov (1986). Like many of his stories, it is told as a conversation, in this case between two professors at a college faculty's annual Christmas party.It is likely that Asimov wrote this short story after seeing how literary academia viewed his own writing. His autobiography, In Memory Yet Green, describes how science fiction gradually became more "respectable", while at the same time, professors of literary studies wrote things about SF — even about Asimov's own stories — which he completely failed to grasp. "The Immortal Bard" is an expression of Asimov's own deep admiration for William Shakespeare which also satirizes the interpretations built upon Shakespeare's work — such as symbolic, Freudian, and New Critical.

    Problem was, these stories, many of which found their way into the general social consciousness, reflected the way in which these men lived and saw their world: that is, the stories were sexist, discriminatory, unfair, culturally biased, and in general, demeaning to witches, animals, goblins, and fairies everywhere.Finally, after centuries of these abusive tales, which have been handed down--unknowingly--from one male-biased generation to the next, James Finn Garner has taken it upon himself (that's right, yet another man) to enlighten and liberate these classic bedtime stories and retell them in a way that is much more in keeping with the society in which we live today.Politically Correct Bedtime Stories, then is the fruit of Garner's labors. We'd like to think that future generations of fairy-tale fans will see this as a worthy attempt to develop meaningful literature that is totally free from bias and purged from the influences of a flawed cultural past.

    Come meet Jilly, painting wonders in the rough city streets; and Geordie, playing fiddle while he dreams of a ghost; and the Angel of Grasso Street gathering the fey and the wild and the poor and the lost. Gemmins live in abandoned cars and skells traverse the tunnels below, while mermaids swim in the grey harbor waters and fill the cold night with their song.Contents:Uncle Dobbin's Parrot FairThe Stone DrumTimeskipFreewheelingThat Explains PolandRomano DromThe Sacred FireWinter Was HardPity the MonstersGhosts of Wind and ShadowThe Conjure ManSmall DeathsThe Moon is Drowning While I SleepIn the House of My EnemyBut for the Grace Go IBridgesOur Lady of the HarbourPaperjackTallulah

    No other version has so vividly expressed the horror, cruelty, beauty, and outrageous imaginative flight of Dante's original vision.

    In this book feature over two dozen stories taken from popular oral tradition and united with John D. Batten's black and white drawings, full of movement and energy. Many of the earliest children's books, particularly those dating back to the 1900s and before, are now extremely scarce and increasingly expensive. Pook Press are working to republish these classic works in affordable, high quality editions, using the original text and artwork so these works can delight another generation of children. John Dickson Batten (1860-1932) was a British painter, illustrator and print maker who was a leading light in the Art Nouveau movement. He illustrated a series of fairy tale books written by Joseph Jacobs as well as English language versions of Arabian Nights and Dante's Inferno. His illustrations are strongly influenced by the printmakers of Japan and are characterised by an intense romanticism and refined technique.

    A number of wonderful fantasy novels, including Stardust by Neil Gaiman, Jonathan Strange and Mr Norrell by Susanna Clarke, and The Prestige by Christopher Priest, owe their inspiration to works by nineteenth-century writers ranging from Jane Austen, the Brontës, and George Meredith to Charles Dickens, Anthony Trollope, and William Morris. And, of course, the entire steampunk genre and subculture owes more than a little to literature inspired by this period.Queen Victoria’s Book of Spells is an anthology for everyone who loves these works of neo-Victorian fiction, and wishes to explore the wide variety of ways that modern fantasists are using nineteenth-century settings, characters, and themes. These approaches stretch from steampunk fiction to the Austen-and-Trollope inspired works that some critics call Fantasy of Manners, all of which fit under the larger umbrella of Gaslamp Fantasy. The result is eighteen stories by experts from the fantasy, horror, mainstream, and young adult fields, including both bestselling writers and exciting new talents such as Elizabeth Bear, James Blaylock, Jeffrey Ford, Ellen Kushner, Tanith Lee, Gregory Maguire, Delia Sherman, and Catherynne M. Valente, who present a bewitching vision of a nineteenth century invested (or cursed!) with magic.The Line-up:“Queen Victoria’s Book of Spells” by Delia Sherman“The Fairy Enterprise” by Jeffrey Ford“From the Catalogue of the Pavilion of the Uncanny and Marvelous, Scheduled for Premiere at the Great Exhibition (Before the Fire)” by Genevieve Valentine“The Memory Book” by Maureen McHugh“La Reine D’Enfer” by Kathe Koja“Briar Rose” by Elizabeth Wein“The Governess” by Elizabeth Bear“Smithfield” by James P. Blaylock“The Unwanted Women of Surrey” by Kaaron Warren“Charged” by Leanna Renee Hieber“Mr. Splitfoot” by Dale Bailey“Phosphorus” by Veronica Schanoes“We Without Us Were Shadows” by Catherynne M. Valente“The Vital Importance of the Superficial” by Ellen Kushner and Caroline Stevermer“The Jewel in the Toad Queen’s Crown” by Jane Yolen“A Few Twigs He Left Behind” by Gregory Maguire“Their Monstrous Minds” by Tanith Lee“Estella Saves the Village” by Theodora Goss

    Poems: Rilke contains poems from The Book of Images; New Poems; Requiem for a Friend; Poems, 1906-1926; French Poems; The Life of Mary; Sonnets to Orpheus; The Duino Elegies; Letters to a Young Poet; and an index of first lines.

    "You've got to get the girl to fall in love with you!"The Beast's only chance to break the spell is for him to fall in love with Belle and earn her love in return.

    Comprised of spine-chilling tales published by Stoker’s widow after his death, as well as The Lair of the White Worm, an intensely intriguing novel of myths, legends, and unspeakable evils, this collection demonstrates the full range of Stoker’s horror writing.For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.

    The details of Arthur's story are mainly composed of folklore and literary invention, and his historical existence is debated and disputed by modern historians. The sparse historical background of Arthur is gleaned from various sources, including the Annales Cambriae, the Historia Brittonum, and the writings of Gildas. Arthur's name also occurs in early poetic sources such as Y Gododdin. The legendary Arthur developed as a figure of international interest largely through the popularity of Geoffrey of Monmouth's fanciful and imaginative 12th-century Historia Regum Britanniae (History of the Kings of Britain). However, some Welsh and Breton tales and poems relating the story of Arthur date from earlier than this work; in these works, Arthur appears either as a great warrior defending Britain from human and supernatural enemies or as a magical figure of folklore, sometimes associated with the Welsh Otherworld, Annwn. How much of Geoffrey's Historia (completed in 1138) was adapted from such earlier sources, rather than invented by Geoffrey himself, is unknown. Although the themes, events and characters of the Arthurian legend varied widely from text to text, and there is no one canonical version, Geoffrey's version of events often served as the starting point for later stories. Geoffrey depicted Arthur as a king of Britain who defeated the Saxons and established an empire over Britain, Ireland, Iceland, Norway and Gaul. In fact, many elements and incidents that are now an integral part of the Arthurian story appear in Geoffrey's Historia, including Arthur's father Uther Pendragon, the wizard Merlin, the sword Excalibur, Arthur's birth at Tintagel, his final battle against Mordred at Camlann and final rest in Avalon. The 12th-century French writer Chretien de Troyes, who added Lancelot and the Holy Grail to the story, began the genre of Arthurian romance that became a significant strand of medieval literature. In these French stories, the narrative focus often shifts from King Arthur himself to other characters, such as various Knights of the Round Table. Arthurian literature thrived during the Middle Ages but waned in the centuries that followed until it experienced a major resurgence in the 19th century. In the 21st century, the legend lives on, not only in literature but also in adaptations for theatre, film, television, comics and other media. The Sir James Knowles version of King Arthur is considered as the most accurate and well known original story of King Arthur and the Knights of the Round Table.

     Rather than abandoning his parish in search of the truth, Father Paul’s quest is a simple one: to find the true essence of Christianity. A Modern Day Apostle to the Downtrodden Set against the backdrop of a harsh and cold Russian countryside along the River Volga, with its unyielding poverty and hardships, The Archbishop follows Father Paul as he searches to understand God and the parlous state of the world around him. It is not until he meets the eponymous Archbishop that he finds revelations that do more than just answer his soul-searching questions. More than this, he finds a true shepherd determined to spread a more authentic message of Christ to the people who follow him. But even the divine truth that Father Paul finally finds in this dreary, cold hamlet where religion seems to be fading from relevance is not free from earthly machinations. Although he discovers something that will change his life forever, the realities of the world around him remain unyielding and unchanging. The Archbishop is a book that does not shy away from asking big questions – nor from answering them. Author Hieromonk Tihon’s identity has long since been lost to history and his fate unknown, but the vivid characters and intricately drawn world created in this book have indicated that The Archbishop may be an autobiographical work. Condemned, burned, and banned by iconoclastic Bolsheviks during the earliest years of Soviet Russia as it pushed an agenda of militant atheism, The Archbishop's spiritual guidance was almost lost among countless other Eastern Orthodox works. The Archbishop provides deep spiritual insight and guidance into a world distant from ours, despite the chasms of difference in culture, time, and space. Sometimes funny, often tragic, and other times angering, this hidden Orthodox gem does not shy away from asking big questions – nor from answering them. It remains a work full of spiritual lessons that will resonate profoundly with the modern-day American Orthodox clergy and their laity.

    The lyrical passages and poetic images, the wry humor, the tall-tale extravagance, and the homely realism of the 'Kalevala' come through with extraordinary effectiveness.