He first appeared in Dragonfly in Amber as a sixteen-year-old English camp tag-along/soldier who chanced upon Jamie and Claire Fraser on the eve of the battle of Prestonpans. He made subsequent appearances in Voyager, Drums of Autumn, A Breath of Snow and Ashes and An Echo in the Bone, and showed up through a series of letters to Jamie and his family in The Fiery Cross. Grey is usually described as short (about five six), slight and good-looking, with fine-boned features. He had blond hair, "large, beautiful" blue eyes and a "beautiful" mouth. Grey's background changed as the Outlander series progressed. For example, his father was only an earl in Dragonfly in Amber, but by the time John Grey's own series appeared, his father had become a duke. The following is the description of John Grey's background collected from the more recent books, consisting mostly of Lord John Grey series. Born around June 1729, John William Grey was the second child of the Duke and Duchess of Pardloe, Gerard and Benedicta Grey. The couple's first child is John's elder brother, Harold. In addition to Harold, John had two other siblings -- half brothers from his mother's earlier marriage to Captain DeVane -- Paul and Edgar DeVane. John's godfather immediately enrolled John into the Beefsteak Club after his birth

    She wanted to explore the world and escape from the strict etiquette of British nobility. With her father fighting in India, the governess assigned to raise her controlled every aspect of her life. The financial downturn of a friend of the family would lead to her sister's longtime engagement turning into an immediate marriage. Victoria's thirst for adventure and tomboy ways would not prepare her for the sudden advent of the apocalypse. Can Victoria and her friends survive this new world of Classes and Skills? Join Victoria and her family on a LitRPG adventure, unlike any other!

    The Classic Fairy Tales focuses on six tale types: "Little Red Riding Hood," "Beauty and the Beast," "Snow White," "Cinderella," "Bluebeard," and "Hansel and Gretel," and presents multicultural variants and sophisticated literary rescriptings. Also reprinted are tales by Hans Christian Andersen and Oscar Wilde."Criticism" gathers twelve essays that interpret aspects of fairy tales, including their social origins, historical evolution, psychological drama, gender issues, and national identities.A Selected Bibliography is included.

    The cultural equivalent of the fairy tales of the Brothers Grimm, Tono Monogatari is a defining text of Japanese folklore and one of the country’s most important works of literature. This graphic novel was created during the later stage of Mizuki’s career, after he had retired from the daily grind of commercial comics to create personal, lasting works of art.Originally written in 1910 by folklorists and field researchers Kunio Yanagita and Kizen Sasaki, Tono Monogatari celebrates and archives legends from the Tono region. These stories were recorded as Japan’s rapid modernization led to the disappearance of traditional culture. This adaptation mingles the original text with autobiography: Mizuki attempts to retrace Yanagita and Sasaki’s path, but finds his old body is not quite up to the challenge of following in their footsteps. As Mizuki wanders through Tono he retells some of the most famous legends, manifesting a host of monsters, dragons, and foxes. In the finale, Mizuki meets Yanagita himself and they sit down to discuss their works.Translated and with additional essays by Mizuki scholar Zack Davisson, Tono Monogatari displays Mizuki at his finest, exploring the world he most cherished.

    But when Grayson Park's bride leaves him at the altar, a solo trip to paradise seems like just the thing to take him far from his troubles. Then he meets the beautiful and enigmatic Hi'iaka, and his troubles just begin--because when she's abducted by the sinister Kamapua'a, a savage creature bent on draining her life by the light of the full moon, she calls on Grayson to rescue her. With his loyal, new-found Hawaiian friend Polunu as his steadfast guide, Grayson sets out on an incredible adventure that pits him against the very gods of Hawaiian mythology and leads him to the heart of Pele's volcano, into the ocean to find the mythical Hook of Maui, and through the strange and brutal upcountry fleeing from demonic mo'o sent to destroy him. But there are only two nights left before the moon becomes full, and Grayson is running out of time to save Hi'iaka...and himself.

    Suitable for ages 4 to 8 years, this work is illustrated so that the child easily understands the story.

    At least there she would be free from the garden’s magic, free to lead her own life, and free to never again think about ancient apples, or duty, or life unending. Seth Johnson's sister is losing her battle with cancer, and his parents seem to have given up on trying to save her. He cannot let her die. He will do anything to stop it including cutting a deal with a mercenary. Neither Seth nor Miriam want to be caught up in the tide of fate and feelings destined for them, but with such harshly opposing goals their worlds are bound to collide. If Miriam and Seth cannot find a way to have faith in each other this will end with the death of a beloved sister, a destroyed relationship, and the secret of immortality revealed to a pre-apocalyptic world.Pocock takes her readers to a land where myth, folklore and reality merge, where love is strong, fear runs deep, and the end of the world is coming.

    The volume includes over forty of the Grimms' most beloved stories, including:Rapunzel * Hansel and Gretel * The Brave Little Tailor * Cinderella * Little Red Riding Hood * The Robber Bridegroom * Briar Rose * Snow White * Rumplestilskin * The Golden Goose * The Singing, Soaring Lark * The Frog King * The Juniper Tree * and Mother HolleWith over 150 paintings and drawings from the most celebrated fairy tale illustrators, including George Cruikshank, Paul Hey, Walter Crane, Warwick Goble, Kay Nielsen, and Arthur Rackham.

    Bands of foreign missionaries and soldiers roam the countryside, bullying and robbing Chinese peasants.Little Bao has had enough. Harnessing the powers of ancient Chinese gods, he recruits an army of Boxers—commoners trained in kung fu—who fight to free China from "foreign devils."Against all odds, this grass-roots rebellion is violently successful. But nothing is simple. Little Bao is fighting for the glory of China, but at what cost? So many are dying, including thousands of "secondary devils"—Chinese citizens who have converted to Christianity.

    This retelling brings to life King Arthur and the adventures of his Knights, from the quest for the Holy Grail to the final tragedy of the Last Battle.

    Children meet Bragi, the god of poetry, and the famous Valkyrie maidens, among other gods, goddesses, heroes, and giants. Illustrations throughout depict the wondrous other world of Norse folklore and its fantastical Northern landscape.

    His life shaped by a fate that failed to be just—neglected by his own, stripped of his birthright—he was raised to be lost in an abyss of desires and disappointment.Cursed by his guru, hurt by the only woman he loved, ostracised from society for being the son of a suta. With his only armour—hope—he ventured on an unforgettable journey. Alone.This is Vasu’s tale of survival, of endurance, of abiding courage in the face of all adversities. And eventually, of blossoming into the greatest warrior of all time… KARNA.In an ultimate battle against his archenemy—the insidious, dishonourable and all-powerful, Jarasandha, for a title he knew he deserved.From a sutaputr to a leader of the people, this is a saga of betrayal, lost love, and glory.This is the story of the King of Anga.

     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 withliterature 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.

    

    The 33 Scandinavian folk tales take the imagination of the reader from rags to riches, from skulduggery to heroism, via witches' curses, beautiful princesses, giants, quests, billy goats and the occasional wicked troll, to a happy ending.