Gathered from around the world, from regions as diverse as sub-Saharan Africa and Western Europe, from North and South American Indian cultures and New World settlers, from Asia and the Middle East, these 100 folktales celebrate strong female heroines.Fearless Girls, Wise Women, and Beloved Sisters is for all women who are searching to define who they are, to redefine the world and shape their collective sensibility. It is for men who want to know more about what it means to be a woman. It is for our daughters and our sons, so that they can learn to value all kinds of courage, courage in battle and the courage of love. It is for all of us to help build a more just vision of woman.

    But when the groom is murdered on the way to his wedding, the bride’s brother tasks his two best detectives—Gareth, a knight, and Gwen, the daughter of the court bard—with bringing the killer to justice. And once blame for the murder falls on Gareth himself, Gwen must continue her search for the truth alone, finding unlikely allies in foreign lands, and ultimately uncovering a conspiracy that will shake the political foundations of Wales.

    Included are popular myths and legends from all six Celtic cultures of Western Europe-Irish, Scots, Manx, Welsh, Cornish, and Breton. Here for the modern reader are the rediscovered tales of cattle raids, tribal invasions, druids, duels, and doomed love that have been incorporated into, and sometimes distorted by, European mythology and even Christian figures. For example, there is the story of Lugh of the Long Hand, one of the greatest gods in the Celtic pantheon, who was later transformed into the faerie craftsman Lugh-Chromain, and finally demoted to the lowly Leprechaun. Celtic Myths and Legends also retells the story of the classic tragic love story of Tristan and Iseult (probably of Cornish origin-there was a real King Mark and a real Tristan in Cornwall) and the original tale of King Arthur, a Welsh leader who fought against the invading Anglo-Saxons. In the hands of Peter Berresford Ellis, the myths sung by long-dead Celtic bards come alive to enchant the modern reader. "The casual reader will be best entertained by ... the legends themselves ...colored with plenty of swordplay, ... quests, shape-shiftings, and druidic sorcery."-Publishers Weekly

    But who were these strange and mysterious folk? The Book of Viking Myths retells the stories of the Viking people, with myths of their gods and goddesses, monsters, and great heroes. From tales of the beautiful and powerful Freyja, to the gold-toothed Heimdallr, to the wolf Fenrir, Peter Archer explores all the figures and tales that make up Norse mythology. Along with these legends of seafaring, dwarves, giants, and the exploits of Thor, you will also discover the influences that Viking culture has had on our own lives. It’s a true exploration of Nordic culture—and a glimpse into the history and lore of these fabled Nordic warriors.

    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.

    In timbered halls, for days on end, heaps of meat and bread were washed down with gallons of beer and mead. And in between the meals, when bellies were stuffed and spirits high, the storyteller rose and spun his tales of times long past. He told of lords, bold and generous. He told of ladies, grand and glorious. He told of friends, brave and faithful. But of all he told about, no friend was more reliable than Manawydan, son of Llyr. No lady was more admirable than Rhiannon. And no lord was more honorable than Pwyll, King of Dyfed. The halls are now long gone -- yet some tales were written down and gathered in a book we call today The Mabinogion. And so the tales live on. . . . For ages 10 and up. Not illustrated! ///////////////////////////////////////////////// Aaron Shepard is the award-winning author of -The Baker's Dozen, - -The Sea King's Daughter, - -Lady White Snake, - and many more children's books. His stories have appeared often in Cricket magazine, while his Web site is known internationally as a prime resource for folktales, storytelling, and reader's theater. Once a professional storyteller, Aaron specializes in lively retellings of folktales and other traditional literature, which have won him honors from the American Library Association, the New York Public Library, the Bank Street College of Education, the National Council for the Social Studies, and the American Folklore Society. Cover artist Suzanne Hankins has illustrated frequently for Cricket, Spider, and other popular children's magazines. ///////////////////////////////////////////////// -Highly recommended . . . . A brief yet exciting and exotic fable of heroes striving to make their mark and protect those most dear to them in a fantastic world.- -- Children's Bookwatch (Midwest Library Review), Jan. 2007 -Written in a lyrical voice that channels the ghosts of storytellers past. . . . Great for a librarian or teacher to read to a class.- -- Sheila Ruth, Wands and Worlds, Jan. 2007 -A clear, simple, beautiful retelling. Those familiar with the source material will recognise how masterly a piece of work Shepard has crafted from notoriously challenging material. . . . Best of all, the language has retained the full richness of the underlying Celtic music.- -- Louise Owen, Celtic Cafe ///////////////////////////////////////////////// SAMPLE The next day, after the midday meal, Pwyll said to Manawydan, -Let us walk again on the mount. But this time, we'll bring my horse along.- So once more they climbed the mount. And they had not sat long when they saw the same lady, in the same dress and veil, on the same horse, on the same road, coming at the same slow, steady pace. Pwyll speedily mounted his horse, but as he reached the foot of the mount, she was already riding past the spot. Then he let his horse prance after, thinking to easily overtake her. When he did not, he gave his horse the rein. It began to trot, yet fell even farther behind. Then he spurred it to a gallop -- but at its greatest speed, it lost more ground than ever. And still the lady rode no faster than a walk. At last his horse began to fail, and he called out, -Lady, in the name of the man you hold dearest, please halt.- -I will, - she said. -And for the sake of your horse, you could have asked it sooner.-

    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.

    Deucalion and Pyrrha Theseus and the Centaur Niobe The Gorgon's Head From Hawthorne's "Wonder Book." The Golden FleeceFrom Hawthorne's "Tanglewood Tales." The CyclopsFrom Church's "Stories from Homer." Œdipus and the SphinxAdapted from Church's "Stories from Greek Tragedians."Antigone, a Faithful Daughter and SisterThe Story of IphigeniaFrom Church's "Stories from Greek Tragedians."The Sack of TroyFrom Church's "Stories from Virgil."Beowulf and GrendelFrom Joyce Pollard's "Stories from Old English Romance."The Good King Arthur The Great Knight Siegfried Lohengrin and Elsa the BeautifulFrom the German of Robert Hertwig.Frithiof the Bold Wayland the Smith Twardowski, the Polish Faust Ilia Muromec of Russia Kralewitz Marko of Servia The Decision of Libuscha Count Roland of FranceFrom Church's "Stories of Charlemagne and the Peers of France."The Cid

    "Brilliant, vivid, entertaining."--R. D. Laing

    Here are Icarus flying too close to the sun, mighty Hercules, Achilles and that darn heel, the Trojans and their wooden horse, brave Perseus and beautiful Andromeda, wandering Odysseus and steadfast Penelope. Their stories and the stories of the powerful gods and goddesses who punish and reward, who fall in love with and are enraged by the humans they have created, are set forth simply but movingly, in language that retains the power and drama of the original works by Aeschylus, Sophocles, Euripides, and Homer. In Gustav Schwab’s masterful retelling, they are made accessible to readers of all ages.Part of the Pantheon Fairy Tale and Folklore Library

    You’ve heard about St. George, but how about the Green Man, who was believed to rule over the natural world? Or Black Shuck, the giant ghostly dog who was reputed to roam East Anglia? As well as looking at the history of this subject, this book has a directory of places you can go to see folklore alive and well today. The Whittlesea Straw Bear Festival, for example, or wassailing cider orchards in Somerset.

    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 will be used in reference to those countries and districtswhich, in historic times, have been at one time or other mainly of Celticspeech. It does not follow that all the races which spoke a form of theCeltic tongue, a tongue of the Indo-European family, were all of the samestock. Indeed, ethnological and archaeological evidence tends toestablish clearly that, in Gaul and Britain, for example, man had livedfor ages before the introduction of any variety of Aryan or Indo-Europeanspeech, and this was probably the case throughout the whole of Westernand Southern Europe. Further, in the light of comparative philology, ithas now become abundantly clear that the forms of Indo-European speechwhich we call Celtic are most closely related to those of the Italicfamily, of which family Latin is the best known representative. Fromthis it follows that we are to look for the centre of dissemination ofAryan Celtic speech in some district of Europe that could have been thenatural centre of dissemination also for the Italic languages. From thiscommon centre, through conquest and the commercial intercourse whichfollowed it, the tribes which spoke the various forms of Celtic andItalic speech spread into the districts occupied by them in historictimes. The common centre of radiation for Celtic and Italic speech wasprobably in the districts of Noricum and Pannonia, the modern Carniola,Carinthia, etc., and the neighbouring parts of the Danube valley. Theconquering Aryan-speaking Celts and Italians formed a militaryaristocracy, and their success in extending the range of their languageswas largely due to their skill in arms, combined, in all probability,with a talent for administration. This military aristocracy was ofkindred type to that which carried Aryan speech into India and Persia,Armenia and Greece, not to speak of the original speakers of the Teutonicand Slavonic tongues. In view of the necessity of discovering a centre,whence the Indo-European or Aryan languages in general could haveradiated Eastwards, as well as Westwards, the tendency to-day is toregard these tongues as having been spoken originally in some districtbetween the Carpathians and the Steppes, in the form of kindred dialectsof a common speech. Some branches of the tribes which spoke thesedialects penetrated into Central Europe, doubtless along the Danube, and,from the Danube valley, extended their conquests together with theirvarious forms of Aryan speech into Southern and Western Europe. Theproportion of conquerors to conquered was not uniform in all thecountries where they held sway, so that the amount of Aryan blood intheir resultant population varied greatly. In most cases, the familiesof the original conquerors, by their skill in the art of war and acertain instinct of government, succeeded in making their own tongues thedominant media of communication in the lands where they ruled, with theresult that most of the languages of Europe to-day are of the Aryan orIndo-European type. It does not, however, follow necessarily from thisthat the early religious ideas or the artistic civilisation of countriesnow Aryan in speech, came necessarily from the conquerors rather than theconquered. In the last century it was long held that in countries ofAryan speech the essential features of their civilisation, theirreligious ideas, their social institutions, nay, more, their inhabitantsthemselves, were of Aryan origin.

    The second volume, reprinted here, focuses on Arthurian legends, and covers such notables as Sir Gawain, Launcelot, Richard the Lion-Hearted, Tristan and Isolde, Robin Hood, and much more.

    The Norwegian folktales, said Jacob Grimm, "surpass nearly all others."Within these captivating tales we meet witches, trolls, and ogres; sly foxes and great, mysterious bears; beautiful princesses and country-lads-turned-heroes. Collected here in a sparkling contemporary translation by Pat Shaw Iversen and Carl Norman, these tales brim with the matchless vitality and power of their original telling. Included also are the wonderfully evocative original illustrations of Erik Werenskiold and Theodor Kittelsen.