Brought to life with lyrical text by award-winning author Donna Jo Napoli and stunning artwork by award-winning illustrator Christina Balit, the tales of gods and goddesses such as Zeus, Aphrodite, Apollo, and Athena and heroes and monsters such as Helen of Troy, Perseus, and Medusa will fascinate and engage children’s imaginations.   National Geographic completes the book with embellishments of each story: sidebars for each god, goddess, hero, and monster link the myths to constellations, geography, history, and culture to help young readers connect the stories to real life events, people, and places. A family tree and a “cast of characters” profile page help make relationships between the characters clear, and a mapping feature adds to the fun and fascination. Resource notes and ample back matter directing readers to more information round out this luminous book. Sure to dazzle all those intrigued with the fantastic tales of Greek mythology and enchant new readers, this vibrant book will soon become a family keepsake.National Geographic supports K-12 educators with ELA Common Core Resources.Visit www.natgeoed.org/commoncore for more information.

    These fantastic stories have travelled across cultural borders, and been passed down from generation to generation, ever-changing, renewed with each re-telling. Few forms of literature have greater power to enchant us and rekindle our imagination than a fairy tale. But what is a fairy tale? Where do they come from and what do they mean? What do they try and communicate to us about morality, sexuality, and society? The range of fairy tales stretches across great distances and time; their history is entangled with folklore and myth, and their inspiration draws on ideas about nature and the supernatural, imagination and fantasy, psychoanalysis, and feminism. Marina Warner has loved fairy tales over her long writing career, and she explores here a multitude of tales through the ages, their different manifestations on the page, the stage, and the screen. From the phenomenal rise of Victorian and Edwardian literature to contemporary children's stories, Warner unfolds a glittering array of examples, from classics such as Red Riding Hood, Cinderella, and The Sleeping Beauty, the Grimm Brothers' Hansel and Gretel, and Hans Andersen's The Little Mermaid, to modern-day realizations including Walt Disney's Snow White and gothic interpretations such as Pan's Labyrinth. In ten succinct chapters, Marina Warner digs into a rich collection of fairy tales in their brilliant and fantastical variations, in order to define a genre and evaluate a literary form that keeps shifting through time and history. She makes a persuasive case for fairy tale as a crucial repository of human understanding and culture.

    When Snow-flower, from her nook in the kitchen, said, "Chair of my grandmother, take me to the highest banquet hall," "instantly the chair marched in a grave and courtly fashion out of the kitchen, up the grand staircase, and into the highest hall." There it told the following stories to the king and queen, the fair lords and ladies, the many fairies, and notable people from other lands: The Christmas Cuckoo, The Lords of the White and Gray Castles, The Greedy Shepherd, The Story of Fairyfoot, The Story of Childe Charity, Sour and Civil, and The Story of Merrymind. Numerous black and white illustrations by noted artist Katharine Pyle complement the text. Suitable for ages 7 and up.

    Larger-than-life-characters, dramatic landscapes, and a multitude of magical happenings will transport the reader to another world. Stories Include: The Children of Lir, Fair, Brown, and Trembling, The Twelve Wild Geese, Lusmore and the Fairies, Son of an Otter, Son of a Wolf, The Soul Cages, and Oisin in Tir na nOg.

    Stories of miracles, visions of hell, jokes, fables, and legends, these tales reflect the Japanese worldview during a classic period in Japanese civilization. Masterfully edited and translated by the acclaimed translator of The Tale of Genji, these stories ably balance the lyrical and the dramatic, the ribald and the profound, offering a window into a long-vanished though perennially fascinating culture.

    For a full appreciation of literature or visual art, knowledge of the Greek myths is crucial. In this much-loved collection, poet and scholar Robert Graves retells the immortal stories of the Greek myths. Demeter mourning her daughter Persephone, Icarus flying too close to the sun, Theseus and the Minotaur … all are captured here with the author’s characteristic erudition and flair.The Greek Myths is the culmination of years of research and careful observation, however what makes this collection extraordinary is the imaginative and poetic style of the retelling. Drawing on his experience as a novelist and poet, Graves tells the fantastic stories of Ancient Greece in a style that is both absorbing and easy for the general reader to understand. Each story is accompanied by Graves’ interpretation of the origins and deeper meaning of the story, giving a reader an unparalleled insight into the customs and development of the Greek world.

    Illustrated and presented by one of the leading artists in modern fantasy, this title gives us some of the great songs and folktales of the English, Irish, and Scottish traditions, re-imagined in sequential-art form, in collaboration with some of the strongest fantasy writers.

    These stories introduce a new generation of readers to age-old Celtic favorites including "The Magic Shoes," "The Pot of Gold," and the great love story "Tír Na N'Óg." Included with each story are lively illustrations, background notes, motifs from the Celtic tradition, and a pronunciation guide.Author Biography: Una Leavy is the author of Harry's Stormy Night and Goodbye Pappa. Susan Field is a television set designer and the illustrator of The Sun, the Moon and the Silver Baboon and The Smallest Whale.

    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.

    

    Whether a coyote or rabbit, raccoon or raven, Tricksters use cunning to get food, steal precious possessions, or simply cause mischief. In Trickster, the first graphic anthology of Native American trickster tales, more than twenty Native American tales are cleverly adapted into comic form. An inspired collaboration between Native writers and accomplished artists, these tales bring the Trickster back into popular culture in vivid form. From an ego-driven social misstep in "Coyote and the Pebbles" to the hijinks of "How Wildcat Caught a Turkey" and the hilarity of "Rabbit's Choctaw Tail Tale," Trickster bring together Native American folklore and the world of graphic novels for the first time.

    The book is broken into 12 chapters, for each of the 12 months of the year, and throughout, stories are matched to internationally celebrated dates, including Valentines Day and the International Day of Friendship, as well as seasonal events and festivals. Collected and retold by award-winning author Angela McAllister, and illustrated by internally recognised artist Christopher Corr, this is a book that will be treasured by families and appeal to teachers and librarians around the world.CONTENTS --Dedication --JANUARY --New Year's Day Father Frost (A Russian story) --Wintertime The Magic Porridge Pot (A German story) --Chinese New Year King of the Forest (A Chinese story) --FEBRUARY --Candlemas The Empty Barn (A Latvian story) --Valentine's Day The Frog Prince (A German story) --The Mole's Wedding (A Korean story) --Shrove Tuesday The Runaway Pancake (A German story) --MARCH --St. David's Day Gelert the Hound (A Welsh story) --World Wildlife Day The Bird Wife (An Inuit story) --Purim The Blue Coat (A Jewish story) St. Patrick's Day The Pot of Gold (An Irish story) --World Water Day Tiddalik, the Thirsty Frog (An Indigenous Australian story) --APRIL --April Fools' Day Rabbit and Crab (A Mayan story) --Easter The Basket of Eggs (A Canadian story) --World Health Day How the Bear Clan Learned to Heal (An Iroquois story) --St. George's Day The Glass Knight (An English story) --The Shoemaker and the Dragon (A Polish story) --MAY --May Day The Cracked Pot (An Indian story) --Springtime Spring and Autumn (A Japanese story) --Vesak The Hare in the Moon (A Buddhist story) --JUNE World Oceans Day Prince Fire Flash and Prince Fire Fade (A Japanese story) --Ramadan The Boots of Hunain (An Arabic story) --Midsummer Anansi and Turtle (A Caribbean story) --World Music Day Skeleton oman (An Inuit story) --JULY --Eid ul- Fitr Zirak and Ring-dove (An Iraqi story) --Tanabata The Weaving Maiden and the Oxherd (A Japanese story) --St. Swithin's Day Elephant and the Rain Spirit (An African Bushman story) --International Day of Friendship Heungbu and Nolbu (A Korean story) --Androcles and the Lion (A Roman story) --AUGUST --Lammas Day The Little Red Hen (A Russian story) Harvest The Ship of Wheat (A Dutch story) --Persephone (An ancient Greek story) --SEPTEMBER --Yom Kippur Jonah and the Whale (A Bible story) --International Day of Peace The Two Kings (A Buddhist Story) --Autumn Why the Evergreeens Keep Their Leaves (An American story) --The Gifts of the North Wind (A Norwegian story) --OCTOBER --World Food Day The Raja and the Rice (An Indian story) --Why the Bananas Belong to the Monkey (A Brazilian story) --Diwali Rama and Sita (An Indian story) --Halloween The Buried Moon (An English story) The Shortest Ghost Story in the World (An English story) --NOVEMBER --Thanksgiving How the Pine-tree Chief Got His Name (An Iroquois story) --The Gift of a Cow-tail Switch (A West African story) --Bonfire Night How Grandmother Spider Brought Fire (A Choctaw story) --National Tree Week The Woodcutter and the Wolf (A French story) --The Tree of Magical Leaves (A Chinese story) --St. Andrew's Day Conall and the Thunder Hag (A Scottish story) --DECEMBER --Human Rights Day The Bell of Atri (An Italian story) --Midwinter East of the Sun, West of the Moon (A Scandinavian story)

    Now brought luminously to life by K. Y. Craft's lavish paintings, this new edition of a timeless favorite is sure to enchant readers both young and old. Fairy tale lovers have been eagerly awaiting Craft's next magical romance since the release of her Cinderella. With illustrations inspired by the magnificent style of Baroque painters, the sumptuous color and exquisite detail of this breathtaking interpretation make it a dream come true.

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    This volume brings together all eleven of his shorter fairy stories as well as his essay "The Fantastic Imagination". The subjects are those of traditional fantasy: good and wicked fairies, children embarking on elaborate quests, and journeys into unsettling dreamworlds. Within this familiar imaginative landscape, his children's stories were profoundly experimental, questioning the association of childhood with purity and innocence, and the need to separate fairy tale wonder from adult scepticism and disbelief.