Fascinating compendium of facts, folklore, superstitions, myths, and anecdotes about trees and the forest. Forest customs, sacred groves, mythical forest creatures, tree worship, and much more.

Daughter of the Forest is a testimony to an incredible author's talent, a first novel and the beginning of a trilogy like no other: a mixture of history and fantasy, myth and magic, legend and love. Lord Colum of Sevenwaters is blessed with six sons: Liam, a natural leader; Diarmid, with his passion for adventure; twins Cormack and Conor, each with a different calling; rebellious Finbar, grown old before his time by his gift of the Sight; and the young, compassionate Padriac. But it is Sorcha, the seventh child and only daughter, who alone is destined to defend her family and protect her land from the Britons and the clan known as Northwoods. For her father has been bewitched, and her brothers bound by a spell that only Sorcha can lift. To reclaim the lives of her brothers, Sorcha leaves the only safe place she has ever known, and embarks on a journey filled with pain, loss, and terror. When she is kidnapped by enemy forces and taken to a foreign land, it seems that there will be no way for her to break the spell that condemns all that she loves. But magic knows no boundaries, and Sorcha will have to choose between the life she has always known and a love that comes only once. Juliet Marillier is a rare talent, a writer who can imbue her characters and her story with such warmth, such heart, that no reader can come away from her work untouched. At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.

King Arthur was not an Englishman, but a Celtic warrior, according to Loomis, whose research into the background of the Arthurian legend reveals findings which are both illuminating and highly controversial. The author sees the vegetarian goddess as the prototype of many damsels in Arthurian romance, and Arthur's knights as the gods of sun and storm. If Loomis's arguments are accepted, where does this leave the historic Arthur?

Corinne J. Saunders's exploration of the topos of the forest, a familiar and ubiquitous motif in the literature of the middle ages, is a broad study embracing a range of medieval and Elizabethan exts from the twelft to the sixteenth centuries: the roman d'antiquite, Breton lay and courtly romance, the hagiographical tradition of the Vita Merlini and the Queste del Saint Graal, Spenser and Shakespeare. Saunders identifies the forest as a primary romance landscape, as a place of adventure, love, and spiritual vision... offers a pleasurable overview of the narrative function of the forest as a literary landscape. Based on a close comparative and theoretically non-partisan] reading of a broad range of literary texts drawn from the Europeqan canon, Saunders's study explores the continuity and transformation of an important motif in the corpus of medieval literature. MODERN LANGUAGE REVIEWDr CORINNE SAUNDERSteaches in the Department of English at the University of Durham. BLURBEXTRACTED FROM TLS REVIEW] ...An immense tract, not only of medieval literature but of human experience is] engagingly introduced and presented here...Corinne Saunders considers first forests in reality (a reality which keeps breaking through in romance...). She looks also at the classical and biblical models including Virgil, Statius and Nebuchadnezzar...only then does she turn to the non-real and non-Classical, i.e. the medieval and romantic. Here she follows a clear chronological plan from twelfth to fifteenth centuries also covering] the allegorized landscape of Spenser and the lovers' woods of Arden or Athens in Shakespeare. Her text-by-text layout does justice to the variety of possibilities taken up by different authors; the forest as a place where men run mad and turn into animals, a place of voluntary suffering, a focus of significance in the Grail-quests, a lovers' bower; above all and centrally, the place where the knight is tested and defined, even (as with Perceval) created.