The Man Who Married a Mermaid (1949) tells the picaresque story of a sailor, PEre Olifus, who first marries a mermaid, then embarks upon a series of voyages to a semi-mythical Far East where he enjoys various economic opportunities, but remains plagued by the vengeful astral form of the mermaid wife he left behind. Master storyteller Alexandre Dumas teamed up with Paul Lacroix intending to produce a series of magical tales, of which this wry, sarcastic fable of supernaturally-punished infidelity was the first. When the project failed, Lacroix expanded the story into a novella, which remains entertaining as well as intriguing, and deserves to be reckoned one of the flawed classics of its genre.

The stories in this Fairy Book come from all quarters of the world. For example, the adventures of 'Ball-Carrier and the Bad One' are told by Red Indian grandmothers to Red Indian children who never go to school, nor see pen and ink. 'The Bunyip' is known to even more uneducated little ones, running about with no clothes at all in the bush, in Australia. You may see photographs of these merry little black fellows before their troubles begin, in 'Northern Races of Central Australia, ' by Messrs. Spencer and Gillen. They have no lessons except in tracking and catching birds, beasts, fishes, lizards, and snakes, all of which they eat. But when they grow up to be big boys and girls, they are cruelly cut about with stone knives and frightened with sham bogies all for their good' their parents say and I think they would rather go to school, if they had their choice, and take their chance of being birched and bullied

*Includes "The Little Mermaid," now a major motion picture from Disney starring Halle Bailey and directed by Rob Marshall* Dive into centuries of mermaid lore with these captivating tales from around the world. A Penguin Classic Among the oldest and most popular mythical beings, mermaids and other merfolk have captured the imagination since long before Ariel sold her voice to a sea witch in the beloved Disney film adaptation of Hans Christian Andersen's "The Little Mermaid." As far back as the eighth century B.C., sailors in Homer's Odyssey stuffed wax in their ears to resist the Sirens, who lured men to their watery deaths with song. More than two thousand years later, the gullible New York public lined up to witness a mummified "mermaid" specimen that the enterprising showman P. T. Barnum swore was real. The Penguin Book of Mermaids is a treasury of such tales about merfolk and water spirits from different cultures, ranging from Scottish selkies to Hindu water-serpents to Chilean sea fairies. A third of the selections are published here in English for the first time, and all are accompanied by commentary that explores their undercurrents, showing us how public perceptions of this popular mythical hybrid--at once a human and a fish--illuminate issues of gender, spirituality, ecology, and sexuality. For more than seventy-five years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 2,000 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.

This one-volume encyclopedia introduces readers to the world's cryptids-those hidden or secret animals believed to exist at the margins of human society-including Bigfoot, Yeti, the Loch Ness Monster, and the Mothman. Comprehensive in its scope, this book is a valuable resource for anyone who wants to know more about well-known creatures of myth and legend, such as the Chupacabra and the Jersey Devil, and discover lesser-known animals, such as the Bunyip of Australia and the Mamlambo of South Africa. Rather than purport to prove or deny the existence of these creatures, however, this volume classifies them within their respective cultural, historical, and social contexts, allowing readers to appreciate cryptids as cultural artifacts important to societies around the globe. Finally, this book goes beyond the study of the unknown to investigate who believes in cryptids, why they do, and why the study of cryptozoology is as much about understanding cryptids as it is about understanding ourselves.

“This delightful book” for young readers “is full of creative activities, interspersed with plenty of fascinating historical facts” (School Library Journal). On this here ship, we follow the pirate's code: No frolikin' in the bilges, no songs about scurvy, and most important, each buccaneer must keep his pistol ready for action at all times. Break the code, me bucko, and you'll be forced to walk the plank. In The Big Book of Pirate Stuff, Captain Michael MacLeod and Jamaica Rose teach the fine art of pirateering, from plundering, pillaging, and gambling to digging for buried treasure. A dabble of history, a smatterin' of activities, and a healthy dose of derring-do make this book a must-read for aspiring pirates.

From the author of Lost Boy comes a beautiful historical fairy tale about a mermaid who leaves the sea, only to become the star attraction of history's greatest showman. Once there was a mermaid called Amelia who could never be content in the sea, a mermaid who longed to know all the world and all its wonders, and so she came to live on land. Once there was a man called P. T. Barnum, a man who longed to make his fortune by selling the wondrous and miraculous, and there is nothing more miraculous than a real mermaid. Amelia agrees to play the mermaid for Barnum and walk among men in their world, believing she can leave anytime she likes. But Barnum has never given up a money-making scheme in his life, and he's determined to hold on to his mermaid.

Focusing on the lineage of pivotal African American and Irish women writers, the author argues that these authors often employ strategies of indirection, via folkloric expression, when exploring unpopular topics. This strategy holds the attention of readers who would otherwise reject the subject matter. The author traces the line of descent from Mary Lavin to Éilís Ní Dhuibhne and from Zora Neale Hurston to Toni Morrison, showing how obstacles to free expression, though varying from those Lavin and Hurston faced, are still encountered by Morrison and Ní Dhuibhne. The basis for comparing these authors lies in the strategies of indirection they use, as influenced by folklore. The folkloric characters these authors depict-wild denizens of the Otherworld and wise women of various traditions-help their creators insert controversy into fiction in ways that charm rather than alienate readers. Forms of rhetorical indirection that appear in the context of folklore, such as signifying practices, masking, sly civility, and the grotesque or bizarre, come out of the mouths and actions of these writers' magical and magisterial characters. Old traditions can offer new ways of discussing issues such as sexual expression, religious beliefs, or issues of reproduction. As differences between times and cultures affect what "can" and "cannot" be said, folkloric indirection may open up a vista to discourses of which we as readers may not even be aware. Finally, the folk women of Morrison, Ní Dhuibhne, Hurston, and Lavin open up new points of entry to the discussion of fiction, rhetoric, censorship, and folklore.