Bondsmaid. Berserker. Bane. Hervor is no stranger to hardship. Not only is she a reviled bondsmaid, but she’s haunted by the ghosts of dead men. When a berserker fit turns her into a murderer, she has nothing left to lose: fleeing everything she’s known, Hervor goes to find a new future and a way to silence the past. Her quest will take her from the viking seas to the depths of a witch’s forest, from frozen mountains to a king’s golden hall. But the road ahead is no less bloody than the one behind, and the foul magic Hervor fears most is the only thing that can lay her ghosts to rest. They say when you seek revenge, you should dig two graves, but Hervor might be able to get away with one. Because the voices of the dead are getting stronger . . . and her greatest enemy may be herself.

The great poetic tradition of pre-Christian Scandinavia is known to us almost exclusively though the Poetic Edda. The poems originated in Iceland, Norway, and Greenland between the ninth and thirteenth centuries, when they were compiled in a unique manuscript known as the Codex Regius. The poems are primarily lyrical rather than narrative. Terry's readable translation includes the magnificent cosmological poem Völuspá ("The Sibyl's Prophecy"), didactic poems concerned with mythology and the everyday conduct of life, and heroic poems, of which an important group is concerned with the story of Sigurd and Brynhild. Poems of the Elder Edda will appeal to students of Old Norse, Icelandic, and Medieval literature, as well as to general readers of poetry.

She sees, coming up a second time, earth from the ocean, eternally green; the waterfalls plunge, an eagle soars above them, over the mountain hunting fish. After the terrible conflagration of Ragnarok, the earth rises serenely again from the ocean, and life is renewed. The Poetic Edda begins with The Seeress's Prophecy which recounts the creation of the world, and looks forward to its destruction and rebirth. In this great collection of Norse-Icelandic mythological and heroic poetry, the exploits of gods and humans are related. The one-eyed Odin, red-bearded Thor, Loki the trickster, the lovely goddesses, and the giants who are their enemies walk beside the heroic Helgi, Sigurd the Dragon-Slayer, Brynhild the shield-maiden, and the implacable Gudrun. This translation also features the quest-poem The Lay of Svipdag and The Waking of Angantyr, in which a girl faces down her dead father to retrieve his sword. Comic, tragic, instructive, grandiose, witty, and profound, the poems of the Edda have influenced artists from Wagner to Tolkien and speak to us as freely as when they were first written down seven hundred and fifty years ago.

J.R.R. Tolkien claimed that he based the land of Middle Earth on a real place. The Real Middle Earth brings alive, for the first time, the very real civilization in which those who lived had a vision of life animated by beings beyond the material world. Magic was real to these people and they believed their universe was held together by an interlaced web of golden threads visible only to wizards. At its center was Middle Earth, a place peopled by humans, but imbued with spiritual power. It was a real realm that stretched from Old England to Scandinavia and across to western Europe, encompassing Celts, Anglo Saxons and Vikings. Looking first at the rich and varied tribes who made up the populace of this mystical land, Bates looks at how the people lived their daily lives in a world of magic and mystery. Using archaeological, historical, and psychological research, Brian Bates breathes life into this civilization of two thousand years ago in a book that every Tolkien fan will want.

This book provides a new critical methodology for the study of landscapes in children's literature. Treating landscape as the integration of unchanging and irreducible physical elements, or topoi, Carroll identifies and analyses four kinds of space — sacred spaces, green spaces, roadways, and lapsed spaces — that are the component elements of the physical environments of canonical British children’s fantasy. Using Susan Cooper's The Dark Is Rising Sequence as the test-case for this methodology, the book traces the development of the physical features and symbolic functions of landscape topoi from their earliest inception in medieval vernacular texts through to contemporary children's literature. The identification and analysis of landscape topoi synthesizes recent theories about interstitial space together with earlier morphological and topoanalytical studies, enabling the study of fictional landscapes in terms of their physical characteristics as well as in terms of their relationship with contemporary texts and historical precedents. Ultimately, by providing topoanalytical studies of other children’s texts, Carroll proposes topoanalysis as a rich critical method for the study and understanding of children’s literature and indicates how the findings of this approach may be expanded upon. In offering both transferable methodologies and detailed case-studies, this book outlines a new approach to literary landscapes as geographical places within socio-historical contexts.

In the late eighteenth century, Matthew Gregory “Monk” Lewis, a notorious author of lurid Gothic novels and plays, began to gather this collection of horror ballads. Including original and traditional works, translations and adaptations, and even burlesques of the Gothic, this “hobgoblin repast,” as Lewis called it, brings together a fascinating assortment of works. Contributors include Lewis, the young Walter Scott, William Taylor of Norwich, John Leyden, and Robert Southey. Appendices contain selections from Tales of Terror (1801), a text long intertwined with Lewis’s collection; information on Scott’s An Apology for Tales of Terror (1799); and parodies and reviews of Lewis’s particular brand of Gothic poetry.