Mythology Books

This is a great beginning to an epic tale. It's rare to find an author willing to have evil be truly evil and good be good - most of the time. I also appreciate the proper language for the setting and characters! (An equivalent level of erudition and characterization might be Douglas Preston & Lincoln Child - but they don't write about fantasy kingdoms.)

I have just completed the first book, Chronicles of the Lords of the March:Heir to the March, by Kent Book. Intially, I struggled with this book because it took me a bit to get in the right frame of mind and to get past my sensitivities to the vileness of the villain. By the time I reached the 2nd chapter, however, things had started to click. After that, I re-skimmed the beginning, to put everything in place, and then I couldn't put the book down. The story(ies) and the characters are wonderfully developed and I admire the author's style of writing. The language is archaic and somewhat formal, yet comfortable enough to feel a part of the community. There are many characters, and part of the fun of reading this book is keeping up with who is related to whom and in what way. The sick and demented evil one is a perfect villain, on many levels. I definitely have no love for this "non-human". On the other hand, there is much love for Kandwyn and the royal family of the March. I appreciate the affection, loyalty and dedication that this family has for one another. This book is full of the elements that make it a fantastic read (action, mystery, adventure, and a bevy of intriguing characters), and when you reach the end, you find yourself wanting for more. Luckily, there is more to follow in books 2 and 3 of the trilogy. I highly recommend this book.

I read Chronicles of the Lords of the March: Heir to the March over the past 2 weeks. The book was very intersting and the story kept me on the edge of my seat and not wanting to put the book down. The main characters are very intersting and they all tie into the story in an unique way. I definitely recommend this book to anyone who likes to read about lords, leaders, lands, and kingdoms.
GREAT READ!

My mother got this book for me when I was a child, and needless to say, it changed the way I learned fairy tales. Iona Opie presents some classic fairy tales as they were ORIGINALLY written... Dark, lurid, mysterious, and pessimistic. The artwork littered throughout the pages is commendable even if it were its own title.

I love this book so much that I have purchased it as a gift for countless friends, including a pen pal from Japan who found it amazing that our Western fairy tales (the stories told to our ancestors as young children) were indeed so graphic.

Great, great book -- a classic. Hope this one never goes out of style.

I first read this book in 1983, and was amazed with it then. It's unique and extremely interesting. Iona and Peter Opie have the original tales as first printed in the English language. Added to that is the history and the actual gruesome origins of what we now consider children's stories! For example, Sleeping Beauty is not awakened by a kiss. Her Prince Charming violates her while she sleeps (and since she doesn't wake up, we can only imagine how mediocre he was...). She only awakens 9 months later, during the birth of twins! He eventually returns to her, and then the story gets more complicated with his ogre mother who wants to canibalize the children. The story of the Frog Prince is even stranger. Since these are the actual tales, we can see how we've changed the stories to fit in with our culture. This is not a book for young children. The history part was the most fascinating to me. In addition, litle details such as learning that Cinderella's slippers were originally made out of squirrel fur, not glass. Both words in French are spelled similarly (vaire, verre...I'm not sure of the spelling either)and the original printer had a typo that lives on til today.

Everything the Opies write is fascinating and approachable, and this book is a revelation. All these tales, familiar and no-longer-so-familiar, are great to read in this age of sanitised, bowdlerised, or Disneyfied folktales. But the historical details of how the stories evolved, what and from where the variants are, and the significance of various elements of the stories - all these are of great general interest, and are also invaluable to the storyteller needing to do a bit of research.

The layout of the book and the information it includes is well put together. It reads like an encyclopedia with diagrams and is quite thorough with explaining the significance of the symbols throughout the world's history and in mythology.

I refer to the book more often than I anticipated that I would. I use it for referencing symbol origins and their meanings of course, and surprisingly I find that using the book for dream interpretation works excellently.

For anyone who regards symbolism as important, I give the book my highest recommendation.

"This accessible reference guide presents more than 2,000 themes, figures, and symbols that appear in the arts, literature, and religion. It draws on classical mythologies, Biblical themes, and traditional symbols from cultures worldwide. The Complete Dictionary of Symbols has entries on plants and animals, gods and goddesses, supernatural creatures, heroes, saints, and hundreds of other subjects." (summary by South TX Library System)

I have bought several books on symbols recently and this is by far the best. It is well laid out with featured articles, good cross-references and, esp. impressive, footnoting of sources. While no book, especially of the encyclopeidic kind, can be "Complete" -- an admittedly pretentious title -- this book comes close. That's just marketing (like all the new cars and shaving cream advertised as the "ultimate" this or that . . .) The illustrations in this book, mostly line drawings, are attractive and well chosen. Whereas, the illustrations in other symbols books (such as Biedermann's "Dictionary of Symbolism") seem arbitrarily chosen, perhaps for their lack of copyright (!) or just for dramatic effect.
For what it is, unless you've got your own private Wikipedia, I don't see how anyone could be disappointed by this book.

"Ajax" is probably the earliest extant play of Sophocles. Sophocles is the earliest known playwright to use painted scenery. He also decreased the importance of the chorus, added a third actor, and abandoned the trilogy format (each play is complete by itself). Ajax is the classical Greek tragedy about the downfall of a man who is sinned against and has a tragic flaw; in this case, insolence and pride. Ajax becomes enraged when Achilles' armor is awarded to Odysseus instead of to him. Agamemnon and Menelaus also exhibit insolence when they refuse to bury Ajax after his suicide. But, Odysseus changes their minds. This play is probably the earliest known example of a play containing a scene of violence on the stage instead of offstage. In "The Women of Trachis," considered my many critics to be the poorest of the seven extant plays of Sophocles, the wife of Heracles, Deianira, unknowingly sends a poisoned robe to her husband who has finally completed his labors. She is also concerned that she has allowed a rival for the affections of her husband to enter her household. Hercules has sent the captive Iole to Deianira. As Hercules lies dying, he orders his son Hyllus to marry Iole. Does Hercules truly love Iole? Even when dying, he is concerned for her future. In "Electra," the daughter of Agamemnon and Clytemnestra awaits the return of her brother Orestes so that he can avenge the murder of their father. I think that many scholars have tended to misread this play. It is a play about Electra, not about Orestes or Clytemnestra or Aegisthus. And, it is a tragedy. Should one allow hatred to rule their own lives to such an extent as seen in Electra, even when one is in the right? Finally, "Philoctetes," a member of a group of plays that won first prize in Athens, is concerned with a man who has been left marooned on an island several years earlier (because of his disease) under orders of Agamemnon and Menelaus. But, the two kings later discover that Troy cannot be conquered without Philoctetes and his bow, a bow given to him by Heracles. Odysseus and Neoptolemus (the son of the late Achilles) arrive at the island to persuade or trick Philoctetes to return with them. Neoptolemus wants to be noble in his actions; yet, his commander, Odysseus, wants to use guile. At the end, a deus-ex-machina device is used to resolve the conflict. All four plays should be required reading for any educated person.

"Ajax" is probably the earliest extant play of Sophocles. Sophocles is the earliest known playwright to use painted scenery. He also decreased the importance of the chorus, added a third actor, and abandoned the trilogy format (each play is complete by itself). Ajax is the classical Greek tragedy about the downfall of a man who is sinned against and has a tragic flaw; in this case, insolence and pride. Ajax becomes enraged when Achilles' armor is awarded to Odysseus instead of to him. Agamemnon and Menelaus also exhibit insolence when they refuse to bury Ajax after his suicide. But, Odysseus changes their minds. This play is probably the earliest known example of a play containing a scene of violence on the stage instead of offstage. In "The Women of Trachis," considered my many critics to be the poorest of the seven extant plays of Sophocles, the wife of Heracles, Deianira, unknowingly sends a poisoned robe to her husband who has finally completed his labors. She is also concerned that she has allowed a rival for the affections of her husband to enter her household. Hercules has sent the captive Iole to Deianira. As Hercules lies dying, he orders his son Hyllus to marry Iole. Does Hercules truly love Iole? Even when dying, he is concerned for her future. In "Electra," the daughter of Agamemnon and Clytemnestra awaits the return of her brother Orestes so that he can avenge the murder of their father. I think that many scholars have tended to misread this play. It is a play about Electra, not about Orestes or Clytemnestra or Aegisthus. And, it is a tragedy. Should one allow hatred to rule their own lives to such an extent as seen in Electra, even when one is in the right? Finally, "Philoctetes," a member of a group of plays that won first prize in Athens, is concerned with a man who has been left marooned on an island several years earlier (because of his disease) under orders of Agamemnon and Menelaus. But, the two kings later discover that Troy cannot be conquered without Philoctetes and his bow, a bow given to him by Heracles. Odysseus and Neoptolemus (the son of the late Achilles) arrive at the island to persuade or trick Philoctetes to return with them. Neoptolemus wants to be noble in his actions; yet, his commander, Odysseus, wants to use guile. At the end, a deus-ex-machina device is used to resolve the conflict. All four plays should be required reading for any educated person.

When I entered college, I was surprised to hear that there were so few Greek tragedies extent in the world today. I was also surprised that Sophocles actually had more plays than the Oedipus cycle. After debating whether to buy this translation of the texts (I am trying to collect all the Greek tragedies in this series), I finally checked it out of the library. Personally, I think that these plays are better than Oedipus, possibly because I think that Oedipus is rather overdone by high schools and colleges all over.

Ajax: It was good. I was kind of annoyed that the translator decided to mark each choral ode by its parts, which wasn't necessary. This play is about Ajax, one of the heroes of the Trojan War; this tale goes past the Trojan War portrayed in the Iliad, however. In the Odyssey, Odysseus meets Ajax in the underworld who is upset because Odysseus won the contest against him for Achilles armor. This play expands on the outcome of this contest. Ajax, disgraced, desperately turns himself against the Greek warriors, especially Odysseus. At the end, he kills himself because of his loss of honor.

The Women of Trachis: Definately climbing near Medea for my favorite Greek tragedy. This play is about Deianeira, a wife of Heracles. When Heracles returns from a city with a new mistress, Deianeira decides to take action against the man he loves. She uses a potion that was given to her by a Centaur, whom Heracles killed when the Centaur attempted to rape her. The Centaur gave her some of his blood and told her it is a love potion to give to Heracles, so if his attention ever wanders, she could bring it back to her. When Heracles brings home the new woman, Deianeira decides to use it. What Deianeira didn't realize, though, is that the Centaur wanted revenge upon Heracles, and the blood was actually poison.

Electra: Unlike the Electra in Aechyllus' Oresteia, this Electra is focused on a bit more. She resembles the Electra of Euripides. Same story: Orestes returns to avenge his father Agamemnon's murder by his mother, Clytaemnestra, and Aegisthus, Agamemnon's cousin and Clytaemnestra's consort. Electra has been living with Clytaemnestra and Aegisthus, and she was the person who saved Orestes from Clytaemnestra's rage. (Why did she murder Agamemnon? She could have just been an evil wife, but Agamemnon did sacrifice their daughter Iphigenia when he sailed for Troy.) This play is about Electra's pain and desperate hope that Orestes will return.

Philoctetes: When the Greeks sailed for Troy, one of the Greeks was bitten by a venomous snake, and the Greek soldiers abandoned him on an island before reaching Troy. After the events of the Iliad, and after Achilles death, the Greeks capture a son of Priam who prophesized that the Greeks would not be able to take Troy without Philoctetes' bow and arrows. This bow was given to Philoctetes by Heracles. This play is about Odysseus and Neoptolemus' conspiracy to steel the bow. Neoptolemus is to pretend that his is bitter towards Agamemnon, Menelaus and Odysseus because of the contest of Achilles' armor (Neoptolemus is Achilles son). Neoptolemus befriends Philoctetes and no longer wants to deceive him, plus he realizes that the prophesy not only demands the bow and arrows, but Philoctetes himself. (These bow and arrows are fated to kills Paris, the "cause" of the Trojan War for abducting Helen.)

I definately recommend this collection of plays, especially if you are an Ancient Greek nut like me! :)

I think this is Dr. Mehl-Madrona's best book yet. As a registered nurse, Zen Shiatsu therapist and shaman-in-training, I to have witnessed the power of the story in healing...even when all else fails. I'm looking forward to the next book!

This book gives perspective to illness in ways that balance Western medicine with healing stories based in a variety of traditions but primarily Native American creation stories. I value that the author offers credentials from both backgrounds and appreciate the wisdom one gains from understanding that so much of what we bring to the mentality of illness is based upon the opinions and attitudes that we have been exposed to in medical text or taken on board through our own environmental coping mechanisms. The stories radiate hope when we realize that we alone can be empowered through fresh perspectives to create our own story for health and well being.

Lewis Mehl-Madrona is certified in family practice, geriatrics and psychiatry, and includes Native American traditions in his practice. Healing through storytelling is the principal approach he shares in this book - of the various Native American ceremonial treatments that he uses.

Mehl-Madrona's storytelling is rich with the wisdom of his Cherokee grandmother. He seems to have stories available for every possible circumstance and occasion. These tales provide insights into a person's hidden fears and hurts that often underlie and contribute to or even cause the development of many physical and psychological problems. The stories also suggest a variety of solutions and inspire hope that change is possible.

Through these stories, he helps people discover the inner healing resources that can transform their lives, including their illnesses. He reports dramatic successes - often with people who have struggled for many years with their health issues - including anorexia, lupus (a chronic form of arthritis), victimization through emotional and physical abuse, panic disorder, and more.

What I see as particularly helpful are the suggestions for change that Mehl-Madrona intersperses within the stories. These are very similar to the tales that Milton Erickson used to tell - in the process of hypnotic inductions, with imbedded suggestions that often slipped past the sentinel guardian defenses of his patients.

Mehl-Madrona is most remarkable for having gained a measure of acceptance for his methods within western medicine.

For a book that contains generous portions of wisdom, this book is an easy and enjoyable read.

See also Mehl-Madrona's earlier books: Coyote Healing and Coyote Medicine.

This book is for anyone who craves a deeper
comprehension of Morrison's seminal work. In
fact, it's indispensable for the "active" reader or
student who wants to observe how Morrison has seamlessly
interwoven myth and folklore into a complex
tapestry which reflects the afro-american experience
in America. CROSSING BORDERS deftly unravels each thread
for the reader, but paradoxically and exquistely leaves the
tapestry in tact. Kudos to Dr. Brown!

In "Crossing Borders" Dr. Billinglsea-Brown gives the reader an in-depth analysis of the components that surround borderlines. Anyone who reads this book will become enraptured with Dr. Billinglsea-Brown use of language to convey the ideas that surround a complex identity such as the African American woman. Her book is reflective of historical, cultural, and social movements. Through this book I have gained the knowledge to come to a point where I can understand part of the meaning and significance of folklore and its connection to the Afrcian American literary tradition. I enjoyed this book not only for its light language but the author's ability to weave the reader into the world of Morrison, Satyr, and other African American women writers that influenced our history and cultural outlook.

Folklore--"the boiled down juice of human living," as the writer Zora Neale Hurston defined it--has always been employed by displaced African people to reaffirm their identity within the dominant culture. In the 1960s, when the separation of the black and white worlds was challenged, black artists began to use folklore as a means of "crossing the borders" that maginalized African Americans. By embracing folk idioms (legends and tales, quilts and dolls, and even archetypes and steretypes like Aunt Jemima and Sambo), these artists, who were frequently women, devised a new aesthetic that reclaimed and redefined their multiple identities. In this study, Alma Jean Billingslea-Brown, an associate professor of English at Spelman College, takes a close look at how four African American female artists--writers Toni Morrison and Paule Marshall and visual artists Faith Ringgold and Betye Saar--have mined folklore for the evocative images that have enabled their work to transgress social, cultural, and political borders from the 1960s until today.

Seamus Heaney pulls through again with his brilliant translation of Sophocles' Philoctetes. The tragic story of the forgotten hero, Philoctetes, provides a unique insight into the conflicts between personal moral beliefs and political calling. Odysseus persuades the heroic Neoptolemus into tricking the mamed Philoctetes into giving up the bow of Hercules. This act challenges the admired traits of the ancient world and draws into question the importance of personal beliefs. As each character represents a different aspect of the Greek world, a fight for beliefs - fidelity, pity, piety - endures. As for the translation itself, Heaney provides a beautiful interpretation of the story as seen in the words of the chorus:

History says, Don't hope
On this side of the grave.
But then, once in a lifetime
The longed-for tidal wave
Of justice can rise up,
And hope and history rhyme.

This enriched translation strays slightly from the ancient text in order to enhance the understanding of the modern reader. Overall, this fast-moving play entices and enchants through a lyrical harmony like no other. Bravo, Seamus. Bravo.

Seamus Heaney's version of trials for the Greek archer entrusted with Hercules' infallible bow and arrows gives us affirmation and points of reflection. Heaney does not dash the ancient dialogue style on the rocky island; rather it is enriched for the modern reader. Honoring the timelessness of Sophocles, Heaney allows today's reader to make comparisons of private nature and choices with the public need and will. The hero, Achilles' son, Neoptolemus, finds that the strategy to take Troy for the Greeks runs counter to his nature of honesty and integrity. We wrestle with him over the choices. We tumble with him when he loses his grip. We crawl back to sure footing along side the hero. I found myself understanding the characters based on different experiences in my life. Philoctetes bemoans his ill-fated injury which leaves him abandoned and full of vengeance. Human empathy allows him to examine his tight grip on his woundedness without denying what he has endured. Odysseus, the pragmatic lieutenant of war, is shown for his utility and foibles. As in all Greek plays, the chorus calls the characters and the reader to reflection, "...For my part is the chorus, and the chorus is more or less a borderline between the you and the me and the it of it." Heaney got the "it of it" for us to take our own measure.

"The Cure at Troy," translated by Seamus Heaney offers a delightful translation of Sophocles' "Philoctetes." With a compelling tale from anchient times layed out before him, Heaney applies colloquial speach diction to the play. This accessability offers the audience a window into the basic moral struggle occuring at the heart of the work. A finly crafted story draws the reader to the characters. A worthwhile read.

This is an excellent book on Egyptology. It has a more personal narration then most books on Egypt--partly due to the authors use of first person narrative and partly due to his passion and enthusiasm on the subject. The effect is the reader takes more then just a factual view of data surrounding stories of Curses in Egypt but rather a personalized look at Archaeology. This is an excellent book for any school aged child weather he is interested or not in Archeology.
This book starts out with and introduction about Zahi Hawass and some of the sites he has worked on including the tombs of the pyramid builders. He then goes into talking about Tutankhamun and how the rumors of a curse began. He then describes some of the information known about ancient grave robbers as well as his own experiences with the curse.
The Appendix in this book is amazing. It has 5 parts:
*Tips for becoming and Archaeologist - This is a good guide for children who dream of following in Dr. Hawass's footsteps.
*Tracing Egypt's glorious past--One of the best brief Chronologys of the periods and kingdoms of Ancent Egypt.
*How mummies were made--this was one of the few spots that was a bit dry.
*Gods and Goddesses of Ancient Egypt--While this section is not compleate (there were I think thousands of different Gods and Goddesses) it does provide a brief description on 17 of the major ones.
*Glossary--Basic glossary of terms used in the book.

Excellent book. Informative for adults and children. Our 8 and 10 year old sons read this book in preparation for viewing the King Tut exhibit. It was a great introduction to Egypt, the pharaohs, and archaeology. The author was a speaker on the audiotape and featured in the end of the exhibit. Highly recommended.

Well written and easy to read. Would be a good book to get children interested in the pharoahs. Wonderful pictures.
Ginny J

An excellent read- which together with the authors first book, got me hooked on sea paddling. Not just a descriptive dairy of a journey around the coast of Ireland- but a great story of the people he met and the adventures he got into. In my view, the only sea kayaking book which is better is Blazing Paddles also by Brian Wilson

This is a wonderfully athmospheric book of solo kayak travel around the wild and windswept coast of Ireland. Brian experiences whirlwinds, friendly dolphins (photos included), pirates and meets many unusual and friendly people on his 1200 mile trip. Experience the Irish weather and coastal communities as they really are. A really enjoyable read.

An enjoyable account of Wilson's epic journey around the Emerald Isle. Fascinating background info on his compulsion to tour and his quest for sponsorship, followed by a vividly written account of the trip itself, including abduction by "pirates", the theft and return of his kayak and an unforgettable encounter with Fungie the dolphin. The author's genuine affection for Ireland and its fascinating culture permeates the book, and he includes snippets of history and myth that make the towns and islands he passes come to life. There are many laugh-out-loud anecdotes and encounters that you will feel compelled to read out loud to your spouse/roommate/dog. Wilson is an accomplished adventurer and a talented writer as well.

This book was one of the best. This book is for all teen and older witchs. If you're a begininger or advanced in wicca or pagan, this book is for you.

This book was one of the best. This book is for all teen and older witchs. If you're a begininger or advanced in wicca or pagan, this book is for you.

i think the book of shadows: a moder weman's journey into the wisdom of witchcraft and the magic of the goddess is a great book that will help you along in your, studies of witchcraft