Mythology and Folklore Books

This review pertains to the 2004 hardcover "Phoenix Edition" reprint. I must also confess that at this moment I have only made my way through half of volume 1. I feel it necessary to give potential buyers a "heads up" about this set: it is, as described, a massive work of mid-1800s scholarship. It was assumed at that time that anyone who would be reading such a work would be able to read Latin as well as Old High German, Old Norse, Anglo-Saxon, and a smattering of other medeival languages.
The author spends most of his time NOT telling mythical stories as the curious dabbler might expect, but instead chasing down obscure linguistic clues imbedded in medeival texts, place names, and quaint figures of speech in an attempt to reconstruct some sort of Germanic mythology (for which documentation is lacking) from its hypothetical parallels in Norse mythology (for which documentation is abundant) and the mythologies / religious beliefs / superstitions of surrounding races such as the Saxons, the Gauls, even the Greeks and Romans. This process is dull, dry, tedious, and to someone not fluent in Classical and Germanic languages, incomprehensible. If you love philology you will love these books, but if you want to be thrilled by tales of the Old Gods, stay away!! Herr Grimm does not tell many stories; all the cool stuff is quoted from his sources, and whatever of that isn't in Old High German is in Latin. _Untranslated_ Latin. BEWARE!!
Don't get me wrong; I do not regret owning this set, and I have every intention of finishing it - I'm just saying it's going to be unexpectedly difficult for me, and I can only recommend it for those with a Serious Interest in the subject. The information Grimm presents here is dense and staggeringly thorough - and it is, in a way, a very enjoyable read: the book has its own soporific charm which provides an almost physical pleasure from reading it. An entire mysterious world of unknown language and dimly-comprehended episodes from Latin chroniclers yawns before me. Should be a fun trip.
Nevertheless, my review must bear a mere 3 stars as a warning to those who only want to be thrilled by the mighty adventures of Thor: look elsewhere. This is not the right book for you to start.

This is thoroughful and extremely good edition of the phenomenal book. Naturally, several scolars later made some corrections on some subjects. Nevertheless Jacob Grimm's work inspired H.Heine, R.Wagner and many other men of genius. One cannot overestimate the 'Teutonic Mythology' even now. In a way it's a monument of human imagination, of both oral and written creations made during the centuries by the individuals as well as by the folks. And it still be and will be an inexhaustible source for our both knowledge and imagination as well.
Only one thing I would dare to suggest. Many fragments J.Grimm quotes in Latin, Greek etc... For the future editions I would translate all of them even it could take much space - up to an additional small volume. So, this unique book would be understood by much wider circle of the readers.

Yes, a few years ago I plunked down the over a $100 cost for this recently put back in print four volume set. I don't regret spending the money. Criticisms I have you have to wade through a lot of linguistics/philology stuff and for whatever reason, even though this is supposed to be the English translation, there is still a fair amount of material in German and Latin. But there is all kinds of great stuff in this. Not for the beginner or someone with just a casual interest in the subject matter but this is a must have for any serious student of northern European culture, folklore or Odinsim. What is it about so many books written in the 1800's being superior to 99% of whats been published in the past 50 years?

This is required reading for the true student! Can be a difficult read at times, but the knowledge and world view contained therein make it a treasure!

So Dover Publications has now (2004) reprinted "Teutonic Mythology" under the "Phoenix" imprint, apparently in two formats (bindings). I look at my copies of the previous (1966) Dover paperback edition of James Stallybrass's 1883-1888 translation of Jakob Grimm's "Deutsche Mythologie," with the four volumes bound in different colors, and I feel terribly old.

They were purchased at less than a tenth of the publisher's current asking price (well, one volume was a gift, but I'm looking at the cover prices), and I feel grateful that I bought (three of) them in the early 1970s. At the time, that still seemed a lot of money for paperbacks, even trade paperbacks, but I have had decades of use out of the set, which is still holding up well. (Dover then still used signature-stitched bindings and high-quality paper; their claim that their paperback books would last as well as hardcover editions was well founded. If Dover does reissue them in paperback, they will probably be less durable and, inevitably, more expensive.)

Read with care, and with frequent reference to modern text editions, translations, and studies, the "Teutonic Mythology" is still a mine of information on the religious ideas, customs, and common metaphors and figures of speech (supposed to be fossilized beliefs) of the ancient and early medieval Germanic peoples (the continental Germans, the Dutch and Flemings, the Scandinavians, and the Anglo-Saxons), and much else in medieval literature. Everyone knows the Grimms from the fairy-tale collection, but individually and together they wrote and edited much more. (For some reason, Jakob Grimm [1785-1863] almost always appears in English as Jacob, but his brother Wilhelm [1786-1859] never seems to become William.)

The "Mythology" in particular is constantly cited in the older secondary literature, so it is nice to be able to find such references. On many occasion it has clarified for me an obscure argument carried out by long-dead scholars with page-references to Grimm's then-definitive treatment of the issue (although sometimes I have had to work out the relation of the pagination of an unseen German edition to the English text -- not fun).

More important, for my purposes, it was a handy reference for what would have been readily available knowledge in the latter part of the nineteenth century, and the early twentieth. They are very useful indeed, if you are interested in Richard Wagner's versions of Germanic myth and legend, or those of William Morris. Or, particularly since this is a translation, if you want to see what was available to the young E.R. Eddison, C.S. Lewis and J.R.R. Tolkien, among many others.

(For that specific purpose, the only thing really comparable in scope they might have read was Benjamin Thorpe's three-volume "Northern Mythology" of 1851, which was briefly available in a one-volume omnibus paperback from Wordsworth a few years ago. In terms of information available to its learned author, Thorpe's book, which I have reviewed, was largely a less systematic English Grimm, with more extensive summaries of Norse sources, and some excellent additional evidence from folktales. It is not quite so dated, but mainly because it was not so ambitious; whole topics aren't even mentioned, so Thorpe couldn't have made any mistakes about them. For the intellectual and cultural background, Andew Wawn's recent (2000) "The Vikings and the Victorians: Inventing the Old North in 19th-Century Britain" may become the standard reference.)

Thomas Shippey in particular has pointed out several places where Tolkien invented Middle-earth "solutions" to passages where Grimm expressed confusion over contradictory data. Tolkien would eventually have gone directly to the German text; Lewis mentions reading Grimm in German, but seems to mean the Fairy Tales ("Kinder- und Hausmaerchen").

In addition, Grimm's appendices (in the fourth volume of the translation) assemble an extraordinary number of important non-literary medieval (and later) texts in one place; genealogies, spells, penitential guides, lists of superstitions, dialect terms. Although as editions they are antiquated, having them in one place proved convenient on a great many occasions. (For example, Valerie Flint's 1991 "The Rise of Magic in Early Medieval Europe" cites later editions of several of them, none readily accessible to me.)

Given the present price, although I'm delighted that Dover has brought the whole set back into print simultaneously for the first time in years, I'm not urging everyone interested in Germanic myth and folklore to rush to buy it. (Even with the current -- November 2004 -- Amazon discount.)

And not just because of the price. This is a monument of scholarship from the first half of the nineteenth century (1835; second edition 1844); almost everything in it has to be viewed with at least a little suspicion. Grimm already recognized that there were problems. A good part of volume four consists of additions and corrections to the text, which he had hoped to incorporate in a third, and fully revised, edition. (His publisher instead reprinted the three-volume second edition text in 1854, and called it the "Third Edition." A posthumous editor arranged the notes in order, to be printed as a supplement in a "Fourth Ediiton," and Stallybrass followed this practice, instead of tampering with the original.)

Throw in the expense, and there is reason for suggesting other places to start. I mention this age factor because the amount of antique misinformation I have seen gleaned from it, and presented as current, sometimes explicitly dated 1966, is a little frightening. And I expect to see more examples, with the 2004 date of the Dover Phoenix edition in the citation.

Stallybrass called his translation "Teutonic Mythology" to reflect that Grimm was using "Deutsche" in the widest possible sense, instead of a nationalistic one; the more recent term would be "Germanic." But for almost a century, beginning not long after after Jacob Grimm completed his work treating *all* the Germanic-speaking peoples as a continuum, the best surveys and handbooks, and almost all serious scholarship, carefully distinguished Northern (Scandinavian) from Southern (continental German) evidence. Surveys in particular were generally restricted to one or the other; usually "Norse Mythology," with a few citations from the continent. While some of Grimm's comparisons -- or the conclusions drawn from them -- were of dubious legitimacy, denying the validity of such comparisons *in advance* pre-determined the nature of the argument. Apparent exceptions generally quickly reveal themselves as second-hand Grimm. Those scholars who did survey the whole field were often concerned to prove that the medieval Scandinavian texts were late and unreliable compared to nineteenth-century German folklore. (If it looks "primitive" [crude], it must *be* primitive [early].)

The closest thing to a scholarly modern successor, the two-volume "Altgermanische Religionsgeschichte" by Jan de Vries, was severely criticized when it appeared in the mid-twentieth-century for returning to Grimm's comprehensive approach. (The author was under the influence of Dumezil's then-recent work on the original unity of Indo-European mythic and religious concepts, and the controversy has moderated with time and familiarity.) Unhappily, de Vries's "History of Old-Germanic Religion" is still not available in English. But there are substitutes in English which, taken together, are almost as comprehensive, as well as much more reliable than Grimm alone.

For the serious-minded beginner, John Lindow's "Norse Mythology: A Guide to the Gods, Heroes, Rituals, and Beliefs" or Andy Orchard's "Cassell's Dictionary of Norse Myth & Legend" (and variant titles) are far better and more reliable guides to the Scandinavian evidence, with Rudolf Simek's "Dictionary of Northern Mythology" filling in some of the continental material, along with copious linguistic information reflecting an additional century and a half of research. I would strongly urge anyone new to the field to have at least one or two of these at hand whenever Grimm is being consulted; definitely Simek on matters linguistic, if possible (the book is currently out of print, although a reprinting of the paperback is scheduled for Spring 2006). All three (which I have reviewed separately; I call attention to some of Simek's shortcomings, but his book is mostly first-rate) have extensive bibliographies. Some of Lindow's extended articles come closest to Grimm's chapter-length treatises.

However, when all is said and done, there is something to be said for these four antiquated volumes. Like Aristotle, Jakob Grimm produced a "premature synthesis" of knowledge, and, as with Aristotle, even the errors of a first-class mind are worth pondering. And a lot of it *is* dead on right.

At some point "Teutonic Mythology" should be consulted by anyone interested in Germanic studies, or medieval literature, or folklore studies, or comparative mythology -- if only as an act of piety. Having hardcover and library-bound editions available may make this effort more likely than it has been in recent years. And maybe it will, sooner or later, be back in paperback form.

"It is true that fairy tales have an effect, but it is a healthy, nurturing, cathartic effect, not a fault. Using archetypes and symbolic language, they externalize for the listener conflicts and situations that cannot be spoken of or explained or as yet analyzed. They give substance to dreams." (p 44)

In a time in which fantasy tales are often under challenge, Yolen makes a strong case for their importance in Touch Magic. She believes that, more than magic and mythical creatures, these stories are about acts of kindness or deceit, action and consequence, and the constant struggle to find a way to fit into the world you inhabit. As a result, "even very young children can absorb the meanings and wisdom of these symbolically expressed ancient tales and use them as tools for interpreting their own day-to-day experiences" (p 17.)

With Part One: The Tale and the Teller, Yolen takes the reader back to the root of fantasy, to the oral tales that have molded nearly every piece of fantasy that has followed, and how each changed as they were written down, taking on the morals and ideologies of the cultures and times during which they were recorded. From Cinderella to Red Riding Hood, she skillfully discusses fairy tale variants, maintaining that the original story, which often refused to shy away from pain and violence, is a more honest reflection of humanity than the versions that children are presented with today. She states: "They are the most potent kind of magic, these tales, for they catch a glimpse of the soul beneath the skin" (p 50.)

While this section is incredibly informative and thoughtful, Yolen dismisses some of the more modern adaptations of fairy tales, mostly those put forth by Walt Disney. The frequency with which she relies on pointing out the problems with his version of these stories comes across as a bit heavy-handed. And while she argues quite well as to why children do not need a watered down version of these tales, surely Disney's adaptations have some importance in the landscape of fantasy, if only to use as a counterpoint for children to work out on their own.

From there, Yolen focuses on the quest aspect of fantasy stories, and how looking more closely at the metaphors inherent in each serves as a human touchstone. "[The] tensions of the stories carry us past the unbelievability of the magic into the credibility of miracles in our everyday lives" (p 61;) it's a potent thought, one that isn't often mentioned when someone hints at the need to censor these stories because they fear they will send children down the wrong path.

"Why do those of us who love stories with layers of meaning have to defend our interest, as if that very interest makes us less capable citizens, wimps, nerds, or in league with the very devil?" (p 120)

Touch Magic is a wonderful and thought-provoking look at a genre that is often derided; as a librarian, I cannot say how many times I've heard a young reader say that a parent does not want them reading another fantasy story, and after reading this book I feel better armed to defend the genre's place in their lives.

Content Overview
In Touch Magic: Fantasy, Faerie and Folklore in the Literature of Childhood, Yolen has put together 16 essays that delve deep into the psychology, sociology and importance of relating fairy and folk tales to children. The first edition of the book came out in 1981 and contained 10 essays that were written for her Doctorate of Education (Yolen 2007). The six new essays were added for the current edition.

The expanded edition reviewed here is broken down into four parts. The first section is called The Tale and the Teller and each of the five essays within it deal with how stories, particularly myths, legends and folklore, affect a person and the larger culture. The first essay in this section, "How Basic Is Shazam?" contains many of the principles explored in the rest of the book. One of the premises is that the roots of folklore surface in modern-day stories, like the word "SHAZAM" showing up in comic books (it is an acronym for the heroes Solomon, Hercules, Atlas, Zeus, Achilles and Mercury). In addition, Yolen introduces the functions of folklore: ancestral connection, metaphoric language, therapeutic properties for teller and listener, and construction of individual's belief system. The author states that to deny the rich heritage of fairy tales and folklore is to deny our humanity and to reinforce a "barren language" and "barren minds."

Essay two discusses the general history of the folktale before and after writing became widespread in the fifteenth century. Oral storytelling, with less influential variations, gave way to authority of the printed version. The book became the story and many times, attributed to the re-teller erroneously.

Essay three, "Once Upon a Time" tracks three popular fairy tales, Little Red Riding Hood, The Frog Prince and Cinderella and their metaphorical power in children's lives. Yolen also explains that, with Disney's version of Cinderella, "The acculturation of millions of boys and girls to this passive Cinderella robs the old tale of its invigorating magic. The story has been falsified and the true meaning lost- perhaps forever."

Yolen continues her exploration of the impact of stories on humans with essay four, "The Eye and the Ear." She maintains that different processes are used when a person hears a story as opposed to reading it on a page. In addition, she touches on how illustrations can shape a tale.

The last essay in the first section is entitled "Touch Magic" and discusses the universal archetypes that resonate in folktales. Part of the power of the stories is that they speak to inner realities of which the listener or reader may not be fully conscious. At the end of the essay Yolen advises us to "Touch magic, [and] pass it on."

The second section of the book is playfully called Taradiddles, which means an elaborate lie, and the three essays contained within have to do with the truths expressed, paradoxically, through made up worlds. Here, Yolen switches from talking mainly about fairy tales to fantasies and the magical elements of stories.

The title of essay six, "The Mask on the Lapel," refers to the 18th century custom in Venice by which a person's identity could be in disguise by the presence of a small mask on the wearer's lapel. Although viewers could ascertain the person's identity, since their face wasn't concealed, all onlookers suspended their disbelief so that in an alternate identity he or she could explore the world. Similarly, although readers know fantasy stories to be elaborate "lies" because they break with known reality, the same stories are able to authentically capture aspects of the human condition. Yolen says that fantasy stories are not Life Actual, but Life in Truth.

A crucial element, according to Yolen, that must be present in fantasy stories in order to speak to human truths, is that the protagonist must face tough choices. She explores this element in essay seven, "Tough Magic." Characters must sacrifice, must know their actions have deep consequences, in order for the full power of the story to materialize, and for the greatest impact on the reader.

The last essay in Part II, "Here There Be Dragons," deals with the logic that must be present in fantasy. Although seemingly a paradox, Yolen maintains that the laws created in a fantastic world must be strictly followed, and that there must be a logical progression of events and detailed facts in order for the truths to emerge from the tale.

The two essays in Part III, which is entitled Wild Child, Feral Child, are discussions of the phenomenon of human language. In the first of the two essays in this section, "The Gift of Tongues," Yolen argues that language sets us apart from other animals and that children who are deprived of language in their early years have exceedingly limited, if any, verbal skills. Although stories about children being raised by animals are beloved, including for example, Romulus, Mowgli and Tarzan, in actuality children must hear human language. The tradition of oral language must take place for children.

This language, when encouraged and nurtured, will sprout from children's tongues in the form of questions and wonderment. If their minds are not nurtured, and the ancestral heritage not passed down in the form of stories to answer their questions, then children are little more than "An Inlet for Apple Pie," as this essay is entitled.

Part IV, Touchstones, is comprised of the six new essays Yolen included for the second edition of Touch Magic. The tone of this section is more humorous, perhaps because they are not pieces of a dissertation. Though willing to poke fun at herself, Yolen continues to delve into stories with a laser-like precision.

In "Story in 10 Fits," a product of "literitis," essay eleven lists ten things a story is not: "story is not a moral," "story is not a display of wit," and "story is not a lie," are just three examples. In her explanations of each thing a story is not, Yolen touches on aspects present in other essays, such as the need for metaphor and the power a story can have on lives.

After having told us what a story is not, Yolen gives readers her top five examples of great fantasy stories in this essay, "Touchstones." They are: Peter Rabbit, The Golden Key, The Jungle Books, The Thirteen Clocks, and Charlotte's Web.

In her thirteenth essay, "Fabling to the Near Night," Yolen names some worst examples of popular children's fantasies and literary tales, including Mary Poppins, and Water Babies: A Fairy Tale for a Land Baby. Although the reasons for including them in this list vary, such as the presence of racism and cultural close-mindedness, Yolen does not promote censorship. Instead, she advocates a critical reading of all tales, so that the consequences of children reading prejudiced or stereotypical works is used to an advantage.

Yolen departs from her earlier sentiments about the infallible goodness of fairy tales on children in essay fourteen, "Killing the Other." She examines three in which the morality is not inherent, "Puss n' Boots," "Rumplestiltskin," and "Rapunzel." To combat the possible negative effects of these stories, she advocates reading all stories "below the surface."

In "An Experiential Act," special importance is given to science fiction/fantasy books that use time travel to explore history, especially when the protagonist asks contemporary questions of the historical characters. In this way, children can connect to the past.

The last essay of the book, "Throwing Shadows," once again emphasizes the importance of metaphor and symbolic language in our lives, so that we can learn from characters who may not be exactly like us. Yolen ends the book with a theme started at the beginning: let humanity be comforted and connected by tales.

Analysis

The strengths of this book are many. The depths to which Yolen probes folklore for answers to humanity's questions gives the genre, which may be cast off by some as fluffy and unimportant or violent and damaging, validation of the complexity and deepness of folktales as a resource for children. The sociological, psychological, emotional, intellectual, historical, and personal impacts fairy tales and fantasy stories may have on children is thoroughly examined.

Though few, there are some weaknesses in this volume. First, some of Yolen's essays are predicated on versions of fairy tales the reader may not be familiar with. While this reviewer is familiar with a Rapunzel story, the one Yolen uses in "Killing the Other" is different; and some of the impact was lost.

One other omission is the lack of analysis of non-European folktales. While she does mention different staple folk characters from around the world, such as "Africa's Trickster Hare," the analyses are on Western-world tales. To remedy this, perhaps Yolen would be willing to write a companion volume analyzing tales from other parts of the world. Her expertise in folklore would draw more attention to tales many may not be familiar with.

Yolen's Style

This book is quite dense. Yolen offers many theories and ways of looking at fairy tales and fantasy stories. Because of this, it may be best to read the volume in several sittings.
Her authoritative voice crosses over into self-importance at times. Given that Yolen believes fairy and fantasy tales are crucial to humanity, and that she herself writes them, one may see aspects of this book as "tooting her own horn." Still, her ideas are useful, and this book is indispensable for anyone wanting to learn about folktales as a whole.

It must be mentioned that Yolen got many of her ideas from other authors and lists them at the end in the "Books for Further Reading" section. Under each essay title sources are listed. There are no in-text references so it is difficult to determine which are Yolen's ideas, unless the reader is familiar with every book listed in the "Further Reading" section.

For Librarians

Touch Magic is not a manual for strategies about sharing fairy and fantasy stories. It does not introduce activities, or give book lists or lesson plans. Rather, this slight volume is all about theory, and may serve to strengthen the librarian's purpose for sharing folklore in the library. The librarian may be more willing to use fairy tales in story times, reader's advisory or programs, especially in light of Yolen's observation that today's children are not being exposed to enough folklore.

Collection development may be impacted also, since librarians may pay more attention to acquiring folk and fantasy tales after reading Touch Magic. This book itself would be an excellent reference tool when a librarian deals with Requests for Reconsideration of Materials, especially when the parent or school board feels the presence of violence in the tales is unnecessary. Because of Yolen's authority on the subjects of fairy tales and fantasy stories, this book can act as a reaffirmation of the genres, even if they contain some violent content.

With all of the emerging material and formats librarians must be familiar with, Touch Magic returns one to the basics: folktales, our need for heroes, and the importance of having a collective bank of stories from which to draw.


Works Cited
Yolen, Jane. Touch Magic Description. http://janeyolen.com/blurbs/touchm.html. Accessed April 14, 2008.

Thank you for sending the books out so quickly in great condition.

This book will touch on deep and meaningful experiences that you have had while reading as a child and reading to children. By reading those perspectives organized into a series of short essays, you will better be able to read and enjoy the classic tales and bring the most meaning to them for yourself and others. Although I spend a great deal of time thinking about children's literature, this book greatly extended by ability to conceptualize the context for benefiting from these stories.

Ms. Yolen begins strongly by pointing out many of the most important distinctions between oral and written literature. Most of our classic children's stories began in the former, and have been migrating into the latter. The story teller plays a great role in the oral tradition, by adjusting the way the story is told to fit the audience. As parents, I think we all do this instinctively with young children, but gradually abdicate that role as the children learn to read silently to themselves. As story tellers, we can help point out the interesting and challenging parts of the stories. In so doing, we increase the likelihood that the child will learn more about what it means to be human.

Many people are concerned because classic folk tales, like Little Red Riding Hood, have many layers of meaning and can be interpreted in some pretty fightening ways. Ms. Yolen cites research showing that children actually like the punishments to be extreme in such stories, as a reflection of their sense of justice. But when should we be able to treat the outsider harshly? Stories like Rumplestiltskin nicely raise that issue. Whenever I review children's books, I try to point out these opportunities for exploring moral issues. One of the strengths of the folk tales is that they are full of moral issues, and questions of choice. For example, even when you take on the powers of magic, there is often a price to be paid.

At another level, these stories capture parts of ourselves. By focusing in an imaginary world, they allow us to concentrate on that little sliver of ourselves. For example, anyone reading Peter Pan will remember sometimes feeling like Wendy and wanting to grow up, and sometimes feeling like Peter Pan and never wanting to grow up. By being poised with a choice on that ambivalence, a person can make a more successful determination about growing up and in what ways. No child would sit still for such a discussion without Barrie's powerful story.

I was also impressed by the argument that we have many concepts that adults do not usually discuss in public company, like death, good, evil, God, and love. The folk and fairy tales are full of such subjects, and the "disbelief" that we suspend helps make us comfortable with dealing in these semi-taboo subjects.

One of the best arguments in the essays is that by going through Alice's Looking Glass these stories must be very true about human nature, or we will reject them. They will simply be too remote and disconnected otherwise. So the more absurd the setting, the higher the potential for touching the universal.

Naturally, there are things that are regrettable in these stories . . . but there are things that are regrettable in life. Moral conversation and discussion will always benefit from an early beginning in life. How will your children find out what you believe, if you do not use stories of all sorts as one context for explaining your ideas and experiences?

I also agree with the praise here for the time travel books that allow us to more realistically consider earlier times. Now that people study so much less history, there is an increasing tendency to assume the past was much like the present. That has never been less true than now, as our knowledge and technology advance so rapidly.

Perhaps the most persuasive argument of all is that these stories give us common metaphors for communicating with one another. In the absence of the Cinderella story, how can children deal with their universal secret suspicion that they were really born to royalty . . . not their own parents . . . and are fated for a great destiny? Having read many versions of Cinderella, as well as having seen the Walt Disney movie, I as shocked when I realized how impoverished this story would be if you had only seen the Walt Disney version. Then, having been shocked, I also remembered thinking how weak I thought the Walt Disney version was the first time I saw it as a youngster. That took me back to an age of consciousness where I had not been for many years. I was grateful for the experience.

After you finish reading this book and considering its many important messages, I suggest that you also read The Golden Bough, which looks at legends and folklore around the world over time. From that perspective, you will begin to appreciate how common our yearnings and intrepretations are of common life issues and circumstances. It makes me feel closer to every other person when that thought resonates throughout my body while reading that outstanding book, like the reverbrations from an enhanting chanson performed by a troubador's medieval song and lute.

May you touch others, and yourself, better through the most universal human stories from the oral tradition! Also, read aloud daily to your children and grandchildren. If you cannot be with them, you can still do this by telephone.

Jane Yolen offers strong reasons for the absolute need children have for stories and fairy tales, in their glory as well as their gore. In brilliant, almost poetic prose, she lends perspective and personal insight into the food for our souls these stories provide. She shares a particularly powerful example from her own childhood, a book by E. Nesbit, THE POWER OF THE AMULET. As a Jewish child in New York City, reading this book in about 1946, she was completely drawn into the fantasy world created. Only as a young adult, upon re-reading years later, did she confront the anti-Semitic bias in the story. Her point is well-taken, that those themes that an adult considers "ugly," are not what a child who lives in fantasy will take from a story.

Her other essays face head-on the objections that many have to the old tales, and she champions them in their original form. In the wake of the uproar created by the Harry Potter books, her essays are well worth considering. We are, as she says, in danger of denying our children their own humanity when we brush aside the many gems of folk and fairy lore.

This is one of the best books I have ever read. It is about a bear, a squirrel, an eagle and a little girl fighting to protect a forest from the rumblers.I would recommed it to any one who likes adventure.

Tribe of Star Bear Victoria Mihalyi Let your imagination soar with the novel Tribe of Star Bear. Victoria Mihalyi's first book is an unforgettable reading experience. In the beginning, Tribe of Star Bear is set in a calm forest, where the birds sing their songs. The atmosphere changes to fear and desperation however as the plot unfolds.

Mihalyi's characters are funny and touching. The forest-folk live much as humans do; they even have a community council. The deer dislike mess and disorder and consider it their job to clean up the left-over peach pits, corn husks and nut-shells left behind by the party-going wild raccoons. Almedon is a wise golden eagle. Bohadea is a kind bear who wishes to make anyone ill well. Ollidollinderi (known as Olli) is a funny squirrel who rides on Amber, a lost little girl who wants to be a part of the tribe. As the Warriors of the Rainbow they must stop the Rumblers from destroying the forest. The novel is based on a Hopi Indian legend, which warns that people will have to band together and work with actions, not words to save the earth. The Rumblers, large mean animals, gorge the forest and leave only black wasteland behind. There is no time for anything. The forest folk unite under the title Tribe of Star Bear and try to defeat the Rumblers. They must leave their homes immediately to get advice and use an old bear Song as their guide.

They start out on their search for Istarna, where they will receive advice and magical talismans. Star Bears great-granddaughter is so old her fur is white. I loved the part where the tribe entered Istarna's cave. The author described the gems and diamonds in the cave so clearly I could picture it perfectly in my mind. Istarna gives them advice and magical talismans to help them with their fight. Pudd Wudd Princeling, the witty cat that they meet just before finding Istarna also gives them advice (in the form of tricky riddles). They meet Pudd Wudd while looking for Istarna ."Don't ignore half moon door" and "At a howl in the night, strike with red light" were just two of his many riddles. The enigmas puzzled them and me for awhile.

I found this a great book to read because I can easily relate to the characters love for the forest. I could see the paths leading to each animal's home, the tall old trees, the smell of the morning dew's dampness, and all the deep rich natural colors. The animals love their forest home where they have lived in peace. In my mind's eye I thought of the Rumblers as big heartless machines. I also enjoyed trying to figure out the cat's riddles and how the tribe would defeat the Rumblers. I found this book very imaginative and magical with its flying bears, talking animals and talismans. It left me sad over the loss of some friends but glad that the Tribe defeated the Rumblers.

This book will capture any reader's mind has left me thinking about it since I finished it. Any child or adult would love this book. As the cat would say " Rum tum tum diddle, no time fiddle"- get reading

I think that The Tribe of Star Bear is a pretty good book. Although, it would not be the same without the arguing Almedon, and the chattering, complaining, Ollidullinderi. It's unlike any other book I've ever read. On a scale of 1 to 10, my favorite books rate this: Baby-Sitters Club - 7, Animorphs - 8, and The Tribe of Star Bear - 10. I have never heard of anything like a Saroo before, except for Hork-Bajir in Animorphs, and even that isn't as strange as a Saroo !

I recommend this book for anyone who has ever loved adventure and excitement.

The book starts with a humble and caring bear named Bohadea. Bohadea was roaming the forest one day, when she found a human girl in a heather-coloured jumper, who's lost, confused, and crying her eyes out. Bohadea takes the girl named Amber, and comforts her. Bohadea's friend squirrel, Ollidollinderi (Olli for short) also comes to help Bohadea comfort the girl. An eagle, named Almedon, shows up as well, but he brings news of a bad nature. The Saroos, the little red people who are obsessed with their prized red crystals, have freed the Rumblers!

Like most forest animals, Bohadea knows the legend of Star Bear. It depicts a time where the forest will be over shadowed and stripped to bare, lifeless soil by the Rumblers. As grim as it may be, the legends also tells of four brave warriors, the Tribe of Star Bear. The Tribe of Star Bear were to destroy the Rumblers and bring life and order back to the forest. Now that the rumblers are free, the need for the Tribe of Star Bear has come.

As Bohadea recites the legend to the small group, they come to realize that they are the Tribe of Star Bear! This odd group of a kind, warm hearted bear, a small, comical squirrel, a lost frightened human girl, and a proud, egomaniac eagle are the famous Tribe of Star Bear!

So, as the group sets off, they use the legend as their directions. They're armed only with determination, spirit, and magical pendants given to them by Instarna, the last living descendant of Star Bear. As they fight to free the forest animals and destroy the Rumblers, they bring together the other warriors of the forest, and rise over their own personal fears.

This book had a very slow start to it. At first, I really didn't understand what was going on. But, as I continued to read on in the book, I became captivated by the story and its characters. As I read on, I found it was hard to put the book down. When I finished the book, I was left with a warm feeling that entwined itself around me.

I would give the book a rating of 4 1/2 stars, due to the slow beginning. I would have to say Victoria Mihalyi did a wonderful job on her first published book.

Tribe of Star Bear Victoria Mihalyi Let your imagination soar with the novel Tribe of Star Bear. Victoria Mihalyi's first book is an unforgettable reading experience. In the beginning, Tribe of Star Bear is set in a calm forest, where the birds sing their songs. The atmosphere changes to fear and desperation however as the plot unfolds. Mihalyi's characters are funny and touching. The forest-folk live much as humans do; they even have a community council. The deer dislike mess and disorder and consider it their job to clean up the left-over peach pits, corn husks and nut-shells left behind by the party-going wild raccoons. Almedon is a wise golden eagle. Bohadea is a kind bear who wishes to make anyone ill well. Ollidollinderi (known as Olli) is a funny squirrel who rides on Amber, a lost little girl who wants to be a part of the tribe. As the Warriors of the Rainbow they must stop the Rumblers from destroying the forest. The novel is based on a Hopi Indian legend, which warns that people will have to band together and work with actions, not words to save the earth. The Rumblers, large mean animals, gorge the forest and leave only black wasteland behind. There is no time for anything. The forest folk unite under the title Tribe of Star Bear and try to defeat the Rumblers. They must leave their homes immediately to get advice and use an old bear Song as their guide. They start out on their search for Istarna, where they will receive advice and magical talismans. Star Bears great-granddaughter is so old her fur is white. I loved the part where the tribe entered Istarna's cave. The author described the gems and diamonds in the cave so clearly I could picture it perfectly in my mind. Istarna gives them advice and magical talismans to help them with their fight. Pudd Wudd Princeling, the witty cat that they meet just before finding Istarna also gives them advice (in the form of tricky riddles). They meet Pudd Wudd while looking for Istarna ."Don't ignore half moon door" and "At a howl in the night, strike with red light" were just two of his many riddles. The enigmas puzzled them and me for awhile. I found this a great book to read because I can easily relate to the characters love for the forest. I could see the paths leading to each animal's home, the tall old trees, the smell of the morning dew's dampness, and all the deep rich natural colors. The animals love their forest home where they have lived in peace. In my mind's eye I thought of the Rumblers as big heartless machines. I also enjoyed trying to figure out the cat's riddles and how the tribe would defeat the Rumblers. I found this book very imaginative and magical with its flying bears, talking animals and talismans. It left me sad over the loss of some friends but glad that the Tribe defeated the Rumblers. This book will capture any reader's mind has left me thinking about it since I finished it. Any child or adult would love this book. As the cat would say " Rum tum tum diddle, no time fiddle"- get reading!

I've just finished reading "Washaka - the bear dreamer" and I simply loved it! Congratulations to the author on this wonderful book! ... it gripped me from the first to the last page. The ending made me cry, though ... as it probably does most readers. But Jamie Lee has done the ending in such a comforting way, not dark and sinister, but full of hope and perspective. Many thanks to her for such an enjoyable read! This story will stay with me for a long while :)

I loved reading Washaka - it was mesmerizing. Probably the only book that ever made me feel as if I were meditating while I read it.

This book really drew me in, reading while the kids got ready for school, while supper was cooking, before bed, anytime there was more then a few minutes free. Finally, I threw myself on the couch and let the world spin around me while I read the last 60 pages. I couldn't put it down. It was one story that I truly didn't know the end 10 pages prior to it happening. I cried, it was sad. It wasn't supposed to happen that way. But yet it was such a beautiful spiritual 'scene'. (that is not the word I want but it wasn't an ending either). To be so connected with both worlds and not at the same time - is something I always believed death would be (& hoped) but never read it with such clarity.

Thanks for the wonderful story! It is one of those books that once finished you sit back to take it all in again, while the characters slowly fade. The story and characters were all so vivid, it was like I was there, sitting on the big boulder looking down on the village myself. I want to keep sitting there, but like all good things, reality jumps in and we all know how it ended. We are coming around to that 7th generation, but not yet.

"Washaka the Bear Dreamer: A Lakota Story Based On Leon Hale's Dreamr" is an engrossing new Lakota story based on a recurring series of dreams experienced by Leon Hale. He enlisted the help of Oglala Lakota College teacher Jamie Lee to commit the story of his dreams to novel form. The effort is so successful the reader cannot put the book down. The effort of communicating and sharing the story also helped Leon Hale to recover from life-threatening health crises. This is a beautiful story of of cross cultural friendship and the necessity of the races learning to get along. It contains a heartfelt record of a collision of cultural values and the failure engendered even between dominant culture members by a loss of respect and esteem for one another. In the book, Little Chief rescues a white boy from torture and beating by his father because of a dream he had of finding a wounded white bear. Little Chief is surrounded by Lakota family who carefully teach him the sacred way to honor his dream with his life. He follows his dream even though it finally costs him his life at the hands of the Others, leaving behind his new wife and little daughter. "Washaka the Bear Dreamer" is a visionary work whose heart is the lesson of compassion. There is not a single flaw or false start in this book. It makes me very proud to be a part of the audience who will appreciate "Washaka the Bear Dreamer" by Jamie Lee.

I was charmed by this book. It is a very engaging and pleasurable read that provides much insight into the ways of Lakota Indian culture and values. I thoroughly enjoyed it, and I know for sure that others will too.

Yesterday's Yarns is an incredible collection of western stories. This is one of those books that you just can't put down. Ken Overcast has a unique writing style that gives you the best of both worlds. You'll get a life-like view of what the "real west" was really like and all the humor he incorporates into his writing makes it an incredibly fun book to read. This is one the whole family can enjoy and I've found that it has made a great gift for family and friends!

I think it is the way he puts the stories together. His writing style itself adds to the humor of the stories. Only a real cowboy could ever think and write this way. It is worth having in your library.

Ken's humor and history are sure to keep you smilin. It's a cinch!

Nothing removes a person from the humdrum of eveyday life faster than a good book. One such good book, "Yesterday's Yarns," will entertain anyone who delves between its covers, whether the reader is a rancher weathered by years on the range or an urban grandmother who has never seen a cow pie in her life.
Yesterday's Yarns, written by Montana rancher and cowboy Ken Overcast, provides good entertainment for readers from all backgrounds. The short stories and vignettes contained in the book consist of both factual and fictional tales of life in the west as observed from a true cowboy's point of view.
Overcast's stories explore family history, repeat tales concerning colorful Montana villains and good guys that helped shape the west, and bring everyday events, such as a pesky neighbor child or an unruly cow, to vivid life.
In his fictional stories, Overcast has the ability to take an ordinary situation, see the humor contained in the predicament, embellish the facts and the characters, and turn out a rollicking good yarn. His factual stories depict life as it was in the old west as well as life in the modern west today. He shares with the reader small gems of little-known Montana history, written in a way that makes a person either want to laugh out loud or weep in despair.
Some of the stories blend fact with fiction. "It's all true except for the part I made up," Overcast observes at one point in the book.
Those of us who live in the west can identify with nearly every story or situation described in the book, such as coming out on the losing end in an argument with a cow, or sleepwalking through a night calving check. The beauty of Overcast's work, however, lies in the fact that those not familiar with our way of life can still read and enjoy the book. They may not understand how to ride a fence line, or recognize a prairie oyster when they see one, but they can still empathize with the situations in the book, appreciate the humor and the eccentrics they meet, and learn a bit about the American west in the process.
I highly recommend this book for urban and rural folks alike.

This collection of humorous anecdotes, little histories, little mysteries, regional folklore, cowboy philosophy, and intimate glimpses into family life on the Northern Ranges is a rewarding cultural tour of the Highline region of Montana.

Ken Overcast himself is the real deal. A real cowboy from a real ranch family in one of the least hospitable agricultural environments in the world, his is the voice of the real West. Unquenchably optimistic, friendly, and as familiar and reassuring as Grandma's oatmeal cookies, his warmly conversational style immediately involves the reader in circumstances sometimes quirky, sometimes profound and with characters who are wise or good or naïve or comically villainous or deadly as a prairie rattlesnake.

These little stories cover just about every topic you could name, from the best excuse ever for being two hours late for school, to an unsolved murder mystery, to advice on what to do if you drop your favorite shovel into the irrigation ditch and then you spot your wife swathing hay in a bikini less than a quarter mile away.

No matter whom you are and no matter where you are, you will find yourself at home with Ken. His delightful stories take you far away from your ordinary day-to-day experiences. He puts you, willing or no, onto the vast Montana ranges or high among the peaks of the Bearpaw Mountains and among people you wish you could know.

I purchased this book with "Hannah is My Name" and I'm so glad I did. When I read it to my young daughter the day we received it, she loved it! She and I had such a wonderful time. She giggled at the name of one of the doves and the children's uncle, and felt happy about the ending.

Perhaps she didn't catch them the first time but I know the profound lessons from the book will reverberate with her as she grows up (because we'll read this book regularly). Without spoiling the story for you, I will say it displays wonderful examples of bravery and empathy. If you want a unique experience (takes place in China) in story telling for your children, this book is it. And what can I say about the artwork but "Wow!"

You and your kids will simply enjoy it as we did -- something to treasure for years to come. Thomas

This is a wonderful story for children and parents. Perhaps even more significant for fathers when they assume authority over feelings.

Belle Yang's illustrations are so colorful and mesmerizing, I had to pore over them several times before I could read the story. A wonderful heartwarming tale with many good family values conveyed. And good lessons to be learned by parents about paying attention to your children's feelings.

Pictures and story are delightful and original. So refreshing to read a children's book where the characters and plot are sweetly unpredictable-- and where the parents make an authentic parenting mistake! So human!
Wonderful entry points for talking with your child about communication, trust, love, longing, and how parents and children can do better.

Belle Yang's latest book `Always Come Home to Me' is another delightful children's story skillfully told by this gifted artist. Her message, that parents will always be there with open arms to welcome you home into a warm, safe nest is an important one for children of all ages. Her wonderful drawings add vivid visual images which tell their own tales. This book will be under the tree of the children in our family and those of our friends this Holiday Season. We look forward to her next publication with anticipation!
Rosemarie Riebold

Ever hear of the ancient mystery religions from the ancient mediterranean world that supposedly influenced the new testament? This is just about the best book to actually read up on what the mystery religions consisted of. A good tool to check out for yourself if there are or are not any parallels between the mystery religions and new testament content.

The book is informative and well presented. It was required reading for a Masters Class, and it augmented the other required reading, as well as the classroom information. The author writes commentary on the background of the mystery, and then the sacred text.

As Marvin M. Meyer explains in his excellent introduction, the Mysteries (from the Greek myein = to close) were associations of individuals: 'The Mysteries were secret religious groups composed of individuals who decided, through personal choice, to be initiated into the profound realities of one deity or another. They joined an association of people united in their quest for personal salvation.'

Unlike the Catholic Church or State religions, the Mysteries had no power base and no organized structure. They were an easy target for those who considered them as enemies or serious rivals in their power search. The Catholic Church attacked them fanatically in speech, picture and scripture. After becoming the official religion under Constantine the Great, the Roman Church convinced emperor Theodosius the Great to commit one of the most savage crimes against humanity: he ordered in A.D. 391 the abolition of all pagan mysteries and the destruction of their sanctuaries, giving at the same time a religious monopoly to the Pope.

This book contains excerpts of very well known works like 'Bakchai' by Euripides or 'The Golden Ass' by Apulejus, but also texts which are difficult to find.
The editor wrote a small introduction for each of the mysteries considered together with excellent bibliographies.

Not to be missed by all those interested in Ancient history.

Marvin W. Meyer's "The Ancient Mysteries: A sourcebook of Sacred Texts" is a splendid resource for original texts pertaining to the ancient Greco-Roman mystery cults. Meyer covers the full range of mystery cults, from the mysteries of Demeter and Persephone, through the mysteries of Dionysos, the Great Mother, Isis, Osiris, and Mithras, finishing with the mysteries within Judaism and Christianity. The texts span a wide spectrum of viewpoints and sources, from relatively objective accounts by period historians, to manuals from within the cults governing discipline and worship, to actual hymns and stories by initiates such as Apuleius's "The Golden Ass." My favorite selection was his excerpts from the Orphic Hymns, reproduced from the incomparable translation by Apostolos Athanassakis, which inspired me to obtain and read the entire book.

Meyer provides a brief introduction to each form of the mysteries that he discusses, along with brief introductions to the excerpts he provides. This book is an excellent introduction to what the mysteries were, and how they were seen and experienced by initiates, dramatists and historians during the period when they flourished.

A very useful source book, I use it often. The division of the book into specific religions/cults makes it easy to use.

The only thing lacking are images/diagrams to supplement the texts.

The chapters on Isis, Osiris and Mithras are excellent.

By this detailed book Daftary submerges into 12th century politics. He carefully retells the history of islam and all of its various sects. The Assassins legends are carefully explained and the truth behind the slanders has been brought to light. The middle-age politics were made under the veil of islam in the middle-east back then. The sect's political ambition is to rise against foregin invasion(that is Selcuk rulers)No credit to tales about drugging men into sacrificing their lives for the promise of heaven. This group were made out of then-persian patriots defending their culture as a way of life.All in all a well-written book worth reading several times all over

This book should be required reading for anyone associated with Ismailism ! Negative propoganda and lack of original but unbiased research on Ismailism have portrayed a very negative image on Ismailis - this book provides a basis in remeyding that problem. You will not regret reading this book !

There's no question that Daftary's work -- like Bernard Lewis' -- is essential reading for anyone studying the Ismailis, or the various legends surrounding the so-called hasheeshians, or assassins. I came across Daftary's work and his Institutue of Ismaili Studies in London as I was preparing the first English translation of ALAMUT, Vladimir Bartol's novel of Hasan ibn Sabbah, the original so-called "assassin."

If Daftary's tone appears to be defensive, he's got several centuries of reasons behind him: since Marco Polo swept through Persia and returned to Italy with fantastic and horrific tales of how "no person, however powerful...could escape assassination" at the hands of the "Old Man of the Mountain" and his band of hashish-eating followers, Ismailis have had their work cut out for them. (Bartol's work certainly doesn't help, largely relying as it does on those myths and fabrications.) Taken together with Lewis' work on the subject, Daftary's study offers a compelling argument against Marco Polo and the bread crumbs of myths that followed him back to Italy.

As the Head of the Department of Academic Research and Publications at the Institute of Islamic studies it is safe to say that Daftary is the foremost expert and scholar in Ismailism today. What makes this book so compelling is that it dares to defy the age old myths of the so called "Assassins". Few books, if any, have provided readers with this perspective, and Daftary pulls it off exceptionally. While the book may be heavy in names, dates and facts they serve to provide credibility and work to dispel the myths that many have worked hard to create. Finally, a piece that gives competing works a run for their money. Anyone who has read other, older and perhaps more popular works about the "Assassin Terrorist" are highly recommended to read Daftary's works as they make a much more convincing argument. The book also elucidates the origins of myth and folklore and how they develop into acceptable facts with time. With all the negativity surrounding Islam and Ismailism today The Assassin Legends gives an opportunity to step back and look the entire picture. Any real scholar would admit that there are two sides to every story, and to study the Assassins without consulting Daftary's works would be committing a sincere injustice.

This is a very interesting and well researched look at the history of the Isma'ilis, and compliments your Middle-Eastern history shelf nicely. It is essentially a history text, though, and heavy on the names/dates/primary sources, and isn't quite so useful if you're looking for actual legends. It is also clearly biased in favor of the Isma'ilis, which is fair considering most Islamic histories are biases against them. Still, this book is a nice addition to the sect's history, but maybe not the best introduction.

Brewer's Dictionary of Phrase and Fable is, without question, a wonderful reference book. All reviews agree that it's unique in scope and content. Read the other reviews for details. I can't really add anything there.

But interestingly, no one focuses on what a great read this book is. I love it because I can just pick it up, open the book to any page at random, and instantly lose myself in the contents of the pages. It's delightful in that you never know what you'll learn (but you always learn something interesting), and you can read as much or as little as you wish, depending on your time or interest. Later on, you can pick up where you left off, or just flip the pages to some other random place in the book

We jokingly refer to it as the world's best "bathroom book."

So, by all means use it as a reference, but don't stop there - read it!

As a resource for any student or scholar, Brewer's is a unique and indispensible resource of esoteric or little known information. I possess the Centenary Edition of 1970 which was discarded from London's Homerton College Library.

Brewer's picks up where other reference books leave off. With approximately six-thousand unusual quotations, the reader will be well read and prepared to take on the day; be it an opening toast, or a debate between orators. I rate it at five stars plus with no hesitation or reservation.

What a book!!! Imagine a dictionary + thesaurus + encyclopedia, all binded together with alphabetically listed topics (sublime,sacred,profane,outrageous,obscure,eldritch,et al) which cross-reference each other through (seemingly) never-ending threads of association,relativity and/or conspiracy!!!

You can start with one subject and find yourself time-traveling through history and mythology...touching on a plethora of events, peoples, places, philosophies and diverse arcana from time immemorial.

I have thouroughly read (and re-read) a much earlier edition(11th) until my pages started falling out. As soon as I get the $$ I'm gonna buy this 16th edition and begin my adventures again.

Highly recommended for those who love this Universe and the multitude of histories intwined.

What I have is this 16th edition, published in 2002. Here's the link to the newest edition, which came out last year: Brewer's Dictionary of Phrase and Fable (17th Edition).

This is a rich resource, but understand that it has a very British bent. You get to learn that "beer and sandwiches" means informal negotiations, the "Dashing White Sergeant" is a Scottish country dance, "Brigg Fair" is an English rhapsody for orchestra, and "Emmets" are what tourists are called in Cornwall. Two pages are devoted to a list of football club nicknames -- The Addicks, the Rokermen, the Mambas...

I also found this description of the Chicago Bears amusing: "A record-breaking professional American football team, with a home base at Wrigley Field."

Despite that outdated info, I still found this useful and enjoyable to read, and I recommend getting it as a reference book for allusions and cultural literacy. There are entries on the Popemobile, Siegfried Line, Lady Bird, a shot in the arm, Iris (the movie), Comstockery, chicken Kiev, golden hello, Suzuki method, KGB, Manchukuo, planned obsolescence, zuppa inglese and Zut alors!

There are also extended entries featuring lists of 20th-century advertising slogans, aircraft names, famous last words, film star nicknames, first lines of novels, medical abbreviations, rock group names, and Soviet sayings.

I never thought I'd describe a reference book as unputdownable, but once you open this book to look one thing up (say, a peculiar expression that someone has just said, "Now why *do* we say that?" about), you'll find yourself reading all the entries in sight! Very useful for anyone with an interest in literature, history, or language and great fun to use, with a distinctly tongue-in-cheek feel to it (the hilarious section on "Famous Last Words", for instance).

It makes a really lovely present for young and old: it looks suitably impressive, has fairly universal appeal provided they're a fan of the written word, and is far livelier than the standard reference books that get trotted out on Important Occasions. I have given this to my best friend, my step-dad, and a second cousin who has just come of age; the latter (aged 13) hasn't been heard from yet (we calculated that there's a pretty good chance he's going to read it, unlike most of the books he's bound to have received), but the other two have adored it, and friends who have been introduced to my copy usually end up spending a good hour leafing through it. A huge number of phrases, expressions, and characters from myth, history and literature are there, but I still want to know where the word "codswallop" comes from...

I highly recommend this translation of Joinville and Villehardouin.

The translator has taken care to translate these works into lucid, contemporary language without dumbing down the writing. Her work has paid off, providing a readable and lively edition still suitable for scholarly review.

Whether you are reading these for enjoyment, personal interest, or academic reasons, this translation is a good one.

I had to read this book in my Medieval and Ranasance Class at OSU. This book gives a first person view of what the Crusades were like. My teenage son has read the book several times and used for several research papers in high school.

These are both excellent accounts of the crusades. Villehardouin proves insightful in what he does not say. A small army of crusaders faces unbelievable odds in Constantinople and yet somehow they conquer and hold this territory. It brings up the question of whether the conquest was an accident or a conspiracy, and a reader can answer that question through careful reading. There are other books wholly committed to this argument of conspiracy vs. accident.

Joinville gives an equally appreciable account of a crusade, this time a failed attempt in Egypt by Saint Louis. Joinville is an author that gives a huge amount of information. The integrity of Louis is apparent as well as the mistakes made by the crusaders (Joinville rarely places direct blame of any failure on Louis, noting instead Louis's brother and his failures.)

This is a well introduced book and is not difficult to read in my opinion.

Chronicles of the Crusades is a chronicle of the Crusades from two of the senior participants who took part in two of the Crusades. The book covers the descriptions of the fourth and the seventh crusades as seen through the eyes of Geoffroy De Villehardouin (who took part in the fourth crusade) and Jean De Joinville (who took part in the seventh crusade). The two chronicles were translated for this book by Margaret Shaw. The book was published in 1963 around the time of her death. The two chronicles give us a look into the two crusades as chronicled through the eyes of two important noblemen of their time. This in itself will taint the purity of the chronicle. Chronicles such as these lay out the justifications for the crusades and tend to gloss over the blemishes. These two are no different. They were written to glorify the Crusaders and surely the writers would not put on ink anything that would later detract from their names. These chronicles do an excellent job of showing how the two chroniclers thought and how they wanted these two crusades remembered. When this book is read this should be kept in mind. The average crusader was a mixture of those driven by greed and religious extremists. The crusaders were allowed to plunder the lands they conquered. In today's terms they were allowed to take war trophies, thus stealing from the inhabitants of the land. They were barbaric in their means of taking the land and the raping of women was allowed, if the women were not of the Christian faith. The fourth crusade received condemnation on its behavior when the Christian city of Constantinople was sacked. This was due to the crusaders raping of the women. This of course is not pointed out by Villehardouin. The chroniclers mention a little of the plunder, but do not mention anything else. Though the chroniclers are quick to point out the cruelty of the Saracens. Margaret Shaw refers to these two chronicles as being the most reliable accounts of the crusades written in French. I would have to disagree that these chronicles should be taken as completely accurate. Joinville refers to Prestor John as if he was a person who actually existed, thus showing that his accounts are not strictly cemented in fact. The chronicles give an overview of the crusades and do not go into much detail on the equipment used and the everyday life of the average crusader. This book is a good book to show the chroniclers thoughts and perspectives but if you are trying to get an accurate picture of what happened during these crusades I would look into other books as well. Such books that describe the opposing views as seen from the Muslim side and other books that can give specifics on how the crusaders lived and their equipment could help in understanding these crusades better. I am giving this book 5 stars because it does accurately convey it's title. It does cover the Chronicles of the Crusades.

The two accounts in _Chronicles of the Crusades_ provide readers with fascinating accounts of the 4th and 7th crusades. Villehardoun's observations of the sack of Constantinople leave some questions regarding whether it was a conspiracy to destroy the city or not; ultimately it is up to the reader to decide... It does, however, provide a window into 12th century warfare and politics.

Joinville's chronicle of the 7th crusade into the Holy Land was similarly fascinating, providing more information about a European's impressions of the Near East and Christian-Islamic conflict than Villehardoun. I much preferred Joinville for this reason. Together, both accounts provide a well-rounded history of the time and place - a tremendously interesting read for professional and armchair historians alike.