A look at all aspects of gnome life, their origins and fashions, their pastimes, opinions and culinary tastes. It examines urban gnomes, suburban, bucolic and wild ones.

Myth is oral, collective, sacred, and timeless. Fantasy is a modern literary mode and a popular entertainment. Yet the two have always been inextricably intertwined. Stories about Stories examines fantasy as an arena in which different ways of understanding myth compete and new relationships with myth are worked out. The book offers a comprehensive history of the modern fantastic as well as an argument about its nature and importance. Specific chapters cover the origins of fantasy in the Romantic search for localized myths, fantasy versions of the Modernist turn toward the primitive, the post-Tolkienian exploration of world mythologies, post-colonial reactions to the exploitation of indigenous sacred narratives by Western writers, fantasies based in Christian belief alongside fundamentalist attempts to stamp out the form, and the emergence of ever-more sophisticated structures such as metafiction through which to explore mythic constructions of reality.

This is not a book of facts; it's a book of 'facts'. Should you finish it believing we became the planet's dominant species because predators found us too smelly to eat; or that the living bloodline of Christ is a family of Japanese garlic farmers - well, that's on you. Why are we here? Do ghosts exist? Did life on Earth begin after a badly tidied-up picnic? Was it just an iceberg that sank the Titanic? Are authors stealing their plotlines from the future? Will we ever talk to animals? And why, when you're in the shower, does the shower curtain always billow in towards you? We don't know the answers to any of these questions. But don't worry, no matter what questions you have, you can bet on the fact that there is someone (or something) out there, investigating it on your behalf. From the sports stars who use cosmic energy to office plants investigating murders, The Theory of Everything Else will act as a handbook for those who want to think differently.

The Papago Indians of the American Southwest say butterflies were created to gladden the hearts of children and chase away thoughts of aging and death. "How the Butterflies Came to Be" is one of twenty-four Native American tales included in "Native American Animal Stories." The stories, coming from Mohawk, Hopi, Yaqui, Haida and other cultures, demonstrate the power of animals in Native American traditions.
Parents, teachers and children will delight in lovingly told stories about "our relations, the animals." The stories come to life through magical illustrations by Mohawk artists John Kahionhes Fadden and David Fadden.
"The stories in this book present some of the basic perspectives that Native North American parents, aunts and uncles use to teach the young. They are phrased in terms that modern youngsters can understand and appreciate ... They enable us to understand that while birds and animals appear to be similar in thought processes to humans, that is simply the way we represent them in our stories. But other creatures do have thought processes, emotions, personal relationships...We must carefully ccord these other creatures the respect that they deserve and the right to live without unnecessary harm. Wanton killings of different animals by some hunters and sportsmen are completely outside the traditional way that native people have treated other species, and if these stories can help develop in young people a strong sense of the wonder of other forms of life, this sharing of Native North American knowledge will certainly have been worth the effort." --excerpt from the forward by Vine Deloria, Jr.
These stories first appeared in "Keepers of the Animals: Native American Stories and Wildlife Activities for Children" by Michael J. Caduto and Joseph Bruchac

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

__________________ 'Easily my read of the year. Sheer perfection from start to finish' - Catherine Doyle 'A beautiful and profound retelling' - Madeline Miller, author of CIRCE and THE SONG OF ACHILLES 'Utterly transporting ... This dynamic feminist retelling is illustrated with stunning, polychromatic power' - Guardian Books of the Year __________________ A dazzling, feminist retelling of Greek myth from the internationally bestselling author of The Miniaturist, stunningly illustrated by Olivia Lomenech Gill. Exiled to a far-flung island by the whims of the gods, Medusa has little company except the snakes that adorn her head instead of hair. But when a charmed, beautiful boy called Perseus arrives on the island, her lonely existence is disrupted with the force of a supernova, unleashing desire, love and betrayal... Filled with glorious full-colour illustrations by award-winning Olivia Lomenech Gill, this astonishing retelling of Greek myth is perfect for readers of Circe and The Silence of the Girls. Illuminating the girl behind the legend, it brings alive Medusa for a new generation. __________________ '... a must read for women of all ages' - Red Magazine '... stole my heart from its first fierce lines' - Mary Watson 'A beautiful and compassionate retelling that gives the serpent-headed monster of myth a powerful and haunting humanity' - Jennifer Saint '... an impressive addition to the shelves of feminist retellings, balancing rage with beautiful storytelling' - Irish Times 'It's an ideal gift for teenage girls finding their voice and their power' - Stylist 'Gift ideas for the book lovers in your life'