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Repackaged to feature Tolkien’s own painting of the Tree of Amalion, this collection includes his famous essay, ‘On Fairy-stories’ and the story that exemplifies this, ‘Leaf by Niggle’, together with the poem ‘Mythopoeia’ and the verse drama, ‘The Homecoming of Beorhtnoth’, which tells of the events following the disastrous Battle of Maldon.Fairy-stories are not just for children, as anyone who has read Tolkien will know. In his essay On Fairy-Stories, Tolkien discusses the nature of fairy-tales and fantasy and rescues the genre from those who would relegate it to juvenilia. The haunting short story, Leaf by Niggle, recounts the story of the artist, Niggle, who has ‘a long journey to make’ and is seen as an allegory of Tolkien’s life.The poem Mythopoeia relates an argument between two unforgettable characters as they discuss the making of myths. Lastly, and published for the very first time, we are treated to the translation of Tolkien’s account of the Battle of Maldon, known as The Homecoming of Beorhtnoth.Tree and Leaf is an eclectic, amusing, provocative and entertaining collection of works which reveals the diversity of J.R.R. Tolkien’s imagination, the depth of his knowledge of English history, and the breadth of his talent as a creator of fantastic fiction.

A story spanning centuries. A long awaited revenge.In London, journalist Jo Clifford plans to debunk the belief in past-lives in a hard-hitting magazine piece. But her scepticism is shaken when a hypnotist forces her to relive the experiences of Matilda, Lady of Hay, a noblewoman during the reign of King John.She learns of Matilda's unhappy marriage, her love for the handsome Richard de Clare, and the brutal death threats handed out by King John, before it becomes clear that Jo’s past and present are inevitably entwined. She realises that eight hundred years on, Matilda’s story of secret passion and unspeakable treachery is about to repeat itself…Barbara Erskine’s iconic debut novel still delights generations of readers thirty years after its first publication.

Book four of the celebrated Deverry series, an epic fantasy rooted in Celtic mythology that intricately interweaves human and elven history over several hundred years.Book four of the celebrated Deverry series, an epic fantasy rooted in Celtic mythology that intricately interweaves human and elven history over several hundred years.

Spooky and absorbing. I was gripped from the first page! CASS GREENThere’s a stranger in your house…When her stepmother dies unexpectedly, Caro returns to her childhood home in Derbyshire. She hadn’t seen Elizabeth in years, but the remote farmhouse offers refuge from a bad relationship, and a chance to start again.But going through Elizabeth’s belongings unearths memories Caro would rather stay buried. In particular, the story her stepmother would tell her, about two little girls and the terrible thing they do.As heavy snow traps Caro in the village, where her neighbours stare and whisper, Caro is forced to question why Elizabeth hated her so much, and what she was hiding. But does she really want to uncover the truth?A haunting and twisty story about the lies we tell those closest to us, perfect for fans of Ruth Ware and Cass Green.Readers love CUCKOO: ‘Spooky and absorbing. I was gripped from the first page’ CASS GREEN ‘A remarkably, taut and chilling debut. I absolutely loved it. Brilliant writing. All the creepiness. A heart-stopping ending’ CLAIRE ALLAN‘Sophie Draper is a remarkable new voice, combining beautiful writing with a gothic creepiness and a level of suspense which will keep the reader gripped to the end’ STEPHEN BOOTH'A brilliant, sinister debut that creeps under your skin and keeps you hooked until the shocking ending' ROZ WATKINS‘Wow! This is what a horror story is supposed to be! Super spooky and absolutely wonderful in all its gothic glory’ NETGALLEY REVIEWER‘The ending was amazing. Psychological fiction at its best. Five Stars’ NETGALLEY REVIEWER ‘I never use the term «jaw-dropping» but it best describes the rest of this spectacular read!’ NETGALLEY REVIEWER ‘Stands up there near to of the top of the pile with narratives like «The Woman in the Window» and of course «The Girl on the Train».’ NETGALLEY REVIEWER ‘The ending BLEW. ME. AWAY. I feel like I’m going to have a book hangover now. SO, SO GOOD’ NETGALLEY REVIEWER

The lost tales of ‘Animal-land’, written and illustrated by C.S. Lewis and his brother Warnie, which they developed into the chronicles of the kingdom of Boxen, newly published to mark the centenary of the first story.Half a century before the publication of The Chronicles of Narnia, C.S. Lewis created another imaginary world. The tales of ‘Animal-land’ which eight-year-old Jack (as his family knew him) had shared with his brother Warnie developed into the chronicles of the kingdom of Boxen. In a succession of stories over the next few years, the young Lewis explored its history, geography and the colourful exploits of its inhabitants in vivid detail, writing the last of the papers, his Encyclopedia Boxoniana, in April 1928.This landmark edition marks the centenary of the very first Boxen manuscript. Here are all the stories, some never before seen, sensitively edited and arranged to make the most of the fabulous and inventive fantasy while retaining all the vigour of a child’s imaginative writing. Lavishly and charmingly illustrated by the author, and published for the very first time in colour, together with facsimile pages from the original notebooks, this book will provide a unique insight into one of the most extraordinary minds of our age. For every reader who has been captivated by the magic of Narnia, Boxen will open a window on to another enchanted land.

The world first publication of a previously unknown work of fantasy by J.R.R. Tolkien, which tells the powerful story of a doomed young man who is sold into slavery and who swears revenge on the magician who killed his father.Kullervo son of Kalervo is perhaps the darkest and most tragic of all J.R.R. Tolkien’s characters. ‘Hapless Kullervo’, as Tolkien called him, is a luckless orphan boy with supernatural powers and a tragic destiny.Brought up in the homestead of the dark magician Untamo, who killed his father, kidnapped his mother, and who tries three times to kill him when still a boy, Kullervo is alone save for the love of his twin sister, Wanona, and guarded by the magical powers of the black dog, Musti. When Kullervo is sold into slavery he swears revenge on the magician, but he will learn that even at the point of vengeance there is no escape from the cruellest of fates.Tolkien wrote that The Story of Kullervo was ‘the germ of my attempt to write legends of my own’, and was ‘a major matter in the legends of the First Age’; his Kullervo was the ancestor of Túrin Turambar, tragic incestuous hero of The Silmarillion. In addition to being a powerful story in its own right, The Story of Kullervo – published here for the first time with the author’s drafts, notes and lecture-essays on its source-work, The Kalevala, is a foundation stone in the structure of Tolkien’s invented world.

Unavailable for more than 70 years, this early but important work is published for the first time with Tolkien’s ‘Corrigan’ poems and other supporting material, including a prefatory note by Christopher Tolkien.Set ‘In Britain’s land beyond the seas’ during the Age of Chivalry, The Lay of Aotrou and Itroun tells of a childless Breton Lord and Lady (the ‘Aotrou’ and ‘Itroun’ of the title) and the tragedy that befalls them when Aotrou seeks to remedy their situation with the aid of a magic potion obtained from a corrigan, or malevolent fairy. When the potion succeeds and Itroun bears twins, the corrigan returns seeking her fee, and Aotrou is forced to choose between betraying his marriage and losing his life.Coming from the darker side of J.R.R. Tolkien’s imagination, The Lay of Aotrou and Itroun, together with the two shorter ‘Corrigan’ poems that lead up to it and which are also included, was the outcome of a comparatively short but intense period in Tolkien's life when he was deeply engaged with Celtic, and particularly Breton, myth and legend.Originally written in 1930 and long out of print, this early but seminal work is an important addition to the non-Middle-earth portion of his canon and should be set alongside Tolkien’s other retellings of myth and legend, The Legend of Sigurd and Gudrún, The Fall of Arthur and The Story of Kullervo. Like these works, it belongs to a small but important corpus of his ventures into ‘real-world’ mythologies, each of which in its own way would be a formative influence on his own legendarium.

After 75 years, The Hobbit translated for the first time into Latin. Fascinating for Latin learners and for Tolkien fans of all ages.In foramine terrae habitabat hobbitus. (‘In a hole in the ground, there lived a hobbit.’)The Hobbit, published 75 years ago, has become one of the world’s most popular classic stories, appealing to adults as much as to the children for whom J.R.R. Tolkien first wrote the book. Translated worldwide into more than 60 modern languages, now Hobbitus Ille is finally published in Latin, and will be of interest to all those who are studying the language, whether at school or at a higher level.In the great tradition of publishing famous children’s books in Latin, professional classicist and lifelong Tolkien fan Mark Walker provides a deft translation of the entire book. His attention to detail, including the transformation of Tolkien’s songs and verses into classical Latin metres, will fascinate and entertain readers of all ability, even those with only a minimal acquaintance with the language.

The lost classic masterpiece of magical realms, admired by Tolkien and the great prototype for The Lord of the Rings and modern fantasy fiction.On the far side of darkness lies a world where two mighty forces are making ready for a war of kingdom against kingdom, warrior against witch, and honour against treachery. It is a world that beckons Edward Lessingham and is totally at odds with his Edwardian background.Torn by greater passions than mere mortals can know, the adventure-loving lords of Demonland are pitted against the cruel enchantments of the witch-king Gorice XII. As swords cross with clash of steel, they begin their odyssey in glory and terror.E.R. Eddison’s masterpiece stands as one of the great prototypes of modern fantasy fiction. The intricately woven themes of high adventure, sorcery and the conflict between good and evil transport the reader to epic worlds beyond imagination.

In the Tale of The Fall of Gondolin are two of the greatest powers in the world. There is Morgoth of the uttermost evil, unseen in this story but ruling over a vast military power from his fortress of Angband. Deeply opposed to Morgoth is Ulmo, second in might only to Manwë, chief of the Valar.Central to this enmity of the gods is the city of Gondolin, beautiful but undiscoverable. It was built and peopled by Noldorin Elves who, when they dwelt in Valinor, the land of the gods, rebelled against their rule and fled to Middle-earth. Turgon King of Gondolin is hated and feared above all his enemies by Morgoth, who seeks in vain to discover the marvellously hidden city, while the gods in Valinor in heated debate largely refuse to intervene in support of Ulmo's desires and designs. Into this world comes Tuor, cousin of Túrin, the instrument of Ulmo's designs. Guided unseen by him Tuor sets out from the land of his birth on the fearful journey to Gondolin, and in one of the most arresting moments in the history of Middle-earth the sea-god himself appears to him, rising out of the ocean in the midst of a storm. In Gondolin he becomes great; he is wedded to Idril, Turgon's daughter, and their son is Eärendel, whose birth and profound importance in days to come is foreseen by Ulmo. At last comes the terrible ending. Morgoth learns through an act of supreme treachery all that he needs to mount a devastating attack on the city, with Balrogs and dragons and numberless Orcs. After a minutely observed account of the fall of Gondolin, the tale ends with the escape of Tuor and Idril, with the child Eärendel, looking back from a cleft in the mountains as they flee southward, at the blazing wreckage of their city. They were journeying into a new story, the Tale of Eärendel, which Tolkien never wrote, but which is sketched out in this book from other sources.Following his presentation of Beren and Lúthien Christopher Tolkien has used the same 'history in sequence' mode in the writing of this edition of The Fall of Gondolin. In the words of J.R.R. Tolkien, it was ‘the first real story of this imaginary world’ and, together with Beren and Lúthien and The Children of Húrin, he regarded it as one of the three 'Great Tales' of the Elder Days.

Painstakingly restored from Tolkien’s manuscripts and presented for the first time as a continuous and standalone story, the epic tale of Beren and Lúthien will reunite fans of The Hobbit and The Lord of the Rings with Elves and Men, Dwarves and Orcs and the rich landscape and creatures unique to Tolkien’s Middle-earth.The tale of Beren and Lúthien was, or became, an essential element in the evolution of The Silmarillion, the myths and legends of the First Age of the World conceived by J.R.R. Tolkien. Returning from France and the battle of the Somme at the end of 1916, he wrote the tale in the following year.Essential to the story, and never changed, is the fate that shadowed the love of Beren and Lúthien: for Beren was a mortal man, but Lúthien was an immortal Elf. Her father, a great Elvish lord, in deep opposition to Beren, imposed on him an impossible task that he must perform before he might wed Lúthien. This is the kernel of the legend; and it leads to the supremely heroic attempt of Beren and Lúthien together to rob the greatest of all evil beings, Melkor, called Morgoth, the Black Enemy, of a Silmaril.In this book Christopher Tolkien has attempted to extract the story of Beren and Lúthien from the comprehensive work in which it was embedded; but that story was itself changing as it developed new associations within the larger history. To show something of the process whereby this legend of Middle-earth evolved over the years, he has told the story in his father's own words by giving, first, its original form, and then passages in prose and verse from later texts that illustrate the narrative as it changed. Presented together for the first time, they reveal aspects of the story, both in event and in narrative immediacy, that were afterwards lost.