Where Fairies Lurk: A Journey into the Spiderwick Chronicles
The Spiderwick Chronicle is a captivating series that invites readers into a world where the line between the mundane and the magical is blurred. Written by Holly Black with enchanting illustrations by Tony Diterlizzi, the series is divided into two parts: the original quintet and a sequel trilogy titled Beyond the Spiderwick Chronicles.
This series will captivate readers who revel in tales where the real and the fantastical intertwine, especially appealing to middle-grade readers who appreciate a darker, more authentic take on childhood adventures.
The Spiderwick Chronicles
The original series follows the Grace children – Jared, Simon, and Mallory – as they uncover a hidden world of faeries and other fantastical beings upon moving into the decrepit Spiderwick Estate.
1. The Field Guide: The siblings discover Arthur Spiderwick’s field guide and the unseen world it reveals.
2. The Seeing Stone: With a magical stone, Jared sees the invisible world, leading to a daring rescue.
3. Lucinda’s Secret: The Graces seek their great-aunt Lucinda’s wisdom, delving deeper into the mystery.
4. The Ironwood Tree: A kidnapping at school drags the siblings into a deeper, darker adventure.
5. The Wrath of Mulgarath: The ultimate confrontation with Mulgarath to save their mother and the guide.
Beyond the Spiderwick Chronicles
This sequel-series to the Spiderwick Chronicles follows eleven-year-old Nick Vargas, his big brother Julian, and their new step-sister Laurie as they discover giants, mermaids, and fire-breathing salamanders who threaten their Florida home. Jared, Simon, and Mallory from the original series also make guest appearances.
1. The Nixie’s Song: A new adventure with a nixie’s cry for help, introducing new characters and challenges.
2. A Giant Problem: The children face off against a destructive giant, testing their courage and ingenuity.
3. The Wyrm King: The thrilling conclusion, where the siblings confront the serpent king to restore balance.
Storyteller and Artist Complement Each Other in The Spiderwick Chronicles:
Holly Black’s writing in “The Spiderwick Chronicles” stands out for its acknowledgment of the darker, more perilous aspects of childhood. The series does not shy away from showing that children can and do face real dangers, adding a layer of authenticity to their encounters with the fairy realm.
Tony Diterlizzi’s art breathes life into this shadowy world. His black-and-white illustrations are a window into the eerie and the whimsical, perfectly capturing the essence of each character and creature. The slightly unsettling depiction of goblins adds a tangible sense of danger, complementing Black’s narrative beautifully.
If you’ve been enthralled by the adventures of the Grace children and the magical world they navigate, I invite you to join me on a similar journey into the heart of Slavic folklore. I’m currently working on a collection of Slavic fairy tales for children, where the mystical and the monstrous coexist in stories that are as inspiring as they are instructive. By subscribing to my email list, you’ll gain insight into a world where “the sight” might reveal Baba Yaga’s hut on chicken legs or a domovoi guarding the hearth. Let’s explore these enchanting tales together and discover the magic hidden in plain sight.
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UPDATE — This blog post includes text and images generated with the assistance of OpenAI’s models. I provided detailed prompts, curated the outputs, and made edits, but the majority of the content was created with AI assistance. This disclosure aligns with my commitment to transparency under the EU AI Act. Disclosure added on November 18, 2024 to align with transparency requirements under the EU AI Act.
This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License. Portions of this content were generated using OpenAI’s models, with significant curation, editing, and creative input by E. S. O. Martin. AI-generated portions may not be subject to copyright under current laws.
From Vintage Photos to Vivid Fantasies: The Art of Being Peculiar
Ransom Riggs’s Miss Peregrine’s Home for Peculiar Children is a series that stands out in the young adult genre, weaving a tapestry of eerie vintage photographs into a narrative teeming with supernatural powers and hidden sanctuaries. What sets this series apart is not just its unique storytelling method, but its exploration of what it means to be special in a world that fears the extraordinary.
One of the interesting features of this series is that its writing was inspired by eerie vintage photographs, which Ransom Riggs has woven into the books.
This is absolutely one of my all-time favorite young adult series.
1. Miss Peregrine’s Home for Peculiar Children — Introduces Jacob, who discovers the reality behind his grandfather’s tales of a home sheltering children with extraordinary abilities, upon visiting a mysterious island which has a time loop that takes Jacob back to the 1940s.
2. Hollow City — Jacob and his peculiar friends embark on a journey across war-torn Europe, seeking to cure Miss Peregrine, who is stuck in bird form.
3. Library of Souls — The peculiars face a formidable foe and uncover new aspects of the peculiar world, leading to a thrilling quest for liberation and identity.
4. A Map of Days — The peculiars venture into America, exploring new time loops and confronting the challenges of a vastly different world.
5. The Conference of the Birds — Jacob’s story takes a turn as he follows clues that might lead to a powerful new ally.
6. The Desolation of Devil’s Acre — The series concludes with a climactic battle, testing the peculiar’s strength, resolve, and the very nature of their peculiarities.
Tales of the Peculiar — A short story collection of fairy tales set in the world of the peculiar. Throughout the series, Jacob and his friends keep referencing a book called “Tales of the Peculiar,” which has stories about imbrins, children who can remove nightmares from people’s dreams, and stories of boys turning into birds, and stories of cannibals. This is that book. It is a sort of “Grimm’s Book of Fairy Tales” for the Peculiar World.
Jacob’s journey from grief to the discovery of his own peculiarities is both a thrilling adventure and a chillingly eerie tale of self-discovery. Riggs masterfully crafts a narrative that is as haunting as it is beautiful, making “Miss Peregrine’s Home for Peculiar Children” a series that will resonate deeply with any reader who has ever felt out of place. Although these book were written for a young adult audience, I definitely felt like they had an emotional depth that would resonate with adults as well.
What I adored the most about this series is its ability to transport readers into a world where the peculiar is celebrated, and the boundaries of reality are expanded by the power of imagination. Riggs doesn’t talk down to his audience. These books are a poignant reminder of the magic that lies in accepting our own peculiarities and in how empowering it is to find a tribe of your own, even if your family of origin rejects you.
If you liked this review, feel free to share it with a friend and/or sign up for my VIP Reader’s Club so that you can get blog posts like these straight to your inbox. Members of my Reader’s Club also get updates on my works in progress, and exclusive offers.
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UPDATE — This blog post includes text and images generated with the assistance of OpenAI’s models. I provided detailed prompts, curated the outputs, and made edits, but the majority of the content was created with AI assistance. This disclosure aligns with my commitment to transparency under the EU AI Act. Disclosure added on November 18, 2024 to align with transparency requirements under the EU AI Act.
This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License. Portions of this content were generated using OpenAI’s models, with significant curation, editing, and creative input by E. S. O. Martin. AI-generated portions may not be subject to copyright under current laws.
Katherine Arden’s “The Winternight Trilogy” is an enchanting journey into 14th century Russia, masterfully blending historical reality with folklore. Arden, an American author who lived in Russia, crafts a narrative that is as immersive as it is impressive, particularly given her young age at the time of writing the first book.
Book Summaries:
1. The Bear and the Nightingale: This book introduces Vasya, a young woman with the rare ability to see and interact with magical creatures. The story sets the stage for the conflict between traditional Russian folklore and the Orthodox Church, embodied in the tension between Vasya and the zealot priest Konstantin.
2. The Girl in the Tower: The second book sees Vasya venturing beyond her village, challenging societal norms and expectations. Her journey intertwines with larger political dynamics and continues to explore the clash between ancient beliefs and emerging religious doctrines.
3. The Winter of The Witch: The final installment culminates in the lead-up to a significant historical event, marking the unification of various tribes into what would become Russia. Here, the series reaches its climax, with Vasya playing a pivotal role in the unfolding events.
Arden’s portrayal of 14th century Russia is unflinchingly honest, capturing its brutal and misogynistic aspects. The series, while marketed as adult fantasy, can also resonate with older young adults, thanks to its thoughtful balance of violence and sexual content.
“The Winternight Trilogy” is a testament to Arden’s ability to weave historical authenticity with magical realism. It stands out as a poignant reminder of the power of storytelling in bridging the past with the present, and the fantastical with the real.
Personal Note on Current Events:
In light of the ongoing conflict between Russia and Ukraine, it’s important to acknowledge the historical context that shapes our understanding of these nations. While this series celebrates Russian folklore and history, it’s also crucial to stand in solidarity with Ukraine in the current crisis. I hope for a peaceful resolution to this conflict and extend my support to all those affected by these tragic events.
If you want to learn about more books like this, don’t forget to sign up for my VIP Reader’s Club for more book reviews, articles about slavic lore, and updates on my current works in progress. As a Thank You for signing up for my Reader’s Club, you will receive a FREE short story from me, showcasing my own work in this slavic fantasy world.
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UPDATE — This blog post includes text and images generated with the assistance of OpenAI’s models. I provided detailed prompts, curated the outputs, and made edits, but the majority of the content was created with AI assistance. This disclosure aligns with my commitment to transparency under the EU AI Act. Disclosure added on November 18, 2024 to align with transparency requirements under the EU AI Act.
This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License. Portions of this content were generated using OpenAI’s models, with significant curation, editing, and creative input by E. S. O. Martin. AI-generated portions may not be subject to copyright under current laws.
Monsters and Morals: From Polish Folklore to Fantasy Phenomenon
No book blog about Polish-inspired fantasy could be complete without mentioning The Witcher Series by Andrzej Sapkowski, who has a huge international cult following and is probably one of the most famous Polish writers of our time.
Andrzej Sapkowski’s “The Witcher” series is a remarkable foray into the depths of fantasy, blending the traditional with the unique. Set in a fairy-tale medieval Europe, the series revolves around Geralt of Rivia, a Witcher – a genetically enhanced sword-for-hire tasked with slaying monsters. However, his adventures delve into the complexities of justice, good, and evil.
The series is enriched with a cast of compelling characters: the powerful sorceress Yennefer, the enigmatic Ciri, a warrior-princess with the ability to traverse time and space, and Dandelion, Geralt’s loyal friend and minstrel.
The Series at a Glance:
The Last Wish — A short story collection, which is commonly recommended as a starting point to the series. The first season of the Netflix serial “The Witcher” is based on this book. The timeline of this first collection (and season 1) is fragmented.
Sword of Destiny — A short story collection, often recommended as book of the series, since it continues many of the stories from The Last Wish.
Blood of Elves — A full-length novel, continuing the story of Geralt, Yennefer, and Ciri.
Lady of the Lake — Often seen as the final novel in The Witcher saga, Ciri has entered another dimension, where she seem to travel through time.
Season of Storms — This short story collection is seen as a kind of epilogue to the Witcher saga.
The novels are a deep dive into Polish mythology, bringing to life creatures like strzygas and kikimoras. This aspect was particularly fascinating, offering a glimpse into a rich, less-explored mythological world.
However, the series is marked by intense violence, catering to an adult audience. (Read: NOT FOR KIDS.)
A striking difference from the television adaptation is the portrayal of Geralt. In the books, he is far from the stoic figure seen on screen. Instead, he’s a deeply philosophical and talkative character, often engaging in profound discussions with Dandelion about morality. This introspective version of Geralt adds layers to the character and the narrative, enriching the reader’s experience.
Sapkowski’s series is more than a fantasy saga; it’s a complex exploration of philosophical themes, set against a backdrop of rich Slavic folklore and relentless action. While the graphic violence might not be for everyone, the series offers a unique and engaging experience, especially for those intrigued by the depth and diversity of European mythology.
If you want to learn about more books like this, don’t forget to sign up for my VIP Reader’s Club for more book reviews, articles about slavic lore, and updates on my current works in progress. As a Thank You for signing up for my Reader’s Club, you will receive a FREE short story from me, showcasing my own work in this slavic fantasy world.
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UPDATE — This blog post includes text and images generated with the assistance of OpenAI’s models. I provided detailed prompts, curated the outputs, and made edits, but the majority of the content was created with AI assistance. This disclosure aligns with my commitment to transparency under the EU AI Act. Disclosure added on November 18, 2024 to align with transparency requirements under the EU AI Act.
This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License. Portions of this content were generated using OpenAI’s models, with significant curation, editing, and creative input by E. S. O. Martin. AI-generated portions may not be subject to copyright under current laws.
Mokosh: The Slavic Goddess of Earth, Fertility, and Women’s Destinies
Mokosh, the Earth Goddess
In the rich tapestry of Slavic mythology, Mokosh stands out as one of the most revered goddesses. She is seen as the divine mother, the Earth Goddess, the goddess of weaving, agriculture, and the home.
In a culture that was often patriarchal, Mokosh was the goddess who looked out for women, their destinies, their health, their desires, their work, their sexuality, and their offspring.
Mokosh, goddess of wheat
Mokosh is often depicted as a powerful female figure, embodying both the sensual and maternal aspects of the harvest. She was a provider, a nurturer, and a protector.
She is closely associated with the earth’s fertility, ensuring the abundance of crops and the well-being of the community.
Mokosh, goddess of the harvest
Symbols and Worship
Representations of Mokosh often includes symbols of fertility and femininity, such as sheaves of wheat, spinning wheels, and water. These symbols reflect her importance in an agrarian society, where the cycle of sowing, growing, and harvesting was central to survival and prosperity.
Mokosh, goddess of spinning
Her favorite tree was the Linden tree. Her favorite animals were the sheep and the spider.
The worship of Mokosh persisted even as Slavic societies transitioned from paganism to Christianity, with many of her attributes and symbols being absorbed into veneration of the Virgin Mary.
Mokosh: Goddess of Sensuality
Mokosh’s presence in Slavic mythology is marked by her deep connections to the natural world and the cycles of life.
She is often portrayed as having a complex relationship with both Perun, god of the sky, and Veles, god of the underworld, as both gods sought to win her affections.
Perun, bringing gifts for Mokosh
Perun brought Mokosh wheat and flowers, fragrant from the warmth of the sun. With Perun, Mokosh delighted in the light, the rain, and the wind. He promised protection and strength.
Veles, bringing gifts for Mokosh
Veles brought snakes and worms to help Mokosh keep the soil healthy, so that it could become more fertile. With Veles, Mokosh enjoyed the water, the moist earth, and the decomposition that returned nutrients to the soil. He promised dreams, darkness, rest, magic, and mystery.
When Mokosh became pregnant, each suitor was overjoyed, thinking he had been chosen as Mokosh’s favorite and that she would choose him as her husband.
Mokosh, goddess of fertility
The Great Storm: The Epic Rivalry Between Perun and Veles
Mokosh gave birth to twins, one with the golden hair of Perun, and one with the black hair of Veles. Not only had Mokosh refused to choose between the gods, she had taken them both as her consorts.
Mokosh and her twin children: Jarillo (spring/summer) and Marzanna (autumn/winter)
Perun’s jealousy flared. Thunderstorms gathered and lightning struck the earth. Perun turned into a giant eagle and challenged Veles to an epic battle over Mokosh’s affections, and the right to raise her children. Perun attacked Veles, determined to banish him from Yawia, the land of the living, once and for all.
Yet Veles, ever the shape-shifter, evaded Perun’s wrath. Veles changed his form into a tree, into a human, into a serpent, into a bull. He hid in the shadows, and he hid amongst the sheep and the trees. And finally, when Perun found him, Veles took the form of a dragon and fought back.
The world shook as the two divine suitors battled for Mokosh and for dominance over the earth—for, indeed, their rivalry predated Mokosh.
The Great Storm: The Battle Between Perun and Veles
Mokosh’s Choice
To prevent the world from being torn apart, Mokosh intervened. In her heart, Mokosh harbored love for both gods, for each represented vital aspects of the world she cherished.
Mokosh bade Perun and Veles to look at the world and at all the destruction they had caused to her lands in their jealous rage. They saw crops that had been charred and flattened. They saw people and animals, cowering in the fields and forests. They saw deserts, which had been deprived of Veles’s waters and nutrients.
Mokosh, goddess of women’s destinies
Mokosh knew that a healthy landscape needed the attentions of both the sky and the land and waters, and there needed to be balance. A world with only sky and fire could not sustain life.
To ensure peace, Mokosh proposed that Perun and Veles each take the other’s child to foster and raise as their own. The golden-haired boy, Jarilo, was given to Veles to raise as his son. The dark-haired girl, Marzanna, was given to Perun to raise as his daughter.
Mokosh, in the overworld during the summer
In this way, Mokosh negotiated peace between the sky and the land below.
Mokosh’s story is just one of many in the captivating world of Slavic mythology. To delve deeper into these ancient tales and explore the legends of gods, heroes, and mythical beings, join our Reader’s Club newsletter. Receive updates on new entries in the “Slavic Spirits” series and immerse yourself in the enchanting narratives that have shaped centuries of Slavic culture.
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UPDATE — This blog post includes text and images generated with the assistance of OpenAI’s models. I provided detailed prompts, curated the outputs, and made edits, but the majority of the content was created with AI assistance. This disclosure aligns with my commitment to transparency under the EU AI Act. Disclosure added on November 18, 2024 to align with transparency requirements under the EU AI Act.
This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License. Portions of this content were generated using OpenAI’s models, with significant curation, editing, and creative input by E. S. O. Martin. AI-generated portions may not be subject to copyright under current laws.
The Cosmic Egg had cracked open, but this brand new universe was very simple. World only consisted of opposites.
Light and dark.
Up and down.
Sky and Water.
In this realm, the gods began to form from the raw essences of life. It first there were only two gods: Perun and Veles.
Perun, God of the Sky
Perun, god of the sky, floating on the surface of the water.
Perun is a pivotal diety in Slavic mythology, often associated with thunder, lightning, storms, rain, law, war, fertility, and oak trees.
Regarded as the chief god by many Slavic tribes, Perun’s imagery frequently includes weapons like axes or hammers. He is sometimes pictured riding a chariot, or taking the form of an eagle. He embodies the might of the heavens and is revered as a powerful protector and warrior. But he is also seen as fiery, quick-tempered, and rigid.
But when this story begins and the universe was new, the mighty god Perun did not have much to rule over. In the beginning, he found himself floating on a boat in a vast ocean, staring up at the empty sky. Sometimes, to alleviate his boredom, he would take the form of an eagle and soar over the waters.
But everywhere he flew, there was only sky and water, and nowhere to land except for his scanty little boat.
Veles, God of the Waters
Veles, god water and the underworld, walking along the ocean floor.
Veles is the Slavic god of the underworld. He is the god of earth, water, forests, the underworld, music, magic, trickery, cattle, livestock, and wealth. And, yes, he is also the god of the afterlife.
Known for his shapeshifting abilities, Veles can transform into various forms, including a mighty dragon or serpent, animals (particularly cattle or sheep), and even as trees, showcasing his mastery over magic and his role as a protector of livestock. His favorite tree was the willow.
Veles was also known as being a bit of a trickster, similar to Hermes and Loki. In Slavic mythology, he often used his his cunning to prod Perun and evade his wrath.
When the world was new, Veles’s domain was everything below the water. He watched over the chaos and wildness of all the creatures of the sea. The fish and crustaceans and sea serpents, and all the wild and magical monsters that later humans would draw in unexplored corners of the map.
And yet, when Veles looked upward toward the surface of the water, into Perun’s domain where he saw a vast expanse of nothingness, he saw potential for so much more.
The Genesis of Land
Veles swam up to the surface and approached Perun, floating in his boat.
“The world yearn for complexity,” Veles said. He proposed the creation of land, as an in-between space above the waters and beneath the sky, upon which life could grow. “But I can’t create this land myself. I will need you help.”
Perun, too, longed for more, and so he agreed to work with Veles in creating this new plane.
Veles dove down into the waters, down to the deepest, darkest depths of the sea. When he reached the bottom, he scooped a handful of sand into his mouth, and swam back up to the surface.
Up at the surface, he spit the sand into Perun’s hand, and Perun scattered the sand across the surface of the sea.
Where the sand hit the water, land formed.
How the Land Grew
The first patch of land was very small. Barely big enough for the two gods to stand on, side by side.
They began to argue over who would be in control of this land. Soon, the gods were pushing and shoving each other, fighting for more room. Veles pushed Perun. Perun shoved Veles back.
Veles tried to toss Perun down into the water, but everywhere Perun stepped, the land extended beneath him. He was the god of the over-world and could not be drowned. Perun changed into a bird and tried to carry Veles up into the sky so that he could drop him. But Veles was the god of the underworld and could not be lifted without his consent. Everywhere he stepped, the land extended beneath him, because he, too, had had a hand in its creation.
After age of fighting, the two gods paused for breath. When they looked around, they saw that the land had extended around them as far as the eye could see. They realized that there was now plenty of land for the both of them to share.
And in the place where the first land had been created, there grew an immense oak tree that extended up to the heavens and down into the soil. This was the tree of life, the world tree.
The two gods agreed to make a temporary peace.
Perun created an eagle, which flew him up to the very top of the world tree, a place he called Prawia, which was a place of gods and spirits yet to be born.
Perun, flying to the top of the World Tree on his white eagle.
Veles created a dragon-serpent called Zmej, and the two of them burrowed down to the upside-down world among the roots of the world tree, where Veles made himself a throne of gold, and Zmey curled among the tree roots in a nest of wool. In this place, they created a paradise of the souls of the dead.
Veles, in his underworld kingdom with his dragon Zmey.
Each god had retreated to their own kingdoms, one above and one below.
Life Hatched From a Firebird’s Egg
Perun, up in the sky, looked dow at the barren landscape and felt profound sadness at its emptiness. From his height, Perun could see the vast complexities of life in the oceans and in the soil—in Veles’s domain—and felt envy. He would not be outdone by Veles. He wished for the same richness of life to exist on the surface of the earth.
Up in the land of Prawia, Perun met with the other gods to seek their council.
It was believed that Perun’s parents were Svarog and Łada, who were believed to be the first two gods to have formed from the cosmic egg. Svarog was the god of fire and blacksmithing. Łada was the goddess of love, marriage, beauty, and joy.
Svarog, god of fire. Łada, goddess of love.
And Rod, god of newborn souls, of family, kinship, and birth. He was a gardener, tending the upper branches of the World Tree, where new souls were born.
Rod, god of family, kinship.
With their help, Perun, conjured a golden bird that glowed so brightly it looked as if it had been made from fire. Indeed, it was made of fire. This magical bird has often been imagined as the first firebird, the phoenix, a creature with the ability to create itself anew from the ashes of its former self.
Firebird/Phoenix brought the golden egg to start life on earth, Yawia, the land of the living.
Perun, Łada, Svarog, and Rod sent the bird down to the barren landscape. The rooster laid an egg, which cracked on the dry landscape. The egg whites oozed over the surface of the shell, and wherever it touched the land, a river sprang up from the soil, bringing fresh water all across the land. From the golden yellow yolk of the egg, all other forms of life emerged. Vast, golden fields of wheat and grass spread across the land. Animals emerged to eat the wheat. Humans emerged to tend the wheat and the animals.
And from the yoke, a new god emerged. The goddess Mokosh, diety of the earth and the fields, of fertility, fecundity, spinning, and everything having to do with women and childbirth.
Mokosh, the Earth goddess
She was beautiful and and so enchanting that both Perun and Veles fell in love.
But that’s another story for another day.
To explore more tales from the Slavic pantheon please consider signing up to for my Reader’s Club newsletter to receive monthly writing updates, book reviews, and notifications about more blog posts like this one.
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UPDATE — This blog post includes text and images generated with the assistance of OpenAI’s models. I provided detailed prompts, curated the outputs, and made edits, but the majority of the content was created with AI assistance. This disclosure aligns with my commitment to transparency under the EU AI Act. Disclosure added on November 18, 2024 to align with transparency requirements under the EU AI Act.
This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License. Portions of this content were generated using OpenAI’s models, with significant curation, editing, and creative input by E. S. O. Martin. AI-generated portions may not be subject to copyright under current laws.
