Description
The people of the obscure village Erl demand to be ruled by a magic lord, so their ruler sends his son Alveric to Elfland to wed the elfin princess Lirazel. He brings her back to Erl and the couple have a son, but Lirazel has trouble integrating with human society. When a scheme by her father spirits her away and Elfland vanishes, Alveric begins a mad quest to find where Elfland went.
The King of Elfland’s Daughter is written in the pseudo-archaic prose style for which Dunsany is known. Some contemporaries thought the style did not suit a novel-length work, but contemporary Irish writer George Russell called the book “the most purely beautiful thing Lord Dunsany has written.” The book touches on a range of themes, including the longing for fantastical things lost, the perception of time, sanity and madness, the fear of the unknown, and being careful what you wish for. Large passages are also devoted to hunting; the original edition even featured an illustration of a unicorn hunt opposite the title page. Neil Gaiman wrote an introduction to the 1999 edition, and Christopher Lee was a featured vocalist on a 1977 progressive rock album based on the book.
Description
The Gods of Pegāna, Lord Dunsany’s first published book, is a strange and wondrous creation. In it he creates the pantheon of gods who rule over the titular world. The prose alternates between being biblical, high-minded, and childish, with the gods frustrating their human subjects through their single-minded and often completely inscrutable actions. When they’re not busy being mysterious, they’re busy taking revenge on each other.
It’s possible these short tales were written to convey lessons about life, death, and the nature of belief, though the rhythmic simplicity of the prose and the strange and often petty nature of the gods leaves that up to debate. Regardless, The Gods of Pegāna is a fascinating and influential read.