THE WILLOWS AND OTHER STORIES
Algernon Blackwood was one of the first true masters of horror and weird fiction. This deluxe oversized slipcase hardcover, illuminated by illustrations from the brilliant designer and graphic storyteller Paul Pope, makes a powerful argument for his rightful place as one of the most important genre writers of the 20th century. It features the novella THE WILLOWS, four short stories spanning Blackwood's career, and an introduction by the renowned British horror writer Ramsey Campbell.
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THE WILLOWS AND OTHER STORIES
Algernon Blackwood was one of the first true masters of horror and weird fiction. This deluxe oversized slipcase hardcover, illuminated by illustrations from the brilliant designer and graphic storyteller Paul Pope, makes a powerful argument for his rightful place as one of the most important genre writers of the 20th century. It features the novella THE WILLOWS, four short stories spanning Blackwood's career, and an introduction by the renowned British horror writer Ramsey Campbell.
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THE WILLOWS AND OTHER STORIES

THE WILLOWS AND OTHER STORIES

THE WILLOWS AND OTHER STORIES

THE WILLOWS AND OTHER STORIES

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Overview

Algernon Blackwood was one of the first true masters of horror and weird fiction. This deluxe oversized slipcase hardcover, illuminated by illustrations from the brilliant designer and graphic storyteller Paul Pope, makes a powerful argument for his rightful place as one of the most important genre writers of the 20th century. It features the novella THE WILLOWS, four short stories spanning Blackwood's career, and an introduction by the renowned British horror writer Ramsey Campbell.

Product Details

ISBN-13: 9781948886000
Publisher: Pace Products, Incorporated
Publication date: 09/10/2019
Series: Illuminated Editions
Pages: 144
Product dimensions: 9.00(w) x 12.00(h) x (d)

About the Author

ALGERNON BLACKWOOD (14 March 1869 – 10 December 1951) was an English short story writer and novelist, one of the most prolific writers of ghost stories in the history of the genre. He was also a journalist and a broadcasting narrator. S. T. Joshi has stated that "his work is more consistently meritorious than any weird writer's except Dunsany's" and that his short story collection Incredible Adventures (1914) "may be the premier weird collection of this or any other century". H.P. Lovecraft said that "of the quality of Mr. Blackwood’s genius there can be no dispute. [...] He is the one absolute and unquestioned master of weird atmosphere." His work has had an enormous impact on 20th century horror, fantasy, sci-fi and literary fiction. PAUL POPE (b.1970) is an American artist/designer living and working in New York City. He has been working primarily in comics and screenprinting since the early '90s, but has also done a number of projects with Italian fashion label Diesel Industries and, in the US, with DKNY. HIs recent collaboration with Errolson Hugh/Acronym for Nike’s AF1 debuted spring 2017. His media clients include LucasArts, NBC, Disney, Cartoon Network, Marvel Comics, DC Comics, Conde-Naste, Kodansha (Japan), Sapporo (Japan), Dargaud Editions (France), EMI Canada, The Grateful Dead Estate, and The British Film Institute. His iconic Batman: Year 100, a science fiction take on the classic Batman origin tale, appears frequently on many Top 10 Batman story lists. In 2010 Pope was recognized as a Master Artist by the American Council Of The Arts. His short science fiction comic strip Strange Adventures (DC Comics)—an homage to the Flash Gordon serials of the '30s— won the coveted National Cartoonist Society's Reuben Award for Best Comic Book of the year. He has won 5 Eisners to date. His latest book, Battling Boy, debuted at #1 on the New York Times best-seller list, his third book to hit the NYT Top 10. RAMSEY CAMPBELL (born 4 January 1946 in Liverpool) is an English horror fiction writer, editor and critic who has been writing for well over fifty years. Since he first came to prominence in the mid-1960s, critics have cited Campbell as one of the leading writers in his field: T. E. D. Klein has written that "Campbell reigns supreme in the field today", and Robert Hadji has described him as "perhaps the finest living exponent of the British weird fiction tradition", while S. T. Joshi stated, "future generations will regard him as the leading horror writer of our generation, every bit the equal of Lovecraft or Blackwood." He is the author of more than forty novels.

Read an Excerpt

After leaving Vienna, and long before you come to Budapest, the Danube enters a region of singular loneliness and desolation, where its waters spread away on all sides regardless of a main channel, and the country becomes a swamp for miles upon miles, covered by a vast sea of low willow-bushes. On the big maps this deserted area is painted in a fluffy blue, growing fainter in color as it leaves the banks, and across it may be seen in large straggling letters the word Sumpfe, meaning marshes. In high flood this great acreage of sand, shingle-beds, and willow-grown islands is almost topped by the water, but in normal seasons the bushes bend and rustle in the free winds, showing their silver leaves to the sunshine in an ever-moving plain of bewildering beauty. These willows never attain to the dignity of trees; they have no rigid trunks; they remain humble bushes, with rounded tops and soft outline, swaying on slender stems that answer to the least pressure of the wind; supple as grasses, and so continually shifting that they somehow give the impression that the entire plain is moving and alive. For the wind sends waves rising and falling over the whole surface, waves of leaves instead of waves of water, green swells like the sea, too, until the branches turn and lift, and then silvery white as their underside turns to the sun. Happy to slip beyond the control of the stern banks, the Danube here wanders about at will among the intricate network of channels intersecting the islands everywhere with broad avenues down which the waters pour with a shouting sound; making whirlpools, eddies, and foaming rapids; tearing at the sandy banks; carrying away masses of shore and willow-clumps; and forming new islands innumerably which shift daily in size and shape and possess at best an impermanent life, since the flood-time obliterates their very existence. Properly speaking, this fascinating part of the river's life begins soon after leaving Pressburg, and we, in our Canadian canoe, with gipsy tent and frying-pan on board, reached it on the crest of a rising flood about mid-July. That very same morning, when the sky was reddening before sunrise, we had slipped swiftly through still-sleeping Vienna, leaving it a couple of hours later a mere patch of smoke against the blue hills of the Wienerwald on the horizon; we had breakfasted below Fischeramend under a grove of birch trees roaring in the wind; and had then swept on the tearing current past Orth, Hainburg, Petronell (the old Roman Carnuntum of Marcus Aurelius), and so under the frowning heights of Thelsen on a spur of the Carpathians, where the March steals in quietly from the left and the frontier is crossed between Austria and Hungary. Racing along at twelve kilometers an hour soon took us well into Hungary, and the muddy waters—sure sign of flood—sent us aground on many a shingle-bed, and twisted us like a cork in many a sudden belching whirlpool before the towers of Pressburg (Hungarian, Poszony) showed against the sky; and then the canoe, leaping like a spirited horse, flew at top speed under the grey walls, negotiated safely the sunken chain of the Fliegende Brucke ferry, turned the corner sharply to the left, and plunged on yellow foam into the wilderness of islands, sandbanks, and swamp-land beyond—the land of the willows. The change came suddenly, as when a series of bioscope pictures snaps down on the streets of a town and shifts without warning into the scenery of lake and forest. We entered the land of desolation on wings, and in less than half an hour there was neither boat nor fishing-hut nor red roof, nor any single sign of human habitation and civilization within sight. The sense of remoteness from the world of humankind, the utter isolation, the fascination of this singular world of willows, winds, and waters, instantly laid its spell upon us both, so that we allowed laughingly to one another that we ought by rights to have held some special kind of passport to admit us, and that we had, somewhat audaciously, come without asking leave into a separate little kingdom of wonder and magic—a kingdom that was reserved for the use of others who had a right to it, with everywhere unwritten warnings to trespassers for those who had the imagination to discover them. Though still early in the afternoon, the ceaseless buffetings of a most tempestuous wind made us feel weary, and we at once began casting about for a suitable camping-ground for the night. But the bewildering character of the islands made landing difficult; the swirling flood carried us in shore and then swept us out again; the willow branches tore our hands as we seized them to stop the canoe, and we pulled many a yard of sandy bank into the water before at length we shot with a great sideways blow from the wind into a backwater and managed to beach the bows in a cloud of spray. Then we lay panting and laughing after our exertions on the hot yellow sand, sheltered from the wind, and in the full blaze of a scorching sun, a cloudless blue sky above, and an immense army of dancing, shouting willow bushes, closing in from all sides, shining with spray and clapping their thousand little hands as though to applaud the success of our efforts. "What a river!" I said to my companion, thinking of all the way we had traveled from the source in the Black Forest, and how he had often been obliged to wade and push in the upper shallows at the beginning of June.

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