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The Great Encyclopedia of Faeries
A folio size encyclopedia of fairy lore and legend. Illustrated in color throughout.
184 pages, Hardcover
First published November 9, 1996
About the author
Pierre Dubois
241 books17 followersPierre Dubois est né en 1945 à Charleville, dans les Ardennes. D'une enfance passée dans les livres et sur les sentiers forestiers, il retire un amour du merveilleux qui ne le quittera jamais, au point de devoir se créer son propre métier: elficologue. Patiemment, de récits en livres oubliés, il accumule un savoir que, tels ces druides des temps jadis, il n'a de cesse de transmettre. Scénariste de téléfilms et conteur pour France 3 Bretagne, il est également auteur de romans et d'encyclopédies fantastiques ("La Grande Encyclopédie des Lutins", celle des "Fées" et enfin celle des "Elfes", ainsi que "Le dictionnaire de la féérie") qui compilent ses connaissances pléthoriques. Passionné par l'image, il a également beaucoup oeuvré dans la bande dessinée: "Laïyna" avec Hausman, "Lutins et Red Caps" avec Stéphane Duval, "Le Torte" et "Saskia des Vagues" avec Rollin, "Petrus Barbygère" avec Sfar. Une oeuvre aussi fournie que sa barbe qui a vu également fleurir "La Légende du Changeling" réalisée avec Xavier Fourquemin pour Le Lombard, ou encore "Capitaine Trèfle" où il retrouve René Hausman.
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Displaying 1 - 30 of 31 reviews
August 2, 2013
Freddy Krueger getting a paragraph was the last straw for me (page 45). This is a lousy book. It is one of those pathological fantasy "authorities" which redefines its subject to include many, many things which don't belong (e.g. deities and Asian monsters).
The cover art is beautiful, but don't expect the drawings within the book to measure up. (Some do; most don't. It's fair but falls short of enchanting.)
Lots of exposed breasts. How did the publishers think they could get away with putting racy content in a book that already had so many shortcomings (some of which I describe below)?
The writer makes an occasional citation, but their placement seems arbitrary. Why would he want support for detail X and not countless others? I have the feeling while reading that I couldn't trust them very far, and the citations did nothing to put me at ease.
The descriptions seem always to be lacking. There is never enough depth to get any sort of feeling, and there is only rarely any snatch of any story to illustrate the creature. No real history or origin story is offered. The paucity of depth notwithstanding, the author appears (to me) to expect the reader to come with an understanding of the difference between kobolds, hobgoblins, etc. Is this supposed to be an introductory or an advanced material?
The writer runs roughshod over the traditions of some regions to promulgate his own chosen mythos. For some creatures, the writer fails to indicate the country or region to region retains or from which it originates. For others, he asserts a false history of his own making to indicate that the creature once lived in country A better move to country B because people A drove it away. (Inauthentic)
The cover art is beautiful, but don't expect the drawings within the book to measure up. (Some do; most don't. It's fair but falls short of enchanting.)
Lots of exposed breasts. How did the publishers think they could get away with putting racy content in a book that already had so many shortcomings (some of which I describe below)?
The writer makes an occasional citation, but their placement seems arbitrary. Why would he want support for detail X and not countless others? I have the feeling while reading that I couldn't trust them very far, and the citations did nothing to put me at ease.
The descriptions seem always to be lacking. There is never enough depth to get any sort of feeling, and there is only rarely any snatch of any story to illustrate the creature. No real history or origin story is offered. The paucity of depth notwithstanding, the author appears (to me) to expect the reader to come with an understanding of the difference between kobolds, hobgoblins, etc. Is this supposed to be an introductory or an advanced material?
The writer runs roughshod over the traditions of some regions to promulgate his own chosen mythos. For some creatures, the writer fails to indicate the country or region to region retains or from which it originates. For others, he asserts a false history of his own making to indicate that the creature once lived in country A better move to country B because people A drove it away. (Inauthentic)
October 5, 2015
Sadly disappointed. Not great and really not an encyclopedia. More like an author retelling a mis mash of stories. At least half of the tales you cannot even tell what area of the world the legends are supposed to be from. Mostly, it is a collection of tales with whichever type of fey as one of the characters. But there are really bad errors. How do you screw up Morgan le Fey? Cecily Mary Barker created the Flower Fairies and, no, she did not create them based on fairy lore. She created them based on flower lore and they each are for specific flowers and the lore of that flower. Red Riding Hood as well as Hansel and Gretel did not go off deliberately into the forest to hunt for the mysteries of the fairies. I have read books from the 1800's that were some of the first written accounts of those stories and , while they may have differences than the cleaned up, watered down versions we have today, there was nothing on purpose by the children in Hansel and Gretel about getting lost in the forest. Having read books on folklore and fairylore for most of my life these are based so loosely on some tales that the only connection you find is the sharing of a name. I was really disappointed as the write up I had read made it sound like a real encyclopedia where I could learn which lore was from what country, etc. More scholarly as it were instead of another fairy tale book.
December 27, 2008
a thorough, beautifully illustrated book.
October 23, 2010
Beautiful!!!!
Read
October 20, 2023Honestly, it amazes my that my parents let me at this one as a yoot, though demonstrably I took no harm from it. A Daedalus acquisition, I wager.
September 8, 2025
a relict from my childhood: terrifying, whimsical, and utterly magical.
December 5, 2018
The book is so original.
March 31, 2026
As someone who grew up obsessed with fantasy stories, I thought any encyclopedic volume about faeries would be fun, imaginative, and absorbing. However, as a collection of faerie folklore compiled by French self-proclaimed elficologist Pierre Dubois and illustrated by husband-and-wife team Claudine and Roland Sabatier, The Great Encyclopedia of Faeries is too much of a pseudo-academic mess to be readable; it’s hyperfixated on weird topics and willing to embellish to the point of perplexity. It’s full of imagination and rich detail like an exceptionally detailed catalog, but my main takeaway from this book was that I think Dubois might have been drinking too much faerie juice.
Divided into six major sections — maidens of clouds and of time, the faeries of the hearth, the golden queens of the middle world, the faeries of rivers and the sea, the maidens of the green kingdoms, the ethereal ones of infinite dreams — The Great Encyclopedia of Faeries focuses on on the behaviors, habits, and characteristics of faeries. In each of the six major sections, Dubois highlights several dozen types of faeries and provides a fact sheet (with each fairy’s size, appearance, clothes, habitat, food, and customs/activities) that I would have been obsessed with memorizing as a kid. He delves into their apparent historical and linguistic origins, their circumstantial appearances, their literary references, and their personalities and natures; he also tells many of their origin stories and famous myths. According to Dubois, faeries are luminous, insubstantial, illusory, benevolent or malevolent, beyond human comprehension, integral to literature, foundational to myth and legend. They occupy liminal spaces and deal in the integral affairs of humans: birth, growth, death, rebirth, seasons, months, holidays, light, forests, waters, celestial bodies, homes, food, silence, wishes, sleep, dreams, nightmares, marriage, intercourse, pregnancy, healing, travel, music, the afterlife, vengeance, sorrow, lust, flight, beauty, ghosts, witchcraft, temptation, reward, punishment, and the boundaries between our world and other realms.
Dubois’ definition of “faerie” seems extraordinarily broad, incorporating everything from sprites, mermaids, saints, genies, gods, dragons, ghosts, demons, crones, maidens, sirens, warriors, and witches to freaking Freddy Krueger and Count Dracula. I learned some interesting tidbits of legend here and there — Julius Caesar and Morgan le Fay had twin sons and one of them became the faerie king?? — but none that truly made me want to know more about what Dubois writes about. I often struggled to understand why certain faeries were grouped together; the sections aren’t logical or consistent. I felt that Dubois’ list was all-inclusive and ill-defined, incorporating a lot of things I wouldn’t have included and not organizing them very well. The vast majority of the faeries included in this book are from European folklore (Irish, French, English, Italian, Russian, German, and the Balkans, among others), but Dubois branches out to include some African, Indian, and East Asian creatures as well. As we all know, every culture since the beginning of literature has said some variation of “Don’t mess with the fae,” and Dubois takes great pains to illuminate as many as he can think of. Greek mythology, Celtic folklore, European fairytales, and Arthurian legend are some other major inspirations; some unique characters like the Fates, Oberon and Mab, and the Lady of the Lake appear alongside the broader categories of faeries.
I was shocked by the sheer volume of Dubois’ writing in this book: every single page is sprawling with lengthy exposition and a level of detail any scientist would be proud of. However, Dubois manages to write in a style that is so heavily obfuscated that logic and engagement seem to be the last thing on the writer’s mind. The Great Encyclopedia of Faeries is so wordy and pseudo-scholarly that it feels inaccessible, like he’s either making up every single fact in the book or is drawing on academia so advanced that the average person can’t follow it. His introductory comments are nebulous to the extreme, every sentence and phrase seemingly crafted to fit a flowy aesthetic rather than to convey actual information. Dubois is bent on convincing us that he was visited and inspired by real faerie creatures, and that their ways can only be partially understood by humans. His vocabulary is impressive, combining real words like “efflorescent,” “crepuscular,” and “arborescence” with his own invented words like “fufolion,” “paraphelian,” and “lacteipennean.” Dubois showcases dozens and dozens of pop-out quotes about faeries from a wide range of literature — everything from A Midsummer Night’s Dream to The Nightmare Before Christmas — and his prose is vivid enough to sometimes make you wonder if he did, in fact, meet the faeries. There is an undeniable whimsical charm to the idea of a faerie encyclopedia, and Dubois delivers on the boatloads of enchanting word choices and descriptions.
Unfortunately, the huge majority of The Great Encyclopedia of Faeries is completely invented, embellished, or reimagined by Dubois, making it feel like a weird combination of litany, prose, and academia. He includes allusions to historical figures meeting faeries but provides no bibliography, no citations, no primary sources that we can do any further research with It’s one thing to create an original work that draws vague inspiration from traditional mythology, but it’s another to present your book as an actual catalog of mythology and then make everything up. I was also a bit shocked by some of the content in this book — Dubois doesn’t shy away from the sex, violence, and sexual violence of faerie history, nor do the Sabatiers hold back on some gruesome illustrations or nudity. The extreme, constant emphasis on the female body and sexuality (⁹⁄₁₀ of the faeries listed are decidedly female) may be permissible in French literature, but it’s awfully weird where I come from. It’s certainly not a volume I’d recommend for anyone under thirteen, but even then I’d be hesitant if only because Dubois is so determined to talk about as many naked women as possible. I wasn’t a huge fan of the Sabatiers’ illustrations either. Some sketches are colorful, eye-catching, and imaginative, but the pictures for the most part are grotesque and unattractive, clunky and unnecessarily sexualized. Any charming landscape illustrations I enjoyed were immediately tainted by whatever child-skewering monster or au naturel lady was on the next page.
If you’re looking for an imaginative pseudofiction catalog of every magical creature in one particular French elficologist’s repertoire, The Great Encyclopedia of Faeries is probably the book for you. It’s fiction presenting itself as nonfiction, a strange barely-related hodgepodge of embellished facts that is thorough but highly lacking in consistency, character, and an understanding of his target audience. Dubois is about as eccentric a writer as I’ve come across recently, and unfortunately his passion for the faerie realm doesn’t translate itself very well to an encyclopedic catalog.
Divided into six major sections — maidens of clouds and of time, the faeries of the hearth, the golden queens of the middle world, the faeries of rivers and the sea, the maidens of the green kingdoms, the ethereal ones of infinite dreams — The Great Encyclopedia of Faeries focuses on on the behaviors, habits, and characteristics of faeries. In each of the six major sections, Dubois highlights several dozen types of faeries and provides a fact sheet (with each fairy’s size, appearance, clothes, habitat, food, and customs/activities) that I would have been obsessed with memorizing as a kid. He delves into their apparent historical and linguistic origins, their circumstantial appearances, their literary references, and their personalities and natures; he also tells many of their origin stories and famous myths. According to Dubois, faeries are luminous, insubstantial, illusory, benevolent or malevolent, beyond human comprehension, integral to literature, foundational to myth and legend. They occupy liminal spaces and deal in the integral affairs of humans: birth, growth, death, rebirth, seasons, months, holidays, light, forests, waters, celestial bodies, homes, food, silence, wishes, sleep, dreams, nightmares, marriage, intercourse, pregnancy, healing, travel, music, the afterlife, vengeance, sorrow, lust, flight, beauty, ghosts, witchcraft, temptation, reward, punishment, and the boundaries between our world and other realms.
“Now, at this moment when forgotten wishes may come to mind and be granted, it is time for the wanderer among the Faeries to set out on the road to faerieland and adventure, and perhaps to become lost in meeting them…”
Dubois’ definition of “faerie” seems extraordinarily broad, incorporating everything from sprites, mermaids, saints, genies, gods, dragons, ghosts, demons, crones, maidens, sirens, warriors, and witches to freaking Freddy Krueger and Count Dracula. I learned some interesting tidbits of legend here and there — Julius Caesar and Morgan le Fay had twin sons and one of them became the faerie king?? — but none that truly made me want to know more about what Dubois writes about. I often struggled to understand why certain faeries were grouped together; the sections aren’t logical or consistent. I felt that Dubois’ list was all-inclusive and ill-defined, incorporating a lot of things I wouldn’t have included and not organizing them very well. The vast majority of the faeries included in this book are from European folklore (Irish, French, English, Italian, Russian, German, and the Balkans, among others), but Dubois branches out to include some African, Indian, and East Asian creatures as well. As we all know, every culture since the beginning of literature has said some variation of “Don’t mess with the fae,” and Dubois takes great pains to illuminate as many as he can think of. Greek mythology, Celtic folklore, European fairytales, and Arthurian legend are some other major inspirations; some unique characters like the Fates, Oberon and Mab, and the Lady of the Lake appear alongside the broader categories of faeries.
I was shocked by the sheer volume of Dubois’ writing in this book: every single page is sprawling with lengthy exposition and a level of detail any scientist would be proud of. However, Dubois manages to write in a style that is so heavily obfuscated that logic and engagement seem to be the last thing on the writer’s mind. The Great Encyclopedia of Faeries is so wordy and pseudo-scholarly that it feels inaccessible, like he’s either making up every single fact in the book or is drawing on academia so advanced that the average person can’t follow it. His introductory comments are nebulous to the extreme, every sentence and phrase seemingly crafted to fit a flowy aesthetic rather than to convey actual information. Dubois is bent on convincing us that he was visited and inspired by real faerie creatures, and that their ways can only be partially understood by humans. His vocabulary is impressive, combining real words like “efflorescent,” “crepuscular,” and “arborescence” with his own invented words like “fufolion,” “paraphelian,” and “lacteipennean.” Dubois showcases dozens and dozens of pop-out quotes about faeries from a wide range of literature — everything from A Midsummer Night’s Dream to The Nightmare Before Christmas — and his prose is vivid enough to sometimes make you wonder if he did, in fact, meet the faeries. There is an undeniable whimsical charm to the idea of a faerie encyclopedia, and Dubois delivers on the boatloads of enchanting word choices and descriptions.
“To dream of Faeries is to return to the dreams of eternal childhood, to the beauty of the earliest images.”
Unfortunately, the huge majority of The Great Encyclopedia of Faeries is completely invented, embellished, or reimagined by Dubois, making it feel like a weird combination of litany, prose, and academia. He includes allusions to historical figures meeting faeries but provides no bibliography, no citations, no primary sources that we can do any further research with It’s one thing to create an original work that draws vague inspiration from traditional mythology, but it’s another to present your book as an actual catalog of mythology and then make everything up. I was also a bit shocked by some of the content in this book — Dubois doesn’t shy away from the sex, violence, and sexual violence of faerie history, nor do the Sabatiers hold back on some gruesome illustrations or nudity. The extreme, constant emphasis on the female body and sexuality (⁹⁄₁₀ of the faeries listed are decidedly female) may be permissible in French literature, but it’s awfully weird where I come from. It’s certainly not a volume I’d recommend for anyone under thirteen, but even then I’d be hesitant if only because Dubois is so determined to talk about as many naked women as possible. I wasn’t a huge fan of the Sabatiers’ illustrations either. Some sketches are colorful, eye-catching, and imaginative, but the pictures for the most part are grotesque and unattractive, clunky and unnecessarily sexualized. Any charming landscape illustrations I enjoyed were immediately tainted by whatever child-skewering monster or au naturel lady was on the next page.
If you’re looking for an imaginative pseudofiction catalog of every magical creature in one particular French elficologist’s repertoire, The Great Encyclopedia of Faeries is probably the book for you. It’s fiction presenting itself as nonfiction, a strange barely-related hodgepodge of embellished facts that is thorough but highly lacking in consistency, character, and an understanding of his target audience. Dubois is about as eccentric a writer as I’ve come across recently, and unfortunately his passion for the faerie realm doesn’t translate itself very well to an encyclopedic catalog.
August 10, 2011
Une mine d'or d'émerveillement, de poésie et d'humour. Si vous voulez tout savoir sur les dryades, les sidhe, les fées Morgane, les dames rouges, les dames blanches, les fuath, les babouchka, les tempestaires, les Tante Arie & autres Wilda Berchta, etc., etc. précipitez-vous! Notre elficologue national nous rappelle à quel point notre folklore est riche. Je ne m'en lasse jamais. Périodiquement, j'y retourne, me perd dans ses pages, feuillette, rêvasse, aidé par les merveilleuses illustrations. Un enchantement qui m'est indispensable.
June 22, 2022
Terrible. I bought this book when I was young, thinking it was Brian Froud's Good Faeries/Bad Faeries.
Full of janky art, huge exposed breasts, appropriated deities and art. An image of a prehistoric Venus figure is used to illustrate some sort of female rape demon. It's honestly extremely offensive.
Another story was illustrated by a drawing of dying deer with blood coming from its mouth/nose, hanging upside-down. Did I mention the deer has human hair? And breasts? It's disturbing. Did I mention how many naked breasts are in this book?
This book is a ripoff of Good Faeries/Bad Faeries. Don't waste your money on this one, go get the original. I looked this one up just because I remembered how disappointing it was and wanted to warn other people. I spent good money on this book, it wasn't freaking cheap.
Full of janky art, huge exposed breasts, appropriated deities and art. An image of a prehistoric Venus figure is used to illustrate some sort of female rape demon. It's honestly extremely offensive.
Another story was illustrated by a drawing of dying deer with blood coming from its mouth/nose, hanging upside-down. Did I mention the deer has human hair? And breasts? It's disturbing. Did I mention how many naked breasts are in this book?
This book is a ripoff of Good Faeries/Bad Faeries. Don't waste your money on this one, go get the original. I looked this one up just because I remembered how disappointing it was and wanted to warn other people. I spent good money on this book, it wasn't freaking cheap.
March 27, 2026
Un ouvrage de Fantasy réellement construit comme une encyclopédie, dans lequel on peut venir picorer au gré de nos envies ou de nos besoins.
Chaque article mêle habilement imagination, mythologie et traditions locales. Les illustrations sont toujours en adéquation avec le texte et apportent au lecteur une aide précieuse pour visualiser son sujet.
Le grand format du livre renforce encore le sentiment de consulter une encyclopédie papier "comme autrefois" (avant Google et les IA...).
À posséder par tout bon lecteur, rêveur, auteur, passionné, aventurier, amoureux de la Nature, bibliophile, rat de bibliothèque, par tous ceux qui aiment le bruit de la plume sur le papier, l'odeur des livres neufs, celle des livres restés fermés trop longtemps...
Bref... C'est un livre-plaisir pour tous ceux qui sauront l'apprécier.
Chaque article mêle habilement imagination, mythologie et traditions locales. Les illustrations sont toujours en adéquation avec le texte et apportent au lecteur une aide précieuse pour visualiser son sujet.
Le grand format du livre renforce encore le sentiment de consulter une encyclopédie papier "comme autrefois" (avant Google et les IA...).
À posséder par tout bon lecteur, rêveur, auteur, passionné, aventurier, amoureux de la Nature, bibliophile, rat de bibliothèque, par tous ceux qui aiment le bruit de la plume sur le papier, l'odeur des livres neufs, celle des livres restés fermés trop longtemps...
Bref... C'est un livre-plaisir pour tous ceux qui sauront l'apprécier.
January 28, 2021
One of the most beautiful and inspiring books every produced in my humble yet pretentious opinion.
The illustrations are fantastic for children and adults alike but the amount of detail brought forth and new denizens of fairy land to discover (along with the respect given to the stories told) really make this stand out from other folklore encyclopaedias.
I would advise anyone to gift this book to any young children (or teenagers who have not lost their imagination) in their family.
A treasure trove of folklore and entertainment for the family.
I cannot stress enough how lush this book is.
:)
The illustrations are fantastic for children and adults alike but the amount of detail brought forth and new denizens of fairy land to discover (along with the respect given to the stories told) really make this stand out from other folklore encyclopaedias.
I would advise anyone to gift this book to any young children (or teenagers who have not lost their imagination) in their family.
A treasure trove of folklore and entertainment for the family.
I cannot stress enough how lush this book is.
:)
March 2, 2019
The world-building i9s unquestionaby well-written.
April 3, 2019
If you like dark faeries you will probably like this book.. It is informative kind of like an encyclopedia.
July 10, 2019
I enjoyed all the stories of mythological creatures and the illustrations are beautiful.
February 10, 2022
Lovely book! Awesome to read if you practice witchcraft.
January 24, 2023
Very well written. Loved not only the story but also the characters. I can’t wait for the second book.
August 28, 2023
a good book of fairy lore
August 16, 2024
Good start point for research but not terribly accurate or in-depth. I learned about the existence of a few new things though and had a fun time researching them. Nice writing voice and nice art.
September 3, 2024
So looking forward to the sequel!!!
January 27, 2026
Entiendo a los
March 2, 2022
Beautifully illustrated, lots of fun mythos!
4/5, I would have liked to know some of the origins of the myths and stories.
4/5, I would have liked to know some of the origins of the myths and stories.
November 15, 2022
This is mostly a collection of the faery stories - not fairy tales - from around the world although centered by the mythology and folklore of Europe, there are tales of these mysterious beings from the Middle East, Indian subcontinent, Russia, Far East, with even one or two mentions from the Americas and Africa.
Lavishly illustrated by Claudine and Roland Sabatier, it is colorful and bright even with the darkest, most malevolent types. Some have commented on the art not being for the young reader and I might agree as the artists do not hesitate creating images of near naked individuals (or with gauzy drapery). Readers need to keep in mind that these are not relatives of Disney's Tinker-Bell™ and friends nor the Victorian version of the Brothers Grimm tales. These faeries can be benevolent or vengeful. Their ideas seem quite different from the culture and traditions of humanity.
Dubois has separated them basically by the elements they inhabit - the rivers and sea, the vast sky, the forests, the arctic mountains. Some faeries have been taken over by other myths - the vampires, the kobolds, the dryads and naiads.
For those looking for a bedtime story, it's not here. For someone looking for folklore and mythology that may be a bit more in depth or even 'exotic', there may be one or two pieces that can enlighten the reader about the faeries that were once a dark part of man's existence.
2022-250
Lavishly illustrated by Claudine and Roland Sabatier, it is colorful and bright even with the darkest, most malevolent types. Some have commented on the art not being for the young reader and I might agree as the artists do not hesitate creating images of near naked individuals (or with gauzy drapery). Readers need to keep in mind that these are not relatives of Disney's Tinker-Bell™ and friends nor the Victorian version of the Brothers Grimm tales. These faeries can be benevolent or vengeful. Their ideas seem quite different from the culture and traditions of humanity.
Dubois has separated them basically by the elements they inhabit - the rivers and sea, the vast sky, the forests, the arctic mountains. Some faeries have been taken over by other myths - the vampires, the kobolds, the dryads and naiads.
For those looking for a bedtime story, it's not here. For someone looking for folklore and mythology that may be a bit more in depth or even 'exotic', there may be one or two pieces that can enlighten the reader about the faeries that were once a dark part of man's existence.
2022-250
January 21, 2012
I thought the art in this book could have been better. It had a nice weight to it and the text was very good, but... I felt the artwork was too drivitive of earlier, Victorian style paintings of fairies. There is a fine line between being inspired by the work of earlier artists and copying and I feel that Dubois really walks it and sometimes falls over and into the side of the copiest.
On the otherhand, the art historian in me may perhaps be being a bit too picky. So I would have to say that perhaps my review on this is rather biased. Maybe it needs a reader not so immersed in art history as I am to fully appreciate it on it's own merits.
On the otherhand, the art historian in me may perhaps be being a bit too picky. So I would have to say that perhaps my review on this is rather biased. Maybe it needs a reader not so immersed in art history as I am to fully appreciate it on it's own merits.
July 10, 2012
While initially disappointed in the art style, i quickly became engrossed in Dubois' flowery yet quintessentially fey descriptions. I bought it, reread it when the mood takes me, and gleefully look forward to leaving it in our son's or daughter's bedroom for them to explore. Would make great material for bedtime stories (elaborations)!
Read
April 29, 2013For a book calling itself an encyclopedia, this seemed to be short an index or two. And since the table of contents prides itself more on flowery descriptions, like "Old Shut-Eye" or "The Gianes," instead of plainly stated categories, like "The Sandman and Other Sleep Bringers" or "Benevolent Fairies," I found it impossible to find the types of faeries I was interested in reading about.
September 1, 2010
I have checked this out from my library a million times, but I don't think I have ever finished it.
It's not one of the best, but its still ok.
It's not one of the best, but its still ok.
January 26, 2016
I enjoyed all the stories of mythological creatures and the illustrations are beautiful.
February 17, 2025
A large and beautiful book, informative and gorgeously illustrated. Everything you ever wanted to know about fairies and their ilk.
November 16, 2011
Seen better, it is a nice kiddy book, but nothing more.
Displaying 1 - 30 of 31 reviews