Celebrate a hundred years of John Carter of Mars with this all-new selection of unique tales and art!
Readers of every age have learn and enjoyed Edgar Rice Burroughs’ Barsoom sequence because the first publication, A Princess of Mars, was once released in 1912. Now, in time for the a hundredth anniversary of that seminal paintings, comes an anthology of unique tales that includes John Carter of Mars in brand-new adventures. gathered via veteran anthology editor John Joseph Adams, this anthology beneficial properties tales from titans of literature reminiscent of Peter S. Beagle and Garth Nix and unique artwork from Mark Zug, Charles Vess, and plenty of more—plus an advent by means of Tamora Pierce and a thesaurus of Mars by means of Richard A. Lupoff.
Illustrations are through well-liked artists Meinert Hansen, Charles Vess, John Picacio, and more.
Don’t leave out Mars Trilogy, the significant other bind-up of 3 vintage John Carter of Mars stories!
This publication has now not been ready, licensed, authorized, or licensed via Edgar Rice Burroughs, Inc. or the other entity linked to the Edgar Rice Burroughs estate.
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Additional info for Under the Moons of Mars: New Adventures on Barsoom
Sample text
The boy never moved. Finally the pilgrim approached the hollow in the tree and cried loudly, “Master! ” “That it will eat, and there it rests,” came the child’s instant reply. The spirit feeds on that, the holy. It rests there, in the sphere of the sacred. ” It is a single unbroken poem, each hymn or stanza linked to the previous by opening with that verse’s final word. The child poet had studied no grammars, trained himself in no poetic theory, learnt no scripture, sat at the feet of no guru. His songs erupted at the moment of ripeness, interlinked, complete, and without revision.
Finally the pilgrim approached the hollow in the tree and cried loudly, “Master! ” “That it will eat, and there it rests,” came the child’s instant reply. The spirit feeds on that, the holy. It rests there, in the sphere of the sacred. ” It is a single unbroken poem, each hymn or stanza linked to the previous by opening with that verse’s final word. The child poet had studied no grammars, trained himself in no poetic theory, learnt no scripture, sat at the feet of no guru. His songs erupted at the moment of ripeness, interlinked, complete, and without revision.
Masson after commenting on a few of the more evident aspects of the latter poem writes, “I suspect that there is something further in this verse that I . . ” Maybe its author wove a cryptic symbolism through the images, meant to cast the reader into a yogic or mystical state of mind. In the remaining poems the flute is Krishna’s. At the soft forest notes of his bamboo flute the women of Vrindavana itch to leave their houses and join him in the woods, for a night of dancing and lovemaking. I have read anthropologists who believe Krishna’s flute is a holdover from pastoral nomads, or even Ice Age migrations.
