Read Ebook {PDF EPUB} Snow in the Maze by Barbara C. Freeman #BlogTour Urbane’s 12 Days of Christmas. Electric Souk by Rose McGinty @rosemcginty @urbanebooks #Q&A #Giveaway. I’m very please to be able to re-share by review of Electric Souk by Rose McGinty as part of The 12 Days of Christmas Urbane Book Tour. This tour is highlighting some of the fabulous tiles Urbane Publications have published this year. Electric Souk is available to buy in paperback and ebook here. . The ebook is currently only 99p! Book Blurb: Ireland’s gone bust, and with it Aisling Finn’s life. She flees austerity for adventure in the desert. But the Arabia she finds is not that of her dreams. Everyone is chasing a fast buck, a fast woman and another G&T. Expats and locals alike prickle with paranoia. Debonair fixer, Brian Rothmann, charms Aisling with champagne brunches and nights at Bedouin camps. But is Brian a hero or a desperate expat prepared to go to any lengths to get what he wants? Is this Aisling? Or is he using her as bait? Her only hope is Hisham, a local activist. But where do his loyalties lie? Aisling faces severe peril when the sleazy expat and blood-lusting desert worlds collide, as the Arab Spring erupts. She has to ask, whom can she trust? Can she trust her instincts? Humanity blisters in this haunting, lyrical thriller about trust and treachery. My Review: When Aisling arrives in the Middle East she is looking forward to a grand adventure in a new country. She soon immerses herself in the new culture, enjoying meeting new people and experiencing the night life. However Aisling soon discovers that everything is not as it seems. Strange and sinister things start happening at work and her expat colleagues are arrested or disappear. Not knowing who to trust Aisling must try and find out the answers but will she be able to or will she disappear like her colleagues. Electric Souk is vivid, colorful and unique. What makes it so unique is the way it is written. For most of the book it seems to just be a description of Aisling’s everyday life but then something will happen that makes you think otherwise. Slowly sinister things start coming to the surface as people reveal their true natures and things start happening at work. This gradual unveiling helps add a lot of tension to the book which kept me reading as I wanted to know what was happening. It is hard to put this book into one genre as it has bits of all of them in it but this never seems forced or is confusing and adds to the books uniqueness. The author managed to take you to another time and place with her brilliant description. I especially loved the description of the Souk where I could perfectly imagine the hustle and bustle and almost smell the spices. It was very interesting to learn more about daily life in a middle Eastern country and how different it is to ours. The characters are very varied and quite colourful. I enjoyed reading about them and found I cared about what might happen to them. Some of the evil characters I loved to hate. Brian in particular who was quite scary at times! The ending was brilliant and very fitting to the story. It was nice that the author didn’t go for the easy ending and instead chose one quite hard hitting. This is Rose McGintry’s debut novel and I look forward to reading more from her. Huge thanks to Matthew from Urbane Publishers for my copy of this book. Exclusive Q&A with Rose McGintry: Q) For the readers, can you talk us through your background and the synopsis of your new novel? I live in Kent, and work for the NHS in London. I have also worked overseas in Ireland, Canada, Sweden and the Middle East. My passions are reading, writing and travel – all take you to different worlds. I’ve always been a day dreamer, it’s where my characters and ideas for stories come to me and take shape. Moving on to writing down my day dreams was the natural next step. I can’t remember a time when I wasn’t writing stories, in fact one of my first memories is of learning to write the alphabet. I enjoy writing short stories, flash fiction and poetry, in between novel writing. I love that about writing some stories can be told and can gut the reader in just three hundred words others are an emotional odyssey of eighty thousand words. Electric Souk was inspired by my time living in the Middle East, and the parts of the story that are true, I probably wish were not; while the parts that are not, I probably wish were true. The story opens as Ireland’s gone bust, and with it Aisling Finn’s life. She flees austerity for adventure in the desert. But the Arabia she finds is not that of her dreams. Everyone is chasing a fast buck, a fast woman and another G&T. Expats and locals alike prickle with paranoia. Debonair fixer, Brian Rothmann, charms Aisling with champagne brunches and nights at Bedouin camps. But is Brian a hero or another desperate expat prepared to go to any lengths to get what he wants? Is this Aisling? Or is he using her as bait? Her only hope is Hisham, a local activist. But where do his loyalties lie? Aisling faces severe peril when the expat and desert worlds collide, as the Arab Spring erupts. Q) Can you talk us through the journey from idea to writing to publication? Electric Souk started out as a letter home – from the desert. I had taken a job in the health service in the Middle East. The day started early and finished by 1pm so everyone could go home to sleep in the heat. Only, I couldn’t sleep, so while the desert afternoon was still I wrote a diary and long letters home. My time in the Middle East magical time but also brutal, so I kept the journals and letters as a way of trying to make sense of what was happening to me. When I came home, people said that I should really try and get the letters and journals published, but it seemed too personal and raw. So I started to write a story that was burning inside of me, and drew on my experiences of the perfumes, sights and sounds of the Middle East. During the course of writing I started going to literary festivals and workshops to keep me inspired, motivated and to learn my craft. At the West Cork literary festival I met Richard Skinner, Director of the Faber Academy and he encouraged me to apply for a Faber Academy course. I completed my novel with the support of Richard and the wonderful group of fellow writers on my course in the summer of 2015. That summer I went to the Margate Bookie and sat next to a man, who turned out to be Matthew Smith of Urbane Publications. He asked me about my novel and also talked about his collaborative approach to publishing. I liked what I heard as I wanted to be part of the creative process and learn as much as I could about all elements of the publishing business. I submitted my novel, and in the best Christmas Eve email ever, was signed. Q) What are your favourite authors and recommended reads? So many writers, so I will mention one special one to me and Electric Souk. Isabelle Allende starts The House of the Spirits with a letter to the grandfather. This is one of the best ways to start writing as a new writer. It can really help you overcome the terror of the first blank page, and it’s how Electric Souk begins, with Aisling scribbling a last, desperate note as she flees the desert. It was also how my novel came about, from a letter. I am drawn to the way that for Allende and the magical realists the personal is political and vice versa. The love and passing of wisdom, protection and magic between the generations of women also stands out for me in contrast to the violence and persecution handed down from the colonists to the dictatorship in more recent Chilean history. I love stories that span epic moments in history with the most intimate family and personal relationships. Q) What were your childhood/teenage favourite reads? Snow in the Maze by Barbara C Freeman. I first found this mysterious story about a young girl, called Rosa, haunted by a portrait, when I was living at my grandmother’s and took it out of the local library. The story switches centuries, has ghosts, a strange blue eyed man, missing painted fans and a snowy maze, where the climax of its quietly thrilling adventure unfolds. Nothing is as it seems and the beautiful, oblique writing is as much a maze. After we left my grandmother’s, this story haunted me and I took it out every time we visited until one day it was no longer in the library. That then provoked a twenty year long search, before the days of the internet and being able to easily trace books that had gone out of print. I scoured every second hand bookshop in every town I visited over the years, my own maze. I finally found it in Kent, where I now live, in Baggins Book Bazarre in Rochester – where curiously Urbane is based and my first meeting with Matthew took place. Q) What has been your favourite moment of being a published author? Strangely enough it is the thing I was dreading the most – reader reactions. In the months up to publication I nearly made myself sick with worry about this as sharing your writing is such a deeply intimate and exposing experience. The first time I saw my novel in a bookshop, after I had burst into tears at seeing my dream coming true, I just wanted to bundle up all the copies and run off with them so no one could read it. However, when a reader contacts you or leaves a review saying how much they enjoyed your story and when they tune into the heart of the story and understand what you have been trying to reveal and share with them, nothing feels as good as that. Q) Who has been your source of support/encouragement, throughout the writing process? My writing group is my greatest source of support. We met at the Faber Academy and two years later we are still meeting on a monthly basis to critique each other’s work, share our love of reading, pass on tips about the publishing world, and support each other through good times and bad. And – drink wine, possibly the greatest source of support for us all. Giveaway!: I’m very excited to be able to give away 3 copies (yes 3) of the fabulous Electric Souk by Rose McGintry. All you have to do is comment on this blog post or RT the pinned post on my blog before the 21st December. I will then pick a winner at random with the help of my lovely kids. Good luck everyone! About The Author: Rose McGinty was born with itchy feet, which she has yet to decide is a blessing or a curse. Certainly, surviving Hurricane Sandy, an earthquake, a spider bite, jumping 192 metres off the Sky Tower in Auckland, and nearly being arrested for inadvertently smuggling a rocket in Vietnam, make her wonder about locking up her passport. But then, it was her adventures in the Middle East that gave her the itchy fingers to write. Rose lives in Kent, where as well as enjoying writing short stories, flash fiction and poetry, she also paints. She works in community health services and has worked overseas in Ireland, Canada, Sweden and the Middle East. She completed the Faber Academy Writing a Novel course, under the guidance of Richard Skinner, in 2015. Electric Souk is her debut novel and Rose says of her story, ‘The parts of the story that are true, I probably wish were not; while the parts that are not, I probably wish were true.’ Snow in the Maze by Barbara C. Freeman. Such joy such fun I’ll never forget that day For it made me smile and laugh Without a thought or care I forgot For a while Oh how good it felt To share the moment To feel that warmth and love People came out Smiling too For it made my day To feel the coldness on my face The snow in my hands They burned with cold But it warmed my heart so In the after glow. Daren is a local poet, based in Surrey. Share this: Like this: About jmgale. Leave your comments and thoughts here Cancel reply. This site uses Akismet to reduce spam. Learn how your comment data is processed. Snow in the Maze by Barbara C. Freeman. The very best from the wide, sometimes overlooked, world of illustration art, including original artwork for book illustrations and covers, comic books and comic strips, graphic novels, magazines, film animation cels, newspaper strips, poster art, album covers, plus superb fine art reproductions and high quality art prints. 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Tel: 020 8768 0022 (+ 44 20 8768 0022) Blog Archive. ► 2014 (1) ► January (1) ▼ 2013 (20) ► December (2) ► September (1) ► April (4) ► March (4) ► February (4) ▼ January (5) ► 2012 (52) ► December (4) ► November (4) ► October (5) ► September (4) ► August (5) ► July (4) ► June (4) ► May (5) ► April (4) ► March (4) ► February (5) ► January (4) ► 2011 (51) ► December (4) ► November (5) ► October (4) ► September (4) ► August (5) ► July (4) ► June (5) ► May (4) ► April (4) ► March (5) ► February (3) ► January (4) ► 2010 (25) ► December (5) ► November (5) ► October (4) ► September (5) ► August (3) ► June (3) Wednesday, January 30, 2013. Barbara C. Freeman. "Barbara C. Freeman is a gentle writer, with a particular appeal to girls. She makes no great demands of her readers, but does provide good entertainment. Anyone wanting easy, fluent, romantic stories would do well to consider her work." So wrote Felicity Trottman in Twentieth- Century Children's Writers . Freeman was both a writer and artist, starting out primarily as an illustrator. "I write, I suppose, chiefly because I enjoy writing," she later said. "I like living in two worlds: the one I was born into and the other (which becomes entirely real) which I write about. I'm deeply interested in the way ordinary people lived in the past and the way in which the past thrusts into the present. I believe that most writers find that their characters develop lives of their own and sometimes take charge of both conversations and plots. This, for me, is pure delight, and I allow my people all the freedom that is possible. "At art school I was trained to observe details of every kind, and it is a habit that one never grows out of. Details, especially those of the past, fascinate me." Barbara Constance Freeman was born in Ealing, Middlesex, on 29 November 1906, the daughter of writer and secondhand bookseller William Freeman and his wife Lucy Constance Freeman ( nee Rimmington), who were married in 1905. She studied at the Tiffin Girls' School, Kingston- upon-Thames and at Kingston School of Art. Freeman began working as a painter with Green & Abbott, a West End wallpaper studio (1926-27). From there she turned freelance, often working on annuals. She specialised as an artist of fairy tales, although in a realistic style with fantastic elements. She was often called upon to illustrate classic stories the Brothers Grimm and Hans Christian Andersen. She also produced illustrations for The Children's Encyclopedia . As television grew and the number of annuals and entertainments for children disappeared in the 1950s, Freeman turned to writing her own stories, beginning in 1956. He first books, Timi and Two-Thumb Thomas , were published in 1961. Her work was exhibited at the Heritage Centre, Kingston-upon-Thames Museum, in 1989. Since her early childhood, she lived in a mid-Victorian house with a large garden, from which she drew much of her inspiration. She died in May 1999. PUBLICATIONS. Timi . London, Faber, 1961; New York, Grosset and Dunlap, 1970. Two-Thumb Thomas . London, Faber, 1961. A Book by Georgina . London, Faber, 1962; New York, Norton, 1968. Broom-Adelaide . London, Faber, 1963; Boston, Little Brown, 1965. The Name on the Glass . London, Faber, 1964; New York, Norton, 1966. Lucinda . London, Faber, 1965; New York, Norton, 1967. Tobias . London, Faber, 1967. The Forgotten Theatre . London, Faber, 1967. The Other Face . London, Macmillan, 1975; New York, Dutton, 1976. A Haunting Air . London, Macmillan, 1976; New York, Dutton, 1977. A Pocket of Silence . London, Macmillan, 1977; New York, Dutton, 1978. The Summer Travellers . London, Macmillan, 1978. Snow in the Maze . London, Macmillan, 1979. Clemency in the Moonlight . London, Macmillan, 1981. Examples of Barbara Freeman's artwork can be found for sale at the Illustration Art Gallery . Wednesday, January 23, 2013. Jesus Blasco. From November 1954 when his first strip appeared in the UK, Jesús Blasco carved an astonishing path through British comics, producing some of the most popular stories of their times. British strips often played fast and loose with historical facts and physics and grounding them in Blasco’s photo realistic artwork made them believable to their youthful audience. His artwork inspired a generation of new artists, Dave Gibbons and Brian Bolland both acknowledging his influence. Jesús Blasco Monterde was born in Barcelona, Spain, on 3 November 1919, one of five siblings—brothers Alejandro, Adriano, Augusto and sister Pilar—who, to one degree or another, all worked in comics. Entirely self-taught, Blasco began working professionally in comics shortly after his first prize-winning drawing appeared in Mickey when he was 14. Only 15, he created ‘Cuto’ for Biloche in 1935. The boy hero become one of Spain’s most popular comic creations following his appearance in Chicos in 1940 and Blasco added a second popular strip to his CV when he created ‘Anna Diminuta’ for Mis Chicas. Blasco was called up to serve during the Spanish Civil War and, after the war, served three years military service whilst still managing to keep up a steady output of comic strips from war stories to nursery tales. In 1954, he made his debut in the UK and continued to contribute to British comics for over 20 years. From drawing ‘Buffalo Bill’ and ‘Billy the Kid’ in Comet and Sun, Blasco took over the artwork of those most British of heroes, ‘Robin Hood’ and ‘Dick Turpin’. He also turned his hand to fairy tales, drawing beautifully painted spreads for Playhour featuring Pinocchio, the Dancing Princesses, Rumpelstiltskin and others. In 1962 he drew ‘Vengeance Trail’ for Eagle and, that same year, began work on his two longest-running strips: the darkly menacing adventures of ‘The Steel Claw’ in Valiant and the whimsical children’s fantasy ‘Edward and the Jumblies’ for Teddy Bear. Thanks to inking help from his brothers Alejandro and Adriano, who did not receive any individual credits in the UK after 1955, the Blasco family were able to turn out an astonishing number of pages each week with no fall-off in quality. In 1968, Blasco adapted ‘Montezuma’s Daughter’ for Look and Learn and went on to draw further features and stories for that paper and its companion, Treasure. In the 1970s, he also drew the adventures of ‘The Wombles’ and ‘Return of the Claw’, but the market in the UK was no longer able to absorb his output. In 1968 he had drawn ‘Los guerrilleros’, written by Michael Cussó, for Spirou. Now, in 1974, he became more heavily involved in the Portuguese comic Jornal do Cuto and the Spanish comic Chito and his output in the UK fell away. Apart from a few episodes of ‘Dredger’ in Action and the opening three episodes of ‘Invasion’ for 2000AD, Blasco turned his sights to Europe, where he was invited to adapt the Bible as a series of comic strips. In 1982, Blasco was awarded the prestigious Yellow Kid at Lucca and the French honorary award Ordre des Arts et des Lettres. In 1986 he worked with Victor Mora on reviving ‘El Capitán Trueno’ but the strip was caught up in the collapse of its publisher. Blasco turned to Italy and Bonelli’s long-running western saga ‘Tex’ and science-fantasy ‘Zona X’. He also teamed up again with Victor Mora to recount the historical adventures of ‘Tallaferro’. Blasco died on 21 October 1995, survived by only one brother, Adriano. Wednesday, January 16, 2013. Mike Hubbard. Although known as Mike Hubbard, he was born Ernest Alfred Hubbard in Harold's Cross, Dublin, Ireland, on 2 April 1902. Given his Irish origins, the belief that his name was Mike was almost certainly a corruption of Mick. Hubbard was the son of London-born Edmond John Hubbard, a bookbinder who worked on book edge gilding, and Irish-born Mary Ellen Hubbard. Their two children, Edmond John Hubbard and Ernest Alfred Hubbard were both schooled in Manor Park, Essex. His earliest known work, which appeared in the Amalgamated Press's The Thriller , was signed Ernest Hubbard. Hubbard was already an accomplished artist even in these early illustrations. He was particularly noted for his lissome women in figure-hugging silk dresses, which was to stand him in good stead in the future. His work appeared in Detective Weekly , Modern Wonder and The Passing Show in the 1930s but, like many artists, he turned to comic strips in the post-World War II years, the storypaper having suffered so greatly from the paper shortages and rationing. During the war, Percy Clarke had stepped into the shoes of Edward Holmes as editor of Knock-out Comic . With scriptwriters in short supply, Clarke instigated a series of adaptations of classics, starting with Gulliver's Travels and taking in Peter the Whaler , Mr. Midshipman Easy and The Children of the New Forest . For his next adaptation, Clarke hired Hubbard and, thereon, Hubbard (roughly) alternated with Eric R. Parker on adaptations, his strips for Knockout including Treasure Island , The Coral Island , The Adventures of Robin Hood , Sinbad the Sailor , The Adventures of Marco Polo and Red River . By this time, Hubbard was also involved in the strip that was to make his name. The war years had made Jane of the Daily Mirror a household name. The saucy Jane had won over the hearts of soldiers and her knockabout adventures continued to offer plenty of cheerful, cheeky fun in the drab post-war years. However, the artwork of the strip's creator, Norman Pett, was starting to look a little old-fashioned and Hubbard was bought in as an assistant, at first to draw backgrounds but, before long, to draw Jane herself. After two years, Pett was let-go and Hubbard took over the strip completely. He was to draw Jane for eleven years, at the same time continuing his association with Knockout until pressure on the daily strip meant no time for further assignments. However, eventually Jane came to an end and Hubbard returned to drawing for comics, finding work mostly on girls' titles such as Valentine , Schoolgirl Picture Library , Poppet and June in the early- to mid-1960s. He would also pop up in boys' titles, drawing adaptations of King Solomon's Mines and Alan Quartermain for Ranger , and Coral Island for Look and Learn . One of his finest later strips was 'Jane Bond, Secret Agent' for Tina and Princess Tina and he produced a range of beautifully painted fairy tales and adaptations of Francis Hodgson Burnett in the early 1970s for Pixie . He was still drawing in his late sixties but eventually had to lay down his pen. He died on 25 June 1976. Wednesday, January 9, 2013. C. L. Doughty. Cecil Langley Doughty was one of the most prolific and successful historical illustrators to work on Look and Learn and other weekly educational papers. He produced several thousand illustrations between 1961 and 1982, his output astonishing in both quantity and quality. Doughty was born in Withernsea, Yorkshire, on 7 November 1913 and trained at Battersea Polytechnic. His earliest comic strip was a two-page Buffalo Bill adventure which appeared in Knockout in July 1948. Doughty produced strips for Phillip Marx’s Star Flash Comic and Challenger Comic in 1948, followed by the cover and interior art for an adaptation of 'Oliver Twist' for the first issue of A Classic in Pictures (1949). 'Lorna Doone' followed soon after (in issue 8) before Doughty returned to the Amalgamated Press, drawing ‘Terry Brent’, a spot-the-clue detective series for School Friend . Doughty found his metier when he began drawing for Thriller Comics , the 64-page pocket library edited by Leonard Matthews. His first tale was an adaptation of W. Harrison Ainsworth’s Windsor Castle (1953) followed by a variety of stories featuring Robin Hood and Dick Turpin. Critic David Ashford, a long-time fan of Doughty’s work, has said, “Turpin’s comrades were beautifully realised by Doughty. Based, as they are, on R. H. Brock’s drawings for the Newnes pocket book series of the 1930s, all the varied personalities came to life – among them, the elegant “gentleman highwayman” Tom King, the swaggering Irishman, Pat O’Flynn and, perhaps best of all, the humorous character Jem Peters, he of the mutton chop whiskers. All are portrayed with obvious affection and enormous gusto. Strongly influenced not only by the Brock brothers but by other 19th century artists of 18th century subjects such as Hugh Thomson, Doughty’s style is, I think, best expressed in the one word, “debonair”. There is a certain way in which his leading characters stand, move and tilt their head which is peculiar to Doughty. It is a style which is ideal for these historical entertainments and strongly reminiscent at times of Douglas Fairbanks at his swashbuckling best.” Doughty’s ability to paint had not been recognised in the 1950s, his only full page painting appearing on the rear cover of an issue of Comet in 1958. He worked briefly for Express Weekly (1957-58) and for eight months took over the artwork for ‘Jack O’Lantern’, a historical adventure strip in Eagle (1959-60). In 1962, Doughty began producing illustrations in colour and black & white for Look & Learn . Doughty occasionally wrote his own scripts for the series on ‘Famous Houses’ that appeared on the centre pages of in early issues. When Look and Learn closed in April 1982, Doughty decided to retire from commercial artwork and concentrate on landscapes. Already in his late sixties, he held an exhibition of his ‘straight’ work in Carmarthen, where he was then living. He also took on commissions and produced some magnificent paintings for fans. In 1985, Doughty moved to a dilapidated cottage with a splendid studio, but died shortly after, on 26 October 1985, aged 71. An extensive biography and gallery of Doughty's Look and Learn work appeared in 2012 entitled Pages From History . Snow in the Maze by Barbara C. Freeman. "Barbara C. Freeman is a gentle writer, with a particular appeal to girls. She makes no great demands of her readers, but does provide good entertainment. Anyone wanting easy, fluent, romantic stories would do well to consider her work." So wrote Felicity Trottman in Twentieth- Century Children's Writers . Freeman was both a writer and artist, starting out primarily as an illustrator. "I write, I suppose, chiefly because I enjoy writing," she later said. "I like living in two worlds: the one I was born into and the other (which becomes entirely real) which I write about. I'm deeply interested in the way ordinary people lived in the past and the way in which the past thrusts into the present. I believe that most writers find that their characters develop lives of their own and sometimes take charge of both conversations and plots. This, for me, is pure delight, and I allow my people all the freedom that is possible. "At art school I was trained to observe details of every kind, and it is a habit that one never grows out of. Details, especially those of the past, fascinate me." Barbara Constance Freeman was born in Ealing, Middlesex, on 29 November 1906, the daughter of writer and secondhand bookseller William Freeman and his wife Lucy Constance Freeman ( nee Rimmington), who were married in 1905. She studied at the Tiffin Girls' School, Kingston- upon-Thames and at Kingston School of Art. Freeman began working as a painter with Green & Abbott, a West End wallpaper studio (1926-27). From there she turned freelance, often working on annuals. She specialised as an artist of fairy tales, although in a realistic style with fantastic elements. She was often called upon to illustrate classic stories the Brothers Grimm and Hans Christian Andersen. She also produced illustrations for The Children's Encyclopedia . As television grew and the number of annuals and entertainments for children slowed in the 1950s, Freeman turned to writing her own stories, beginning in 1956. He first books, Timi , about a shy griffin taken in by a village baker, and Two-Thumb Thomas , were published in 1961. She also contributed to comics aimed at young children, notably Jack & Jill Annual and Playhour and its annual. Her work was exhibited at the Heritage Centre, Kingston-upon-Thames Museum, in 1989. Since her early childhood, she lived in a mid-Victorian house with a large garden, from which she drew much of her inspiration. She died on 6 May 1999. A collection of her papers is held by the de Grummond Children's Literature Collection at The University of Southern Mississippi. These include typescripts, illustrations and sketches for ten titles, proofs for various books and some unpublished material. PUBLICATIONS. Timi . London, Faber, 1961; New York, Grosset and Dunlap, 1970. Two-Thumb Thomas . London, Faber, 1961. A Book by Georgina . London, Faber, 1962; New York, Norton, 1968. Broom-Adelaide . London, Faber, 1963; Boston, Little Brown, 1965. The Name on the Glass . London, Faber, 1964; New York, Norton, 1966. Lucinda . London, Faber, 1965; New York, Norton, 1967. Tobias . London, Faber, 1967. The Forgotten Theatre . London, Faber, 1967. The Other Face . London, Macmillan, 1975; New York, Dutton, 1976. A Haunting Air . London, Macmillan, 1976; New York, Dutton, 1977. A Pocket of Silence . London, Macmillan, 1977; New York, Dutton, 1978. The Summer Travellers . London, Macmillan, 1978. Snow in the Maze . London, Macmillan, 1979. Clemency in the Moonlight . London, Macmillan, 1981. Snow in the Maze by Barbara C. Freeman. If you like Ancient Magic of the Forest, you may also like: Fogweaver by Fogweaver. supported by 61 fans who also own “Ancient Magic of the Forest” FOGWEAVER also goes under the name of SNOWSPIRE when he's making music in the genre of Winter Synth. I recommend looking for that, if you didn't know. Brad Abar. Spellwind by Fogweaver. supported by 60 fans who also own “Ancient Magic of the Forest” I think… if Fogweaver was an Olympian level athlete.. his/her proficiencies would lie in the realms of: cycling mountain bike, canoe slalom, canoe sprint, archery (of course) and the ace up his/her sleeve… surfing Dumb mmmn. Vampyric Burial Shroud by Erythrite Throne. supported by 57 fans who also own “Ancient Magic of the Forest” My boy creates atmosphere and things in the classical kvlt manner, a must hear! Gucci Goblin. Finsterströmung by Old Tower. Disappear into the dungeons of Old Tower on this three-track album full of eerie, funereal songs and foreboding atmospheres. Bandcamp New & Notable Apr 28, 2019. Melodic dungeon synth gentle enough for your work day or your game night. Bandcamp New & Notable Dec 12, 2019. Gentle dungeon synth with fanciful flourishes to soundtrack your next game night. 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