100 Books Like Scandinavian Mythology

The way these stories are phrased here makes this my favourite set of retellings. Crossley-Holland’s choice of words evokes the original Norse. He uses alliteration, mainly when describing land and sea, and he is very careful to use words that come from Old English, a sister language to Old Norse, in preference to words from Latin, Greek, and post-Latin languages. There are plenty of other retellings that cover similar ground, but none with quite this joy in the energy of the original.

Translated and edited by Anthony Faulkes. It too comes from the thirteenth century. The author was an Icelandic law-speaker, a chief, and a deeply involved scholar interested in the retention of the old forms of pre-Christian poetry. Why should you look at this if you have done the Elder Edda? A good question, especially since in many ways Snorri’s version is longer. And that is the reason. If you noticed that the Tree churches (stave churches) have snakes on the roof, that is something Snorri notes about the Tree Yggdrasil, that the snakes in the branches will forever gnaw away at them. It is Snorri who related that the underworld agreed to release the good Balder from Hel if every creature wept. All did but one, Loki, the god of deceit and trickery. And so Balder remains dead till Ragnarok. This makes all the more poignant the phrase found in… show more.

The ninth-century author is unknown. I am the translator and commentator. If you know the Gospel story but have never heard it expressed in another world’s words and values, you are in for a treat. When I was translating it, I found every day brought a chuckle or a smile as the world of Palestine and Near East became the shores of the North Sea. Christ becomes a “chieftain” with his twelve “thanes/men” around him, “faith” becomes “loyalty,” Judas is described as a “loyalty liar,” and Jesus changes water into wine at Cana so that all the guests can continue having a merry time on the benches. Though we are a thousand years away, we still speak Saxon in a way. It still hits home.

The author is unknown, and though the work was copied down in the thirteenth century, it contains many elements from much earlier, especially from the creation myths. This book is the sine qua non for getting to the world of the thought of the Viking era’s mindset, its metaphors, its values in plain advice and in poetic images. It tells of the world and of what is going on in heaven and on earth. The scholar can’t do without it. If you find yourself curious about the original form of the myths and stories, or at least as near as we can get to some of them, the Poetic Edda is indispensable.

I read this book whilst I was a teenager, and although it is an alternative history book, the depiction of Viking Age Britain, and the Vikings themselves had me hooked.

The battles and characters hook you in, and there is just enough of a fantasy element thrown in to make this novel almost perfect.

The Vikings’ lively, intriguing, and carefully executed art is one of their great achievements. This handsome and lavishly illustrated book provides a survey of the development and meanings of Viking art, as well as examples of how the art was used – on ships, buildings, memorials, jewelry, textiles, weapons, and much else. It was an art based on animals in various guises, but plant ornament gradually also came into use, and in recent years many more pictures of human (and semi-human) beings have come to light.

In this genre-bending novel the author weaves Norse myth with a tale set in the very real world of early medieval Iceland. Her descriptions of the landscape are wondrous, and her portrayal of the lives and culture of the early settlers of Iceland ring true. I loved how she quite successfully brought the Norse gods and one particular goddess down to earth. I am not as knowledgeable about the Nordic gods and their stories as I would like to be. This novel was a terrific way to begin a journey of discovery taking me in that direction.

What amazes me about A Confession is that here is Tolstoy, one of the giants of world literature, at the top of his game, lamenting that there is no meaning to his life. This made me realize that there is no one immune from this feeling of purposelessness and that there are no prizes, accolades, awards, or other external things that will prevent you from feeling existential angst.

The book also shows how Tolstoy worked through his crisis, and although I do not agree with his conclusions, the path that he takes in the book was very useful for me in my own journey to meaning. 

With the powerful use of language, this book explains how everyone in this world is born for a purpose. There are 40 chapters in the book required to be read over 40 days’ time. I like the concept of reading one chapter a day and reflecting on the knowledge before applying it. The message of the book is to keep God at the center of your life in order to fulfill your true purpose.

What if creativity was not a talent given to a chosen few, but an invitation extended to us all? What if the desire for beauty was not gratuitous in life, but central to our faith? Drawing upon the biblical account of Creation and the witness of a myriad of creative thinkers, this book asserts that all of us—from plumbers to painters and meteorologists to musicians—were made in the image of an imaginative God. In that light, Naming the Animals encourages us to see creativity as an essential part of God’s design for partnership with humanity. This is a great introduction to the Art and Faith conversation.