Cullen Collection

George MacDonald's first major fiction work, in MacDonald's words "a sort of fairy tale for grown people," Phantastes was published in 1858. This unusual fantasy, subtitled a "fairie romance," is one of MacDonald's most mysterious and esoteric titles. The book's narrator, Anodos, enters Fairy Land through a mysterious old wooden secretary. From that beginning, he embarks on a dream-like series of encounters that follow the form of an epic quest, though the purpose and destination of his journey remain obscure and are never fully clarified. Two volumes of poetry prior to this had set MacDonald apart as a talented young author to watch in England's literary circles. Sales of Phantastes, however, proved a disappointment, and thus MacDonald ultimately turned to the writing of realistic fiction in the 1860s. When young atheist C.S. Lewis discovered Phantastes in 1916, within a few hours he said he knew he "had crossed a great frontier." MacDonald's unusual fantasy set Lewis on the road toward his eventual conversion to Christianity, and forever after he referred to MacDonald as his "master." In spite of its poor initial reception among Victorian readers, Lewis's affection for it established Phantastes as one of MacDonald's most enduring and studied works in literary and academic circles. This new edition is one of six fantasy titles in The Cullen Collection that has not been edited or updated in any way and is reproduced exactly in its original text.

George MacDonald's first realistic novel, David Elginbrod, was published in 1863. Unable to get his poetry and fantasy published, one of MacDonald's publishers remarked, I tell you, Mr. MacDonald, if you would but write novels, you would find all the publishers saving up to buy them of you. Nothing but fiction pays. Eventually MacDonald decided to try his hand at realistic fiction, and his publisher's words proved prophetic within a few years publishers indeed were lining up to buy his books. The immediate success of David Elginbrod launched MacDonald's career as one of the preeminent Victorian novelists of his day. Partially set in MacDonald's homeland of northern Scotland, the story of Hugh Sutherland and Margaret Elginbrod is replete with the dialect and thorough Scottishness that became MacDonald's trademark. The story takes the characters into the eerie world of the occult and spiritualism that so fascinated Victorian readers. This new edition by MacDonald biographer Michael Phillips streamlines the occasionally ponderous Victorian narrative style, and updates the thick Doric brogue into readable English.

The Portent was originally written for magazine serialization several years prior to its release in book form in 1864. Shorter than most of MacDonald's novels, this spooky tale of the Scottish "second sight" is a thorough spine-tingling ghost story worthy of the twilight zone. MacDonald's love of mysterious old castles and libraries plays a significant role in the story and is found in many of his books. In The Portent, first person narrator Duncan Campbell is engaged as tutor in a large mansion. There he falls under the spell of somnambulist Lady Alice, who is trapped between the worlds of wakefulness and sleep. About this title, MacDonald's son Greville commented: "The story is different from almost any other of his books. It is weird, yet strangely convincing, and has no touch of the didactic." Because of its mystical flavor, The Portent is often linked with MacDonald's earlier Phantastes. Though the books are completely different, The Portent yet contains elements that appeal to readers of MacDonald's fantasy writings, and thus spans the genres of both fantasy and realistic fiction.

Fairy tales told around the fire on Christmas Eve-including "The Light Princess," "The Shadows," "The Golden Key," and "The Giant's Heart." Reminiscent of Chaucer's Canterbury Tales, MacDonald's attempt to package a collection of short stories in the guise of a novel is built around a group of snowbound travelers attempting to pass the time in a country house by sharing stories in hopes of distracting young Adela Cathcart from her illness. Early in his career, MacDonald was trying different genres and storytelling methods, and this is a prime example of his creative experimentation. First published in 1865, the included stories changed with a new edition in 1882. Some of MacDonald's well-known short stories made their first appearance in one of the two editions. This new publication from Michael Phillips includes the best from both original editions.

A masterful and timeless novel from the renowned Scottish author-the work that established his place in the pantheon of British literature. Released in 1865 as the second of his major Scottish novels, many consider Alec Forbes of Howglen George MacDonald's most uniformly cohesive work of fiction. Intensely Scottish in flavor, like its predecessor David Elginbrod, the thick Doric dialect of much of the novel was relished by Victorians. Set in MacDonald's hometown of Huntly, this story of Alec Forbes and Annie Anderson contains many autobiographical glimpses of MacDonald's own boyhood, capturing the delights of youth and the anguish of first loves. While preserving the flavor of MacDonald's original, this updated edition by Michael Phillips translates the Scottish dialect, in which most of MacDonald's Scottish stories are written, into readable English.

In George MacDonald's most well-known novel, published in 1868, the quest of young Robert Falconer for his father becomes a parallel quest to break free from the oppressive Calvinist theology of his grandmother. As he struggles to come to terms with the strict orthodoxy prevalent in Scotland for two centuries, the doctrine of hell looms as the great stumbling block in Robert's mind. His lifelong search reveals to Robert the groundbreaking truth that hell is remedial not punitive, designed to produce ultimate repentance not everlasting punishment. This highly autobiographical work offers a rare glimpse into MacDonald's own youthful quandaries, and a window into the development of his faith, which would turn generations toward the Fatherhood of a loving God. After the book's publication, as a result of the bold themes running through the narrative, MacDonald came to be considered a universalist and heretic in some circles grievous mischaracterizations that persist to this day. This new edition by MacDonald biographer Michael Phillips streamlines the occasionally ponderous Victorian narrative style, and updates the thick Doric brogue into readable English.

Following on the heels of Robert Falconer's hugely influential and controversial story, Guild Court, written concurrently with Falconer and published the same year, is one of MacDonald's lesser known novels. A love story set in London, its portrait of many intertwining and quirky lives in and around a city court is perhaps the most Dickens-like of MacDonald's novels. Though not a book that enjoyed such widespread circulation as his others, Guild Court yet contains many of the signature tunes found throughout George MacDonald's fictional corpus, and presents a powerful story of repentance, forgiveness, and reconciliation.

The Scottish author's literary masterpiece-the fantastical story of a young boy's adventures with a woman of supernatural powers. Historically, At the Back of the North Wind ranks as George MacDonald's most well-known and enduring book, the haunting tale of little Diamond, a simple London cabman's son and his dreamy encounters with the mysterious, wise, powerful, comforting, and occasionally frightening lady known as North Wind. Their eerie nighttime adventures have captivated readers old and young ever since the book's publication in 1871. It has been published in more editions than any of MacDonald's works, and ranks as one of the few (perhaps only) title of MacDonald's that has likely never been out of print. Its skillfully woven intermingling of realism and fantasy set MacDonald apart as a writer of uniqueness and distinction in the early 1870s as his reputation widened. This edition for The Cullen Collection is unedited in any way.

Released in 1871 after At the Back of the North Wind, MacDonald's first realistic "young readers" novel follows the boyhood adventures of Ranald Bannerman up to the moment in his teens when he realizes that he is "not a man." Thus begins his growth into true manhood. MacDonald's editorship of the highly popular magazine Good Words for the Young in the late 1860s and early 1870s resulted in five young-reader stories, starting with At the Back of the North Wind, and continuing with Ranald Bannerman's Boyhood and The Princess and the Goblin in succession. Set in and around MacDonald's Scottish hometown of Huntly, many of young Ranald's escapades, as in most of MacDonald's Scots stories, are autobiographical. Ranald Bannerman fictionally presents the lighter, occasionally mischievous, side of MacDonald's boyhood.

This dark realistic novel is somewhat puzzling in MacDonald's corpus of more uplifting works. Some of its disconcerting themes grew out of George and Louisa MacDonald's friendship with author John Ruskin during a troubled time in the latter's life. Some of the descriptive portions contained within this narrative, especially of the Swiss Alps, are among MacDonald's finest.

While still editing the magazine Good Words for the Young, MacDonald wrote this second "boy's novel," unconnected with but written for a similar audience as Ranald Bannerman's story. Inventive young Willie Macmichael turns everything about him to creative uses, hungrily learning from the grown-ups around him, prompting MacDonald's subtitle, "The Working Genius." Though one of MacDonald's lesser-known titles, editor Michael Phillips comments, "MacDonald's strongest and most eternal contribution to the world lies in the realm of spiritual practicality. Willie epitomizes the practicality of growing into one's place in God's general business. This story therefore deserves to be considered one of MacDonald's memorable portrayals of that eternal imperative. I love this book!" Gutta Percha Willie was MacDonald's only book published in 1873, released while he was on a lecture tour in America.

This towering 1875 novel, set in the Scottish fishing village of Cullen, is considered by many as George MacDonald's fictional masterwork. The intricate tale is more true to place than any of MacDonald's books. As Malcolm is drawn into the web of secrets surrounding majestic Lossie House, with the marquis of Lossie and his tempestuous daughter Florimel at the center of them, we meet some of MacDonald's most memorable characters. Through them Malcolm must unravel many mysteries that hang over the town and its people-and himself! The Scottish dialect is more impenetrable than in many of MacDonald's other Scottish novels, and has been translated into readable English in this newly updated edition by MacDonald's biographer Michael Phillips. Calling it a "masterpiece of plot, drama, mystery, characterization, and spiritual depth," it was Malcolm which in the 1970s set Phillips on his life's-work to acquaint the world with MacDonald's forgotten legacy through new editions of MacDonald's work. Phillips says, "Malcolm is always an ideal choice for new readers to begin a deeper acquaintance with MacDonald," especially as it is set in the locale from which The Cullen Collection of new editions derives its name. Phillips's lengthy informative introduction sets Malcolm's story colorfully into the context of MacDonald's two 1870s visits to Cullen. Phillips also provides readers new to the works of MacDonald with a historical overview of the Scotsman's writing and significance.

This shorter fairy tale "Double Story" (by which title it was also published), tells the story of spoiled Princess Rosamond, and a mysterious wise woman whom she meets in the forest, and who continues to come to her in different guises which the princess does not always recognize. Considered by some as one of MacDonald's "short stories" rather than a novel, this edition includes MacDonald's insightful essay, "The Fantastic Imagination." This edition of The Wise Woman for The Cullen Collection is unedited.

This unique novel in the MacDonald collection, his only true historical novel, is set during the mid-17th century English civil war. MacDonald's use of the idiom and stylistic old-English of the post-Shakespearean era make this a slow read in the original. It is greatly enhanced in this new and updated edition by Michael Phillips. St. George and St. Michael is an enchanting love story that offers a unique and balanced perspective on a tumultuous and conflicting era in British history.

The character of Thomas Wingfold is introduced in this preeminent of George MacDonald's English novels, a young curate suddenly brought face-to-face with the hypocrisy of having sought the pulpit as a profession rather than a spiritual calling. Wingfold's prayerful journey into faith highlights MacDonald's most powerful "theological novel." We also meet the dwarf Joseph Polwarth, Wingfold's spiritual mentor and one of MacDonald's most memorable humble apologists for truth. The depth and poignancy of Wingfold's quest makes this 1876 publication one of MacDonald's best-loved works. MacDonald biographer and editor Michael Phillips ranks Thomas Wingfold Curate near the apex of MacDonald's corpus, among his personal favorites along with Malcolm, Sir Gibbie, and Donal Grant.

This 1877 sequel to Malcolm begins where the first volume of the doublet left off, at Lossie House in Cullen's fictionalized Portlossie. Soon thereafter Malcolm travels to London to rescue Florimel from the harmful influences of duplicitous friends who do not have her best interests in mind. Kidnapping her out of London, Malcolm's and Florimel's return to the north coast of Scotland brings to a stirring climax the divergent threads of mystery and intrigue woven through this triumphant literary tapestry. It is a classic Victorian romance, complete with rogues, inheritances, castles, and of course true love.

In this second of the Thomas Wingfold "trilogy" atheist Paul Faber, encountering spiritually invigorated minister Wingfold, finds himself unexpectedly drawn into his own unwelcome quest for truth. Now it is Wingfold-assisted by Polwarth-sharing his newfound faith with both Paul Faber and Juliet Meredith, whose past secrets draw them together yet also threaten to tear them apart.

One of MacDonald's lengthy and powerful, but not widely studied, novels, Mary Marston is the only book in the MacDonald corpus with a woman featured in the title role. As one of MacDonald's many strong and memorable leading ladies, Mary exemplifies a life of dedication to Christ, self-sacrifice, and obedience to parents. We encounter here a touching portrayal of that earthly relationship so dear to MacDonald's heart, because it so embodied man's relationship with God_x2014_the relationship between fathers and their sons and daughters. Of the diverse range of characters found within the pages of this novel, Michael Phillips writes, _x201C_Taken together, their individual lives make fascinating reading. They are so diverse, sometimes so petty and foolish, their intertwining relationships so humorous at times_x2026_we observe human growth at work_x2026_always progressing in one direction or the other_x2014_sometimes straight, sometimes crooked. It is a diverse character mix in many shades of gray_x2026_containing diverse character flaws without easy resolutions. I find it one of the most real array of characters in the MacDonald corpus._x201D_

Thematically linked to Mary Marston which preceded it, MacDonald here poignantly depicts the father-son relationship as he had earlier that of father and daughter. MacDonald's storytelling power again returns to the highlands of Scotland, setting his narrative in the hills south of Huntly. We encounter vivid descriptions of that wild terrain, including snowstorms, summer joys, harvests, along with MacDonald's trademark mysteries, inheritances, treasures, and, of course, romance. Castle Warlock is one of the most thoroughly Scottish of MacDonald's novels, and is a favorite with many for its spiritual, relational, and natural splendor. Castle Warlock is unique among MacDonald's titles, being first published in America in 1881, six months in advance of its British counterpart of 1882. This new edition by MacDonald biographer Michael Phillips streamlines the occasionally ponderous Victorian narrative style, and updates the thick Doric brogue into readable English.

This 1882 story of a dysfunctional family features another of MacDonald's memorable female protagonists. Reminiscent of Mary St. John of Robert Falconer, Hester Raymount chooses a single life of ministry among London's downtrodden (whose character and work were inspired by MacDonald friend and social activist Octavia Hill), and, like Mary Marston, uses her musical gifts to further that ministry. The poignant character of Hester's brother Mark brings to life a moving portrait of MacDonald's own son Maurice, whom he and Louisa lost at the age of fifteen but a short while before this book was written.

One of MacDonald's smaller novels in length, and neither so ambitious of scope or depth, Home Again from 1887 is loosely based on the prodigal son parable. It is the oft-told tale of an ambitious young man who thinks too highly of himself, falls under the spell of a duplicitous young woman, and must find his way "home." Though less complex than MacDonald's lengthier novels, everything he wrote radiated light. Even in its simplicity, this story of a young poet and his return to his father and his roots has many touching moments, with MacDonald's wisdom woven throughout the characters and relationships.

Although one of MacDonald's lesser-known books, The Elect Lady, published in 1888, stands out for the memorable relationship of godliness, trust, honesty, and humility between three children-Andrew and Sandy Ingram and their friend Dawtie-whose growth into adulthood MacDonald follows with simple yet moving power. Their relationships provide the foundation for MacDonald's wisdom to shine forth on the nature and purpose of the church, climaxing in the memorable pronouncement from Andrew's mouth: "I don't believe that Jesus cares much for what is called the visible church. But he cares with his very Godhead for those who do as he tells them."

In George MacDonald's most well-known novel, published in 1868, the quest of young Robert Falconer for his father becomes a parallel quest to break free from the oppressive Calvinist theology of his grandmother. As he struggles to come to terms with the strict orthodoxy prevalent in Scotland for two centuries, the doctrine of hell looms as the great stumbling block in Robert's mind. His lifelong search reveals to Robert the groundbreaking truth that hell is remedial not punitive, designed to produce ultimate repentance not everlasting punishment. This highly autobiographical work offers a rare glimpse into MacDonald's own youthful quandaries, and a window into the development of his faith, which would turn generations toward the Fatherhood of a loving God. After the book's publication, as a result of the bold themes running through the narrative, MacDonald came to be considered a _x201C_universalist_x201D_ and _x201C_heretic_x201D_ in some circles_x2014_grievous mischaracterizations that persist to this day. This new edition by MacDonald biographer Michael Phillips streamlines the occasionally ponderous Victorian narrative style, and updates the thick Doric brogue into readable English.

This final installment of the Thomas Wingfold trilogy from 1891 adds yet further dimensions to the personal search for faith and the nature of belief, exemplified in the characters of Barbara Wilder and Richard Tuke. Both Barbara and Richard must ask whether or not God's existence is true, what God's character is like, and what demands are placed upon them as a result. Wingfold's conversations with Barbara probe the foundations of belief with depth and profundity. Wingfold continually emphasizes the great truth: Everything depends on the kind of God one believes in. All three of the Wingfold books address the logic and reasonableness of the Christian faith. MacDonald's characters must reason out belief. There will be no pat answers, no "humbug," as he called it. Christianity is reasonable, sensible, intellectually consistent. God's principles are true. This true-ness pervades MacDonald's worldview as the foundation for Everyman's spiritual quest. As always, the stories upon which MacDonald weaves his spiritual themes are compelling in themselves. There and Back is no exception, with mysteries, romance, a disputed inheritance, again with an old castle and library, and a full range of fascinating characters spread along the spectrum of personal development.

MacDonald's second realistic novel written in the first person by a fictional female narrator, almost from its opening pages, The Flight of the Shadow feels somber and ominous. It is thus linked with The Portent from early in MacDonald's career, both books similar of length and style. Again MacDonald develops his familiar themes through the character of an orphan, who, without an earthly father, must yet discover the goodness of God's Fatherhood. Belorba Whichcote learns of the divine Fatherhood through the goodness of her uncle Edward, who has raised her on the _x201C_old family farm._x201D_ Both of their lives are complicated when Belorba falls in love with John Day from the neighbouring estate of Rising. John's demonic mother, Lady Cairnedge, who holds a secret over the Whichcote family, threatens to destroy them, foreshadowing the character of Lilith, the first draft of whose saga was being written about the same time as Flight of the Shadow's release in 1891. Reconciliation and restoration conquer her evil influence in the end.

This wonderful Scottish tale from 1893, not so expansive of theme and scope as some of MacDonald's lengthier Scottish stories, is yet poignantly moving in its own way. The descriptions of the highlands and the lives of its people are the equal of those in Castle Warlock and What's Mine's Mine. Who, after reading the story of Kirsty Barclay in Heather and Snow, will forget her brother Steenie's cry after "the bonny man!" Indeed, Kirsty is one of MacDonald's most memorable women, whose lifelong friendship with neighbor Francis Gordon is the unifying thread through the story, as both mature from youth into adulthood.

Subtitled, a little oddly, "A Romance," which assuredly it is not, eight distinct manuscript versions of Lilith exist, chronicling the book's fitful development under MacDonald's pen until its release in 1895. Some view Lilith as the other-worldly climax of MacDonald's literary career. As in Phantastes, with which Lilith is usually linked, the narrator finds himself embarking on a quest. But unlike the earlier journey into the land of faerie, that of Lilith is an inward journey that leads to the world of death, exploring what new self-awarenesses, even repentance, may be possible in that realm. Lilith is decidedly dark and difficult to grasp and is not for all readers. MacDonald himself felt that it had been inspired by God as his _x201C_final message, _x201D_ though his wife Louisa was troubled by it and counseled her husband not to publish it. This edition for The Cullen Collection is unedited in any way.

MacDonald's final full length, realistic Scottish novel of 1897, is replete with dense Scottish dialect and spiritual themes. The repentance (through fire) of young minister James Blatherwick, who recognizes the sham of his pretended spirituality, is reminiscent of Thomas Wingfold's spiritual journey. It also embodies in fictional form one of MacDonald's signature themes from his first volume of Unspoken Sermons, "The Consuming Fire." Along with these themes, the return of one of MacDonald's favorite character "types," the humble Scottish peasant bard, in the person of cobbler John MacLear, establishes Salted With Fire as a work of lasting importance in the MacDonald corpus. It arguably offers a fitting climax to MacDonald's life message. This new edition by MacDonald biographer Michael Phillips streamlines the occasionally ponderous Victorian narrative style, and updates the thick Doric dialect into readable English.

MacDonald's final "novella" of a scant 22,000 words was viewed as so insignificant at the time of its release in 1898 that it never appeared in book form in the U.K and is omitted from many lists of MacDonald's books. Though appearing in magazine form in Britain, its only book edition was published in the United States. For those with eyes to see, however, it reads as an autobiographical retrospective of the beginning of MacDonald's own writing life. Though revealing a poignant final glimpse of MacDonald's waning energy and craft, the significance of its portrait of a struggling youthful author is delightful. Shortly after its writing, what appeared to be a stroke silenced the pen of this remarkable literary genius and man of God. Included in this new edition of Far Above Rubies is Ronald MacDonald's memorable portrait of his father from 1910, From A Northern Window.

The leading MacDonald scholar and biographer presents the most comprehensive work to date on the 19th century author's life and work. Best known for his fiction and fairy tales, such as the immortal classics Robert Falconer and At the Back of the North Wind, the Victorian author and theologian George MacDonald inspired some of the greatest writers of the 19th and 20th centuries. Most notably, C.S. Lewis credits MacDonald's books with inspiring his works of fantasy fiction as well as putting him on the path to Christianity. In this major biographical work, MacDonald scholar Michael Phillips examines how the events of the author's life contributed to his work and legacy. Referring to this volume as a "bibliographic biography," Phillips brings his expertise to bear on the complete corpus of MacDonald's fiction, pointing out each book's essential themes, and offering insights into how each title can be most perceptively be read.