Trisha Telep - The Mammoth Book of Irish Romance

«The Blue Pebble» © by Shirley Kennedy. First publication, original to this anthology. Printed by permission of the author.

«The Ballad of Rosamunde» © by Claire Delacroix, Inc. First publication, original to this anthology. Printed by permission of the author.

«Oracle» © by Margo Maguire. First publication, original to this anthology. Printed by permission of the author.

«The Trials of Bryan Murphy» © by C. T. Adams and Cathy Clamp. First publication, original to this anthology. Printed by permission of the author.

«Nia and the Beast of Killarney Wood» © by Cindy Miles. First publication, original to this anthology. Printed by permission of the author.

«Beyond the Veil» © by Rice Enterprises. First publication, original to this anthology. Printed by permission of the author.

«Shifter Made» © by Jennifer Ashley. First publication, original to this anthology. Printed by permission of the author.

«Daughter of the Sea» © by Kathleen Givens. First publication, original to this anthology. Printed by permission of the author.

«The Warrior» © by Jenna Maclaine. First publication, original to this anthology. Printed by permission of the author.

«Eternal Strife» © by Dara England. First publication, original to this anthology. Printed by permission of the author.

«Quicksilver» © by Cindy Holby. First publication, original to this anthology. Printed by permission of the author.

«The Feast of Beauty» © by Helen Scott Taylor. First publication, original to this anthology. Printed by permission of the author.

«Compeer» © by Roberta Gellis. First publication, original to this anthology. Printed by permission of the author.

«On Inishmore» © by Ciar Cullen. First publication, original to this anthology. Printed by permission of the author.

«The Morrígan’s Daughter» © by Susan Krinard. First publication, original to this anthology. Printed by permission of the author.

«Tara’s Find» © by Nadia Williams. First publication, original to this anthology. Printed by permission of the author.

«The Skrying Glass» © by Penelope Neri. First publication, original to this anthology. Printed by permission of the author.

«The Houndmaster» © by Sandra L. Patrick. First publication, original to this anthology. Printed by permission of the author.

«The Seventh Sister» © by Sue-Ellen Welfonder. First publication, original to this anthology. Printed by permission of the author.

«By the Light of My Heart» © by Patricia Shagoury. First publication, original to this anthology. Printed by permission of the author.

Ireland is a land of romance. Pure and simple. And you don’t have to be an expert in Irish lore to appreciate the fantastic opportunities that Ireland offers romance writers: its tumultuous, battle-rife history of clans, territories and kingdoms; its pantheon of heroes, goddesses, saints and magic to rival Rome’s, and its legends of the most fantastical beasts and magical creatures ever recorded. You don’t need, either, to know everything about the Tuatha Dé Danann to appreciate these ancient gods of eire with their beauty, immense strength, and immortality. Irish legend and mythology are full of the ultimate heroes and the most romantic of stories. It is to a great extent in these Celtic cycles, tales and myths that romances — full of heroes, chivalry, courtly love and adventure — were originally born. No wonder popular writers from Tolkein to J. K. Rowling to George Lucas have been seized and inspired by the history of Ireland.

Because Ireland’s history was an oral history until it was recorded by Christian monks in the Middle Ages, you can clearly see where problems might have arisen with an accurate portrayal of Ireland’s wild pagan past! The ancient tribal Ireland of druids and high kings, therefore, is always ripe for reinterpretation. This is why such tales and folklore are constantly rewoven and rewritten; they are always a work in progress, a vibrant recollection of the past, still vital and alive today. It’s also why you’ll find many different interpretations, many different names and dispositions for similar characters.

Here are stories that weave a fiction from existing legend, stories that explore existing myth in greater depth, and yet more stories that stray from established lore entirely with a healthy dose of poetic licence, using Ireland’s constellation of magical creatures in new, exciting ways. And then, of course, here are stories that are simply pure, unabashed, unashamed romance.

And the faery folk seem to have their fingers in most of the trouble and adventure that occurs. Love affairs between mortals and the faery host are put to the test, while the High King of the Daoine Sidhe, Finvarra’s insatiable appetite for mortal women is legendary. Fairy interference — er, help — in mortal life in general is definitely a recurring theme in this collection. But you’ll also be confronted with remnants of Ireland’s Viking past, its legendary warriors, battles fought and won, and the mysterious sea god Lir and his mermaids.

Jenna Maclaine brings Morrigan, the goddess of war, and legendary warrior, Cuchulainn to life as erotic, constantly battling, immortals. And as always we have a few stories that reach out to the wider world of an author’s current series (see, for instance, Margo Maguire’s world of the Druzai). I am also proud to announce the brilliant debut of a brand-new series with a story from Jennifer Ashley presenting her exciting Shifters!

A tumult of styles and themes then, this is a refresher course in Irish history, with a nod to the behemoth that is paranormal romance. Here are some writers with the power to really take you on a ride through a Celtic mythological past, who can definitely hold their own amongst all the vampires, werewolves, shape-shifters and ghosts populating the bestseller lists today.

So why not allow these Irish paranormals — these gancanaghs (ethereal lovers who seduce young women then disappear), alp-luachras (evil, greedy fairies) and Irish High Kings of lore — a little room of their own? Let these writers take you into the lush, romantic, and above all magical heart of an Ireland that is, was and might-have-been.

Trisha Telep

England — 1814

Passengers on the Royal Mail coach to London were surprised when the coach came to a jangling stop on the road not far from the town of Shrewsbury. No houses around. Only a winding driveway could be seen leading up through a heavy growth of trees to an immense Tudor-style mansion that nestled atop a low hill.

«This here’s Chatfield Court, miss,» the coachman shouted. «I’ll toss your luggage down.»

«Thank you kindly, sir.»

While the pretty young woman in her twenties climbed from the coach, the other passengers looked at each other askance. Surely the girl should not have to carry that large portmanteau up the hill by herself. One of the gentlemen passengers stuck his head out the window and called up, «I say, coachman, can’t you take her up the driveway to the entrance? We don’t mind the extra time.»

«Can’t do it, sir. Against the rules.»

«That’s quite all right,» the young woman assured him in a rich Irish brogue. She squared her shoulders. «This isn’t the first heavy load I’ve carried in my life. I’ll be fine.» She picked up the battered portmanteau, smiled, waved a quick goodbye and started trudging up the hill.

The coach started up again, the remaining passengers making clicking noises and shaking their heads. That they were concerned about a passenger they’d known only hours was surprising. She had not uttered more than a few pleasantries, only briefly mentioning she’d been a schoolteacher in Ireland, as had her mother who had recently passed away. Mostly she sat silently gazing out the window; yet despite the paucity of her words, they all recognized an agreeable quality about her and wished her well.