(Although you should be warned that Howard took the side of the Celts in any clash between the two.) Howard's stories also make heavy use of this sort of material: "The Grey God Passes", for example, or "The Cairn on the Headland" - most of his stories of this type were collected in a couple of older paperbacks, Marchers of Valhalla and Skull-Face (the first volume of the Panther paperback reprint of The Skull-Face Omnibus, not the Berkley paperback). Rider Haggard used Norse settings and themes for his Eric Brighteyes and The Wanderer's Necklace. Eddison (of The Worm Ouroboros and the Zimiamvia trilogy fame) also did one titled Styrbiorn the Strong William Morris did some tales of this sort, as well, with The House of the Wulfings and At the Roots of the Mountains, based (at least in great part) on tales from the Elder Edda, while H. And there's a heavily Norse quality to some of Fritz Leiber's Fafhrd and Grey Mouser stories, especially those collected into Swords & Ice Magic, such as "Rime Isle", though these also draw on various other milieus, and are adapted to Leiber's own Nehwon.īut for straightforward Norse fantasy, Anderson himself did a few others, as well, including Hrolf Kraki's Saga and The Merman's Children.
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