Free PDF Last Unicorn, by Peter S. Beagle
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Last Unicorn, by Peter S. Beagle
Free PDF Last Unicorn, by Peter S. Beagle
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- Whimsical. Lyrical. Poignant. Adapted for the first time from the acclaimed and beloved novel by Peter S. Beagle, The Last Unicorn is a tale for any age about the wonders of magic, the power of love, and the tragedy of loss. The unicorn, alone in her enchanted wood, discovers that she may be the last of her kind. Reluctant at first, she sets out on a journey to find her fellow unicorns, even if it means facing the terrifying anger of the Red Bull and malignant evil of the king who wields his power.
- Adapted by Peter B. Gillis and lushly illustrated by Renae De Liz and Ray Dillon, this special, oversized edition features additional art galleries and loads of extras, expanding the universe of The Last Unicorn.
- Sales Rank: #4158818 in Books
- Brand: Delrey
- Published on: 1987-12-12
- Released on: 1987-12-12
- Ingredients: Example Ingredients
- Original language: English
- Number of items: 1
- Binding: Mass Market Paperback
About the Author
PETER S. BEAGLE is one of the world's best-loved fantasy authors. His works include the novels A Fine and Private Place and The Folk of the Air, as well as nonfiction books and the screenplay for the animated film version of J. R. R. Tolkien's The Hobbit. He lives in Davis, California.
From AudioFile
Peter Beagle reads an abridged version of his classic fantasy, first published in 1968. The story recounts the journey of the last unicorn to find "her people," unicorns who have been imprisoned by the evil King Haggard. This abridged version of the fable retains the texture and wonder of the original. The author gives a semi-voiced performance, skillfully conveying the emotional atmosphere of the story. Bridges of classical guitar music contribute to the mood of the story. Suitable for older children and young adults as well as adults, this production will bring this lovely story to many who missed the book. It's a classic of its genre and deserves a place in most audio collections. M.A.M. (c)AudioFile, Portland, Maine
Most helpful customer reviews
278 of 290 people found the following review helpful.
The Post-Modern Fairy Tale
By mp
Along with the rest of the civilized world, my wandering memories often lead me back to two of my favorite childhood movies, "The Neverending Story" and "The Last Unicorn." Practically all I could remember of the latter was some skull yelling "Unicorn! Uuuunicorn!" That image and that voice have left a lingering discomfort in the back of my mind for years. A while back, I found a little time to investigate Michael Ende's novel, "The Neverending Story," and just recently, I managed to come across a copy of "The Last Unicorn," and I couldn't help but read it. In both cases, these novels have more than repayed my childhood memories, giving my adult mind philosophical and literary substance as well as real joy. Peter S. Beagle's 1968 novel, "The Last Unicorn," is much more than a simple fantasy story - though it is rife with magicians, mythical creatures, and all of the customary trappings. It is even more than a complex fantasy story - somehow Beagle enchants us into a timeless place where nothing seems unusual - "The Last Unicorn" creates a space for magic in our modern lives.
The novel begins as a unicorn overhears two hunters riding through her wood - the hunters debate whether unicorns exist anymore. The unicorn begins to wonder if indeed she is the last of her kind, and goes in search of other unicorns. She is caught sleeping by Mommy Fortuna, owner of the Midnight Carnival, who displays the unicorn for a time alongside a real harpy and a motley bunch of meek, hopeless animals who are made, through Fortuna's magic, to resemble other dangerous mythical beasts for the entertainment of travellers, tourists, and townsfolk. Schmendrick, a fairly useless magician, and an assistant to the Midnight Carnival, recognizes the unicorn for what she is, and freeing her, they set off together to find the unicorns. Once they are joined by a woodland dweller named Molly Grue, the company is complete. Their search brings them to the domain of King Haggard, who, along with the demoniacal, but eerily incorporeal Red Bull, seems to have something to do with the disappearance of the unicorns.
Though the novel is a quest, there isn't much real movement - the novel moves from the unicorn's wood, over land to Haggard's castle by the sea, which is where almost half of the novel takes place. The more significant quests here are ones of self-discovery, as the unicorn, Schmendrick, and Prince Lir, King Haggard's heir, must all try to figure out who they are, what they want to be, and how to accomplish their goals without being consumed by existential despair. Related questions the novel poses include speculations on the nature of the hero, on the metafictional nature of the fairy tale as a genre, and what the difference is between evil and self-interest, between love and hatred. "The Last Unicorn" is also a rumination on the nature of interpersonal (or interspecies) relationships, and is in spots as concerned with ecology and the environment as J.R.R. Tolkien's "Lord of the Rings."
However, far and away, the most compelling facets of "The Last Unicorn" for me are Beagle's minor touches, minutiae that some people might miss on a first reading. Seemingly meaningless conversations, like the one between the hunters which begins the novel, between Captain Cully and his disaffected latter-day Robin Hoods in the forest, or between a 'married' pair of blue jays betray a depth and attention to detail and a real artistry in Beagle's literary workmanship. They alert us, as certainly as Tolkien's work does, to the fact that we, the novel's readers, live in a prosaic world, divested of magic and enchantments. Beagle's novel shows that creating, living in, and sustaining a fantasy world can be as much work, and can involve as much pain as our own normal daily lives. Indeed, one amazing quality of "The Last Unicorn" is that it hardly differentiates between the normal modern world and that of the fairy tale. One reviewer mentions that the novel takes place in the Middle Ages - is it at all astonishing then, to hear Cully at one point mention the "field-recordings" that will one day be made of his oral poetry while he himself eats a taco?
"The Last Unicorn" has endured for almost 40 years because it manages to imbue things like "field-recordings" with a kind of magical quality that seems as natural as talking birds and butterflies. Beagle also reminds us that we are each heroes of our own stories - whether we stick to the literary conventions of genre or not. The inclusion of subtle anachronisms and metafictional commentaries like these clues us to Beagle's art - the creation of a new kind of fairy tale, one which attempts to make our own world, our own lives, sources of almost limitless wonder and joy, as well as of continuing epic challenges.
126 of 134 people found the following review helpful.
A story of wit and charm, immeasurable beauty and emotion.
By Kikyo C.
The Last Unicorn is one of most astounding books I have ever read. Not only because of the story, which is a fairytale in every sense of the word, but also because of Beagle's flawless writing, which weaves a spell of words and images that I find myself willingly ensnared in every time I open its pages. I find myself lingering over each sentence, each word, and I am astounded by the care with which he tells this tale.
Once upon a time, there was a unicorn. A beautiful unicorn... who was all alone. She sets out on a journey to seek others of her kind and is joined on her travels by a bumbling magician and an old spinster, neither of who are what they first appear to be. Encountering magical monsters, outlaws and suspicious townspeople, the three travelers find themselves at the gate of a forbidding castle wherein lives a cruel king and a gentle prince. It is in the walls of this castle that the truth lies. But can they accept what the truth will bring?
Beagle tells an amazing tale, of love and loss, of heartache and hope. Each of the characters in his work has such life and depth, and I see myself in each and every one of them. From an inept magician who desperately seeks to be more than what he is to the outlaws who cry out with loss of that which they have never known, there is so much life in these few short pages that I find myself reading and rereading each page, afraid lest I miss something. When Schmendrick cries, "I'll make you into a bad poet with dreams!" I want to laugh, but at the same time I want to cry with pity, with unexplainable sorrow for something I can't quite understand and am not sure I want to.
The Last Unicorn is about more than just a quest for unicorns. It is also a story about the things that we love and what we will do - or not do - for that love. It is about what really defines a hero, and what constitutes a happy ending. But most of all, it is about magic. Joy. Sadness. Beauty. It is about all the things we are and all the things we long to be. It is a breathtakingly beautiful story by a wonderful writer, and I recommend it as one of the best books I have ever read.
83 of 87 people found the following review helpful.
"The Last Unicorn" comic: a long-time fan's review
By M. Natisin
If you're contemplating purchasing the comic adaptation of "The Last Unicorn" , chances are that this will not be your first foray into the world created by Peter S. Beagle in his best-known novel. In "The Last Unicorn", a unicorn discovers that she is the last of her kind and sets out on a quest to discover that has become of her kin. If you're like me, you've read the book and watched the movie, and so as a fan you might wonder what this newest incarnation of the story has to offer.
The Last Unicorn comic gathers the 6 separate issues released by IDW publishing into one full color hard-cover volume. From a purely aesthetic standpoint the book design is impeccable, with violet foil lettering on front and back and a classy layout. The six chapters that make up the book are separated by pages that sport the same illustrations that were featured on the covers of the respective single comic issues.
There is immediately something a little more "grown up" about the comic adaptation as opposed to the animated movie. Renae de Liz's style may have much to do with this. Her illustrations tend more toward stylized realism than the far more soft, cartoony style employed in the movie. Ray Dillon's colors are atmospheric and brooding. Characters such as the Harpy Celaeno, Mommy Fortuna, Ruhk and King Haggard are actually frightening to look at in the comic version, while their movie versions are a little more approachable. For those comfortable with the representations of characters such as the unicorn (Lady Amalthea), Schmendrick and Molly Grue shown in the 80's animated movie, the character designs of the comic certainly pay homage to those designs.
What is particularly enjoyable about this adaptation is that plot points and scenes that were in the original novel but omitted from the movie have been included in the comic. There is a magician mentor named Nikos, who turned a male unicorn into a human. As in the novel, Schmendrick is cursed with youth, a side note that never made it into the animated feature. There is a city named Hagsgate again, and Arachne is back in Mommy Fortuna's Midnight Carnival as is "Elli". There is even a single page that alludes to the "blue bird" scene from the novel (in which a pair of married blue birds argue over whether or not the husband bird actually saw a unicorn).
The extras at the end of the book include interviews of both Peters S. Beagle and Peter Gillis, the man who adapted The Last Unicorn into a comic book format. There is a small art gallery in the back that features pieces by guest artists and small thumbnails of the six "alternate" comic book covers done by Frank Stockton. There are also half-page images taken directly from the comic (with the text bubbles removed) so that one may admire the layout of some very beautifully designed pages. These are often too small for my liking, but they are nice "extras".
The comic is *almost* a complete triumph. I say almost because there is one omission that really should have made it into the comic. Once again, King Haggard's four aged men-at-arms are mentioned only in passing dialogue. Much like in the animated movie, the characters are never seen and their small arc and subsequent return to youth is cut from the story. In his interview at the end of the comic, even Peter Gillis laments that these characters were once more cut out of the story due to page restrictions. Truly, it would have made this adaptation even more special to have this rather important plot point addressed in the comic book, even more so because it is left out of the movie. Other slight problems had to do with the panel pacing toward the end and the clunky descriptive text during the battle with the Red Bull. There was an over-use of sentences starting with "And..." that started to feel very redundant. But I feel for the illustrator, who doubtlessly had a challenge shoving as much as possible onto the small amount of additional pages that were added. The page-limit on the comic was reached before the completion of the series. A total of 12 extra pages had to be added... and paid for out-of-pocket--not by IDW.
For fans, the comic is invaluable and does both the novel and the movie justice while offering strengths that are individual to the comic adaptation. It is a generally faithful retelling, obviously drawn and translated from the novel by people who truly cared about the story and the quality of the art. If you are fond of the novel, the movie or both, the graphic novel will be a welcome addition to your collection. Enjoy!
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