About the Celtic Otherworld Series

The Celtic Otherworld stories are inspired by Celtic, Irish, Scandinavian and Norse legend and are set more or less contemporaneously usually with some connection to Irish or English places.

Court grave, Lough Gur, Ireland. (c) M. Watterson

Court Grave near Lough Gur, Co. Limerick, Ireland.

Contemporary travel to Otherworlds mentioned in Celtic Myth and Legend. Meet the Tuath Dé, Sióg, Aés Sidhe, Elves and Faerie. Also set in Limerick, Ireland and Wychavon, England.

Painting of Anrhi the Baltie in ‘Under the Stone of Destiny’ by Caitriona

Anrhi the Baltie in ‘Under the Stone of Destiny’

Unlike Greek and Roman myth, there are many Celtic ‘Otherworlds’ that appear to be magical and often inhabited by the Fair Folk (Fay, Fairy, Sióg) or sometimes the Tuath Dé (later called Tuatha De Danann). They are not realms of the dead. The oldest Norse legends have many similar aspects to the oldest Celtic myths. Apart from Valhalla, Asgard isn’t a place of the dead.

Manannán Mac Lir led the Tuath Dé away to the Otherworld over 2,500 years ago. Except for them it’s been more like 600 due to the time-slip. Not all the portals (often at Court Graves, Raths and other ancient Irish sites) have been closed. Any Enchanter can open one. Today Tuath Dé culture is a crazy mix of Mediaeval to 19th Century.

Most involve Alice, also called Eilis, who lived in rural Co. Limerick till age thirteen.

Under the Stone of Destiny Carrying the Shining Sword Seeking the Flaming Spear Cover of Hero Genesis Cover No Silver Lining Exiles and Rooks Fairy Godmothers Conspiracies and Rooks The Fay Child Artists and Rooks Dwarves and Rooks Goths and Rooks Jewels and Rooks cover Tom Óg and the Firebirds The Riding of the Sidhe (cover: The Wooing of Marion) At the first touch of Winter (Cover: The Ending of Marion) Elaine and Luke The Enscorcelled Maid Watching the Watchers Four Kids, One Foxe cover of Geena and the Prince Sigyn Has a Plan

Riders of the Sidhe by John Duncan (cropped detail)

‘Riders of the Sidhe’ by John Duncan (cropped detail)