Books about Swordsmen from Amazon.com

“The stories here are the raw heart of Michael Moorcock. They are the spells that first drew me and all the numerous admirers of his work with whom I am acquainted into Moorcock’s luminous and captivating web.”
–from the Foreword by Alan Moore, creator of V for Vendetta

When Michael Moorcock began chronicling the adventures of the albino sorcerer Elric, last king of decadent Melniboné, and his sentient vampiric sword, Stormbringer, he set out to create a new kind of fantasy adventure, one that broke with tradition and reflected a more up-to-date sophistication of theme and style. The result was a bold and unique hero–weak in body, subtle in mind, dependent on drugs for the vitality to sustain himself–with great crimes behind him and a greater destiny ahead: a rock-and-roll antihero who would channel all the violent excesses of the sixties into one enduring archetype.

Now, with a major film in development, here is the first volume of a dazzling collection of stories containing the seminal appearances of Elric and lavishly illustrated by award-winning artist John Picacio–plus essays, letters, maps, and other material. Adventures include “The Dreaming City,” “While the Gods Laugh,” “Kings in Darkness,” “Dead God’s Homecoming,” “Black Sword’s Brothers,” and “Sad Giant’s Shield.”

An indispensable addition to any fantasy collection, Elric: The Stealer of Souls is an unmatched introduction to a brilliant writer and his most famous–or infamous–creation.

“The most significant UK author of sword and sorcery, a form he has both borrowed from and transformed.”
–The Encyclopedia of Fantasy.
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With Conan the Cimmerian, Robert E. Howard created more than the greatest action hero of the twentieth century—he also launched a genre that came to be known as sword and sorcery But Conan wasn’t the first archetypal
adventurer to spring from Howard’s fertile imagination.

“He was . . . a strange blending of Puritan and Cavalier, with a touch of the ancient philosopher, and more than a touch of the pagan. . . . A hunger in his soul drove him on and on, an urge to right all wrongs, protect all weaker things. . . . Wayward and restless as the wind, he was consistent in only one respect—he was true to his ideals of justice and right. Such was Solomon Kane.”

Collected in this volume, lavishly illustrated by award-winning artist Gary Gianni, are all of the stories and poems that make up the thrilling saga of the dour and deadly Puritan, Solomon Kane. Together they constitute a sprawling epic of weird fantasy adventure that stretches from sixteenth-century England to remote African jungles where no white man has set foot. Here are shudder-inducing tales of vengeful ghosts and bloodthirsty demons, of dark sorceries wielded by evil men and women, all opposed by a grim avenger armed with a fanatic’s faith and a warrior’s savage heart.

This edition also features exclusive story fragments, a biography of Howard by scholar Rusty Burke, and “In Memoriam,” H. P. Lovecraft’s moving tribute to his friend and fellow literary genius.
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“Moorcock’s writing is intricate, fabulous, and mellifluous Reading his words I was, and am, reminded of music. His novels are symphonic experiences. They dance and cry and bleed and make promises that can live only in the moment of their utterance.”
–from the Foreword by Walter Mosley, New York Times bestselling author of Blonde Faith and Devil in a Blue Dress

Elric of Melniboné. The name is like a magic spell, conjuring up the image of an albino champion and his cursed, vampiric sword, Stormbringer. Elric, the last emperor of a cruel and decadent race, rogue and adventurer, hero and murderer, lover and traitor, is mystery and paradox personified–a timeless testament to the creative achievement of Michael Moorcock, the most significant fantasy writer since Tolkien.

Now comes the second in this definitive series of Elric volumes. Gorgeously illustrated by acclaimed artist Michael Wm. Kaluta and including a new Introduction by Michael Moorcock, this collection features, along with Elric, such renowned characters as Erekosë, Rackhir the Red Archer, and Count Renark von Bek. Readers will delight in adventures that include “To Rescue Tanelorn . . .,” “Master of Chaos,” “The Singing Citadel,” “The Black Blade’s Song,” and the novella version of “The Eternal Champion.”

Elric: To Rescue Tanelorn is essential reading for every fantasy fan and provides indelible proof–if any was needed–of the genius of Michael Moorcock.

“The most significant UK author of sword and sorcery, a form he has both borrowed from and transformed.”
–The Encyclopedia of Fantasy.
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This swashbuckling tale, beloved around the world, follows the fortunes of d'Artagnan, a country boy who travels to Paris to join the Musketeers, save his Queen from scandal, and outwit the devious Cardinal Richelieu..
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The first in a magnificent series of historical novels from the acclaimed, bestselling author of The Club Dumas and The Queen of the South

The novels of Arturo Pérez-Reverte have captivated readers around the world and earned him a reputation as “the master of the intellectual thriller” (Chicago Tribune). His books have been published in fifty countries. Now, beginning with Captain Alatriste, comes Pérez- Reverte’s most stunning creation to date: a riveting series featuring the adventures of an iconic hero.

Captain Alatriste is the story of a fictional seventeenth-century Spanish soldier who lives as a swordsman-for-hire in Madrid. Needing gold to pay off his debts, Alatriste and another hired blade are paid to ambush two travelers, stage a robbery, and give the travelers a fright. “No blood,” they are told.

Then a mysterious stranger enters to clarify the job: he increases the pay, and tells Alatriste that, instead, he must murder the two travelers. When the attack unfolds, Alatriste realizes that these aren’t ordinary travelers, and what happens next is only the first in a riveting series of twists and turns, with implications that will reverberate throughout the courts of Europe.

“A twenty-first century literary phenomenon . . . The clash and dash are thrilling; the swordplay is a bonus. A-.”—Entertainment Weekly
“Written with courtly panache and contagious enthusiasm.”—The New York Times
“A pleasure of swash, buckle, and atmosphere.” —Kirkus Reviews
“A winning swashbuckler . . . Popular entertainment at its best.”—Publishers Weekly
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The Lone Samurai is a landmark biography of Miyamoto Musashi, the legendary Japanese figure known throughout the world as a master swordsman, spiritual seeker, and author of The Book of Five Rings. With a compassionate yet critical eye, William Scott Wilson delves into the workings of Musashi's mind as the iconoclastic samurai wrestled with philosophical and spiritual ideas that are as relevant today as they were in his times. Musashi found peace and spiritual reward in seeking to perfect his chosen Way, and came to realize that perfecting a single Way, no matter the path, could lead to fulfillment. The Lone Samurai is far more than a vivid account of a fascinating slice of feudal Japan. It is the story of one man's quest for answers, perfection, and access to the Way.
By age thirteen, Miyamoto Musashi had killed his opponent in what would become the first of many celebrated swordfights. By thirty, he had fought more than sixty matches, losing none. He would live another thirty years but kill no one else. He continued to engage in swordfights but now began to show his skill simply by thwarting his opponents' every attack until they acknowledged Musashi's all-encompassing ability. At the same time, the master swordsman began to expand his horizons, exploring Zen Buddhism and its related arts, particularly ink painting, in a search for a truer Way.
Musashi was a legend in his own time. As a swordsman, he preferred the wooden sword and in later years almost never fought with a real weapon. He outfoxed his opponents or turned their own strength against them. At the height of his powers, he began to evolve artistically and spiritually, becoming one of the country's most highly regarded ink painters and calligraphers, while deepening his practice of Zen Buddhism. He funneled his hard-earned insights about the warrior arts into his spiritual goals. Ever the solitary wanderer, Musashi shunned power, riches, and the comforts of a home or fixed position with a feudal lord in favor of a constant search for truth, perfection, and a better Way. Eventually, he came to the realization that perfection in one art, whether peaceful or robust, could offer entry to a deeper, spiritual understanding. His philosophy, along with his warrior strategies, is distilled in his renowned work, The Book of Five Rings, written near the end of his life.
Musashi remains a source of fascination for the Japanese, as well as for those of us in the West who have more recently discovered the ideals of the samurai and Zen Buddhism. The Lone Samurai is the first biography ever to appear in English of this richly layered, complex seventeenth-century swordsman and seeker, whose legacy has lived far beyond his own time and place.
---------------------------------------------------------------- INTERVIEW WITH WILLIAM SCOTT WILSON ABOUT BUSHIDO
Q.: What is Bushido?
A.: Bushido might be explained in part by the etymology of the Chinese characters used for the word. Bu comes from two radicals meanings "stop" and "spear." So even though the word now means "martial" or "military affair," it has the sense of stopping aggression. Shi can mean "samurai," but also means "gentleman" or "scholar." Looking at the character, you can see a man with broad shoulders but with his feet squarely on the ground. Do, with the radicals of head and motion, originally depicted a thoughtful way of action. It now means a path, street or way. With this in mind, we can understand Bushido as a Way of life, both ethical and martial, with self-discipline as a fundamental tenet. Self-discipline requires the warrior at once to consider his place in society and the ethics involved, and to forge himself in the martial arts. Both should eventually lead him to understand that his fundamental opponents are his own ignorance and passions.
Q.: How did the code develop and how did it influence Japanese society?
A.: The warrior class began to develop as a recognizable entity around the 11th and 12th centuries. The leaders of this class were often descended from the nobility, and so were men of education and breeding. I would say that the code developed when the leaders of the warrior class began to reflect on their position in society and what it meant to be a warrior. They first began to write these thoughts down as yuigon, last words to their descendents, or as kabegaki, literally "wall writings," maxims posted to all their samurai. Samurai itself is an interesting word, coming from the classical saburau, "to serve." So when we understand that a samurai is "one who serves," we see that the implications go much farther than simply being a soldier or fighter.
Also, it is important to understand that Confucian scholars had always reflected on what it meant to be true gentleman, and they concluded that such a man would be capable of both the martial and literary. The Japanese inherited this system of thought early on, so certain ideals were already implicitly accepted.
The warrior class ruled the country for about 650 years, and their influence-political, philosophical and even artistic-had a long time to percolate throughout Japanese society.
Q.: The Samurai were very much renaissance men - they were interested in the arts, tea ceremony, religion, as well as the martial arts. What role did these interests play in the development of Bushido? How did the martial arts fit in?
A.: This question goes back to the Confucian ideal of balance that Japanese inherited, probably from the 7th century or so. The word used by both to express this concept, for the "gentleman" by the Chinese and the warrior by Japanese, is (hin), pronounced uruwashii in Japanese, meaning both "balanced" and "beautiful." The character itself is a combination of "literature" (bun) and "martial" (bu). The study of arts like Tea ceremony, calligraphy, the study of poetry or literature, and of course the martial arts of swordsmanship or archery, broadened a man's perspective and understanding of the world and, as mentioned above, provided him with a vehicle for self-discipline. The martial arts naturally were included in the duties of a samurai, but this did not make them any less instructive in becoming a full human being.
Q.: What was sword fighting like? Was the swordplay different for different samurai?
A.: There were literally hundreds of schools of samurai swordsmanship by the 1800's and, as previously mentioned, each school emphasized differing styles and approaches. Some would have the student to jump and leap, others to keep his feel solidly on the ground; some would emphasize different ways of holding the sword, others one method only. One school stated that technical swordsmanship took second place to sitting meditation. Historically speaking, there were periods when much of the swordfighting was done on horseback, and others when it was done mostly on foot. Also, as the shape and length of the sword varied through different epochs, so did styles of fighting. Then I suppose that a fight between men who were resolved to die would be quite different from a fight between men who were not interested in getting hurt.
Q.: How is the code reflected in Japanese society today?
A.: When I first came to live in Japan in the 60's, I was impressed how totally dedicated and loyal people were to the companies where they were employed. When I eventually understood the words samurai and saburau, it started to make sense. While these men (women would usually not stay long with a company, giving up work for marriage) did not carry swords of course, they seemed to embody that old samurai sense of service, duty, loyalty and even pride. This may sound strange in our own "me first" culture, but it impressed me that the company had sort of taken the place of a feudal lord, and that the stipend of the samurai had become the salary of the white-collar worker.M
That is on the societal level. On an individual level, I have often felt that Japanese have a strong resolution, perhaps from this cultural background of Bushido, to go through problems rather than around them. Persistence and patience developed from self-discipline?.
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Dave Lowry juxtaposes his singular experience as an adept student of kenjutsu (the art of swordsmanship) under a Japanese teacher in St. Louis with a riveting account of the samurai tradition in Japan. Intertwining tales of the masters with reflections on his own apprenticeship in the samurai's arts, he reveals in their time-honored methods a way of life with profound relevance to modern times. The result is a fascinating, singular autobiography. Lowry captures the sense of wonder and mystery that makes martial arts compelling to so many practitioners. Even those who do not practice martial arts will delight in this unusual coming-of-age story..
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The Crooked House is the second book in the King's Daggers triology, and Duncan has infused this title with all the breathless action and riveting adventure of his previous titles. In this installment, Sir Stalwart and Emerald embark on a quest to uncover the evil lurking at the heart of the king's chambers..
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Connor MacEgan is a fighter; it's in his blood. But when his hands are crushed in a brutal attack, he finds he may never wield a sword, or touch a woman, ever again.

He becomes reliant on Aileen ? Duinne, whose determination matches his, for Aileen can no more ignore a person in pain than Connor can stop being a warrior

But she also holds a secret, one of passion and deception that could break their hearts, long after she has mended his hands...

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A unique mash-up of Alex (Three Musketeers) Dumas and Alex (Flash Gordon) Raymond

After his existential thriller (Why Are You Doing This?), his Parisian famous-writers crime caper (The Left Bank Gang), and his time-travel story (I Killed Adolf Hitler), Jason's fourth full-color album may feature his loopiest premise yet.

Set in the present, The Last Musketeer stars the by-now centuries old (for no explained reason...and it doesn't matter) musketeer Athos, who has been reduced to a suavely dressed but useless near-panhandler trading on his now almost extinct fame. (Aramis has forsaken his musketeering ways, and Porthos...well, Porthos isn't around any more. Don't ask.) All this changes when one day the Martians attack Earth. Suddenly there is a need for swashes to be buckled, and Athos leaps back into the fray with a vengeance. Robots, evil alien emperors, beautiful alien princesses, rayguns vs. swords, treachery, secret corridors, insanely cool-looking robots...The Last Musketeer is vintage sci-fi adventure with a unique twist from an internationally acclaimed cartoonist..
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