Windling, Terri

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Terri Windling


Born 1958, in Fort Dix, NJ. Education: Attended Antioch University; studied in London and Dublin. Hobbies and other interests: "All things mythic,... world music, Arts & Craft design, literary biographies, strong coffee, motorcycle rides at dusk, and traveling around Europe in search of all the above."


Home—Devon, England; Tucson, AZ. Agent—c/o Author Mail, Tor Books, Editorial Office, 175 Fifth Ave., New York, NY 10010. E-mail—[email protected]


Editor, author, and illustrator of fantasy books. Ace Books/Grosset & Dunlap, New York, NY, editorial assistant, beginning 1979, became associate editor, then fantasy editor, then senior editor, executive editor, 1984-86; Armadillo Press, New York, NY, 1985-86; Tor Books, New York, NY, beginning 1986, became consulting editor; Endicott Studio, founder, first Boston, MA, 1987-91, then Devon, England, and Tucson, AZ, 1991—; cofounder, Endicott West (an arts retreat in AZ), 2001. Member of the Interstitial Arts Foundation; Mythic Imagination Institute, Atlanta, GA, board member. Exhibitions: Paintings exhibited in museums and galleries, both nationally and internationally, including the Boston Museum of Fine Arts, West Virginia Museum of Art, Words and Pictures Museum, Book Arts Gallery, and the University of Arizona.

Awards, Honors

Recipient of six World Fantasy Awards for editing anthologies; Mythopoeic Award for Best Novel of the Year, 1997, for The Wood Wife; (with Ellen Datlow) Bram Stoker Award for Best Anthology, Horror Writers Association, 2000, for The Year's Best Fantasy & Horror, 13th edition; Bram Stoker Award nominee (with Ellen Datlow) in anthology category, Horror Writers Association, 2002, for The Year's Best Fantasy and Horror: Fifteenth Annual Collection; World Fantasy Award (with Ellen Datlow) for best anthology for The Green Man: Tales from the Mythic Forest (also nominated in this category for their anthology The Year's Best Fantasy and Horror: Fifteenth Annual Collection).



The Changeling (juvenile), Random House (New York, NY), 1995.

The Wood Wife, Tor Books (New York, NY), 1996.

(With Wendy Froud) A Midsummer Night's Faery Tale, photographs by John Lawrence Jones, art direction by Brian Froud, Simon & Schuster (New York, NY), 1999.

(With Ellen Steiber) The Raven Queen, Random House (New York, NY), 1999.

(With Wendy Froud) The Winter Child, Simon & Schuster (New York, NY), 2001.

The Faeries of Spring Cottage, art by Wendy Froud, photographs by John Lawrence Jones, Simon & Schuster (New York, NY), 2003.


Faery!, Berkley/Ace (New York, NY), 1985.

Life on the Border (third volume of Bordertown series), Tor (New York, NY), 1991.

The Armless Maiden and Other Tales for Childhood's Survivors, Tor (New York, NY), 1995.

Brian Froud, Good Faeries, Simon & Schuster Editions (New York, NY), 1998.


(And illustrator) Elsewhere (anthology), Ace (New York, NY), 1981.

Elsewhere (anthology), Volume 2, Ace (New York, NY), 1982; Volume 3, Berkley/Ace (New York, NY), 1984.

Borderland, NAL/Signet (New York, NY), 1986.

Bordertown: A Chronicle of the Borderlands, Signet (New York, NY), 1986.


The Year's Best Fantasy, St. Martin's Press (New York, NY), 1988-89, published as The Year's Best Fantasy & Horror, St. Martin's Press (New York, NY), 1990-2003.

Snow White, Blood Red, Morrow/AvoNova (New York, NY), 1992.

Black Thorn, White Rose, Morrow/AvoNova (New York, NY), 1994.

Ruby Slippers, Golden Tears, Morrow/AvoNova (New York, NY), 1995.

Black Swan, White Raven, Avon (New York, NY), 1997.

Silver Birch, Blood Moon, Avon (New York, NY), 1998.

Sirens and Other Daemon Lovers, HarperPrism (New York, NY), 1998.

A Wolf at the Door: And Other Retold Fairy Tales, Simon & Schuster Books for Young Readers (New York, NY), 2000.

Black Heart, Ivory Bones, Avon (New York, NY), 2000.

The Green Man: Tales from the Mythic Forest, Viking (New York, NY), 2002.

Swan Sister: Fairy Tales Retold, Simon & Schuster (New York, NY), 2003.

The Faery Reel: Tales from the Twilight Realm, Viking (New York, NY), 2004.


Author of introduction, The Faces of Fantasy, by Patti Perret, Tor, 1996; author of novella contributed to the anthology Horns of Elfland, edited by Ellen Kushner, Donald G. Keller, and Delia Sherman, Roc, 1997; columnist, Realms of Fantasy Magazine, beginning 1995.


"Why do we continue to be enspelled by fairy tales after all these centuries? Why do we continue to tell the same old tales, over and over again?" Terri Windling answered her own question in a speech reprinted on the Endicott Studio Web site: "Because we all have encountered wicked wolves, faced trial by fire, found fairy godmothers. We have all set off into unknown woods at one point in life or another." Windling has spend her creative life preserving, refreshing, retelling, and re-creating such ur-tales. As author, editor, and illustrator, she has produced over two dozen volumes since the early 1980s, books which delve into the realm of fairy tale to tell yarns which resonate with today's youth. "Like Joseph Campbell, David Abram, Lewis Hyde, and other scholars of myth and folklore, I believe the oldest tales of humankind still have much to tell us about the world today," Windling noted in an autobiographical sketch for St. James Guide to Young Adult Writers. "So all of my work (editing, writing, and painting) is based in some way on the traditional, magical stories of our ancestors: the ones who came from Europe and the ones Native to this American soil."

To this end, Windling has collaborated with Mark Alan Arnold and Ellen Datlow, as well as worked solo as an editor on volumes such as The Year's Best Fantasy and Horror, the "Borderlands" trilogy, SnowWhite, Blood Red and numerous other updates of traditional folktales in that series, as well as the intensely personal The Armless Maiden and Other Tales for Childhood's Survivors. As an author, she has penned tales with a fairy tale or folkloric edge, such as The Wood Wife, The Raven Queen, The Winter Child, and The Faeries of Spring Cottage. Such tales are not the Disney version of life: "[The old fairy tales] were not about passive Cinderellas and Beauties and Little Mermaids who wait for a square-jawed prince to save the day," Windling further noted in St. James Guide to Young Adult Writers. "In the older versions of fairy tales, many of the most powerful stories tell variations on one archetypal theme: a young woman or man beset by grave difficulties must set off through the Dark Woods alone, armed only with quick wits, clear sight, persistence, courage, and compassion. It is by these virtues that we identify the heroes; it is with these tools that they make their way through the woods and emerge on the other side. Without these tools, no magic can save them. They are at the mercy of the wolf and the wicked witch." Windling picks up this theme in all her work, and it is its explication in a multitude of guises that prompted the famed children's author Jane Yolen to write (as noted on the Endicott Studio Web site), "If there is a single person at the nexus of fantasy literature . . . it is Terri Windling—as editor, as writer, as painter, as muse."

At Home in Many Worlds

"I've always been a bit nomadic," Windling told Michael Jones of Green Man Review Online. Indeed, Windling has led a peripatetic life: born in 1958 in New Jersey, she grew up in that state and Pennsylvania. At fifteen she left home and became, as she noted on St. James Guide to Young Adult Writers, a "homeless teenager in the 1970s." This experience explains the concern in much of her work for the "plight of children in crisis situations," as she further noted in the same reference work. The magical urban setting inhabited by runaway children in the "Borderland" series, as well as stories compiled in The Armless Maiden, grew out of and were inspired by her own experiences on the street. Thereafter, Windling lived in Mexico, Ohio, London, Dublin, New York City, and Boston. Since the early 1990s she has lived summer and fall in a small stone cottage on Devon, England, and winter and spring in the American Southwest.

By the late 1970s Windling had turned her life around. Leaving college, she began working as an associate editor at Ace Books in New York, where she helped to develop the fantasy list, discovering authors such as Charles De Lint and Steven Brust. She also launched the Ace "Fantasy Special" as well as the "Fairy Tale" series, novels for adults and young adults. For children, she helped create the "Magic Quest" series, with writers such as Elizabeth Marie Pope, Peter Dickinson, and Tanith Lee. As the contributor for St. James Guide to Young Adult Writers noted, in this editing work Windling "helped shape the shift in fantasy fiction away from blood-and-thunder adventure books and quest stories and toward thoughtful, literary works steeped in folklore and mythology." The same contributor further observed that Windling has thus been "a tremendous behind-the-scenes force in the publishing trends of the 1980s and 1990s towards urban fantasy, magical realism, and fairy-tale retellings." Just as she groomed new writers in fantasy, Windling has also cultivated artists such as Tom Canty and Brian Froud whose book covers are reminiscent of Pre-Raphaelite art. From Ace Windling moved to Tor Books in 1987, for whom she still works part time as a contributing editor.

Editorial Work

Windling is best known as the editor or co-editor of a number of fantasy anthology series, including the annual Year's Best Fantasy and Horror, which she edited with Ellen Datlow. Originally confined to the fantasy genre, then opened up in 1990 to include the burgeoning horror field as well, the series and its "redoubtable editing team"—as Ray Olson called them in Booklist's review of the 1994 Seventh Annual Collection—have consistently garnered appreciative comments from reviewers. The long volumes, weighing in at more than six hundred pages, attempt to include well-known and unestablished writers from both the literary mainstream and the fantasy and horror genres; well-informed, separate introductory essays by the two editors are also a familiar feature of the series.

A typical critical comment of The Year's Best Fantasy and Horror, this time from Publishers Weekly, called the 1995 Eighth Annual Collection "a cornucopia of the fantastic." The series received a less enthusiastic reception from Booklist critic Roland Green, who found that the collection reflected a tendency "toward literary striving" in the genres themselves. Yet Green called the annual "indispensable." Noting that the literary range of the series continued to broaden in the 1996 ninth volume, Olson remarked that the editors seemed intent on luring mainstream readers into the genre and genre readers into high literature: "Those who succumb to their blandishments won't regret it," concluded Olson. A Publishers Weekly reviewer of the Tenth Annual Collection (1997) found that the stories "range from the confusing to the sublime," with fantasy enjoying a qualitative edge over horror because of the inclusion of several pieces of Latin-American magic realism.

Her work on this series earned Windling a World Fantasy Award, and she continued to collaborate with Datlow on the series into the new millennium. Reviewing the fourteenth annual collection, a critic for Publishers Weekly noted that while there are other such collections available, "this long-running series of short fiction and poetry, with exhaustive summations of both fields for the year 2000, tops them all." Writing on the fifteenth annual collection of the same series, a Kirkus Reviews critic called it "splendid by any measure, whether as fantasy, horror, or simply memorable prose." With the sixteenth annual collection, Windling bowed out of the enterprise, handing over editorship to Kelly Ling and Gavin Grant. Of this finale volume a contributor for Publishers Weekly noted, "A highlight of any year's fantastic fiction yield is Datlow and Windling's picks of the previous year's top tales."

Windling has edited other series, notably the "Elsewhere" trilogy, which she produced with Mark Alan Arnold. These three volumes aim to be a diverse introduction to the fantasy field; entries have included poems, a tale by William Butler Yeats, a rock lyric by King Crimson, and a wide range of stories. Windling provides the woodcut illustrations, which Eugene E. LaFaille, Jr., of Voice of Youth Advocates called "excellent," John Adams of School Library Journal called "lovely," and Booklist's Green called "delicately erotic." All three volumes have won high praise for their usefulness for the classroom as well as the general reader; LaFaille termed the first volume "a work of considerable quality," while Adams delighted in the fact that the editors had "eschewed the well-traveled swords-and-sinew route" and embraced "an atmosphere of wistful, gentle magic." Green hailed the series (in a review of the second volume) as "an extraordinary treasure trove of literary fantasy." "The word 'fantasy' takes on a whole new meaning in this volume," commented Voice of Youth Advocates's Kristie A. Hart in a review of the second volume; and with the publication of the third volume, Green, applauding the entire series as "a landmark anthology," appraised that volume as "a collection of gems."

Another series co-edited by Windling and Arnold is the "Borderland" trilogy, which is set in a city on the border between Earth and the land of elves. The four long stories in the opening volume were called "unusually well written in terms of character development, plot tension, and innovation" by LaFaille in Kliatt. Windling edited the third volume in the trilogy, Life on the Border, on her own and for a different publishing house. The book received high praise from Locus's Tom Whitmore, who wrote that the anthology showed that "the people writing in this vein who write well write very well indeed." Voice of Youth Advocate contributor Joyce Davidson reviewed the book enthusiastically, alluding to its "many great stories" and asserted, "The world of Bordertown has become a very real place, a place that would be great to visit."

Another solo editing venture by Windling is the 1985 book Faery!, which, Green declared in Booklist, maintains the "high standards" Windling is known for. An approving but wry review came from Gary K. Wolfe in Fantasy Review; that eminent science fiction literary figure commented on the ironic contrast between the theoretical freedom of the fantasy genre and its practical limitation to the narrow limits of familiar plots and settings, often Celtic. "Some of the tales are excellent, but by the time I'd finished them all, I wanted never to hear about another misty hillside or elf-encrusted forest," jested Wolfe. He added that he did not recommend reading the collection all at once, "unless you're the sort who can look at every single painting in a unicorn calendar without gagging." Nevertheless, recommending stories by Felix Marti Ibanez and Mildred Downey Broxton in particular, Wolfe called the collection "easily worth" its paperback price.

Updating Tales of Old

Datlow and Windling teamed up for a new series in 1992; this one specialized in updating traditional folktales such as Snow White and Rumpelstiltskin. As in the annual fantasy anthologies, the list of contributors was diverse, ranging across genres and cultures, and the critical response was positive. "Some of these tales are enchanting; some are horrifying; most, like the originals, offer insight into human nature," attested a Publishers Weekly reviewer while discussing the first volume, Snow White, Blood Red (1992). Novelist Meg Wolitzer, reviewing that volume for the New York Times Book Review, was more skeptical, finding that many of the stories updated the originals "by adding layers of darkness and sexuality, as if these are the only things that distinguish us from our younger selves," without adding adult complexity; for that reason, Wolitzer felt that the project, despite its "provocative" concept and its editors' "great love for the form," hovered uncomfortably between the adult and juvenile worlds.

Later volumes, however, continued to receive praise from a wide variety of critics. A Publishers Weekly reviewer of the "enchanting, witty" second volume, Black Thorn, White Rose (1994), wrote that it "proves that the notion of modern-day Grimms, Andersens and Wildes isn't just a fairy tale." Fred Lerner, in the Wilson Library Bulletin, announced, "Anyone who finds it hard to imagine what can be newly said about Rumpelstiltskin, Cinderella, or the Gingerbread Man will find some exciting and/or disturbing surprises in this book." The third volume, Ruby Slippers, Golden Tears (1995) was termed "a must for those who believe that 'once upon a time' means now" by a Publishers Weekly reviewer; and Green, though put off by the series' emphasis on trendy political and psychological motifs, admitted in his Booklist review that "the writing is consistently of very high quality." Black Swan, White Raven was the title of the 1997 fourth volume; Green again complained in Booklist of the series' slant toward feminism and psychology, but called the stories "uniformly well crafted." A Publishers Weekly critic described the fourth volume as "sterling."

Subsequent volumes in the series include Silver Birch, Blood Moon, whose "ingenious retellings will capture fantasy, folklore, and short story fans," according to Booklist's Green, and the year 2000 Black Heart, Ivory Bones, a gathering of authors including Tanith Lee, Charles De Lint, and Joyce Carol Oates, which will "delight" young readers "dedicated to exploring fairy tale and myth," as Francisca Goldsmith noted in School Library Journal.

As a solo editor, Windling in 1995 picked up the child-abuse theme that was present in many of the stories in the updated folktale anthologies, and produced The Armless Maiden and Other Tales for Childhood's Survivors. This unsparing anthology gathered approximately fifty pieces of fiction, nonfiction, and poetry, all of them modern-day fairy tales on the subject of child abuse. A Publishers Weekly critic, calling the work "powerful," found that it avoided monotony despite the similarities of subject matter among the pieces, and despite the concentration of tales of sexual abuse near the front of the book. An emotional, personal assessment came from Beth Karpas in Voice of Youth Advocates, who declared that she had no desire to read the book initially, alluding to its grim subject matter; a paragraph later, the reviewer was applauding the quality and craftsmanship of the works collected, adding that not a single piece detracted from the anthology's quality. Karpas concluded that the pieces eclipsed the works of traditional tales by authors such as Grimm and Lang, and attributed this to their use of "magic, metaphor, and reality to present a lifeline to the many still trying to survive childhood."

Turns to Writing

Few would have been better-qualified to attempt a first novel in the fantasy genre than Windling, and she did so with considerable success in her 1996 book, The Wood Wife. (She had published a young-adult book, the 106-page The Changeling, the previous year as a Random House Bullseye Chiller.) The Wood Wife is a "distinctive contemporary fantasy set in the Arizona desert," according to a Kirkus Reviews critic. It begins with the death by drowning of an English poet in a dry Arizona gulch; a female poet whom the deceased had never met is bequeathed his possessions, and, going to Arizona to investigate his death, she encounters both realistic clues to his past and troubling hints of otherworldly involvement. The Kirkus Reviews critic, though terming the final chapters "superfluous," called the novel "a splendid desert enchantment that flows with its own eerie logic—arresting, evocative, and well worked." A Publishers Weekly reviewer called the book a "strong first novel . . . [that's] richly imaginative, a captivating mix of traditional fantasy and magical realism."

Windling has continued to blend both creative editing with the writing of modern folklore. In A Midsummer Night's Faery Tale and The Winter Child, she teams up with illustrator Wendy Froud to spin timeless tales of the Old Oak Wood for middle grade readers. Both books feature the tree root faery, Sneeze, and his buddy, Twig, a marsh thistle faery. In the former title Sneeze has made up his mind to keep awake long enough to watch the Midsummer Night festivals. He actually intends to be part of the activities, acting as cupbearer to the Faery Queen herself. But when she is put under an enchanted spell, Sneeze has to set out on a quest to save her. Booklist's Michael Cart noted that Windling's text is "agreeable but predictable" in this tale. The Winter Child finds Sneeze once again on a quest, this time to retrieve King Oberon and Queen Titania's gold cup for the Midwinter Eve festival. Joined in the search by Twig, the duo must confront Malagan, a wizard who uses his power to evil ends, in order to restore the cup and allow winter into the land. This offering was better received than the first. A critic for Publishers Weekly found this "gentle fable" to be "flawlessly conceived and exquisitely produced." The same contributor further praised Windling's text, "written with compassion and occasional sly wit."

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Continuing her editorial collaboration with Datlow, Windling has also produced numerous stand-alone titles of myth and fairy tales. Their A Wolf at the Door: And Other Retold Fairy Tales is a compilation of retellings from writers such as Yolen and Garth Nix. Ellen A. Greever in a School Library Journal review felt that this "well-written collection" requires readers "to think a bit more about fairy tales and what they may be saying to and about us." Booklist's Hazel Rochman found the same collection "irreverent, poetic, and thrillingly evil," and concluded that it would "grab middle-graders and teens." More retellings are gathered in The Green Man: Tales from the Mythic Forest. All the tales here deal with the mythical Green Man, who supposedly protects the natural world. Sally Estes, writing in Booklist, thought there are "some genuine gems in this enticing collection." Estes went on to dub the book a "tasty treat for fantasy fans." For a Kirkus Reviews critic, the same collection of fifteen stories and three poems is "best taken in small doses," as it "is a treasure trove for teens and teachers exploring the themes of ecology and folklore." Windling and Datlow again team up for the 2003 Swan Sister: Fairy Tales Retold, an "above-average gathering," according to a contributor for Kirkus Reviews, including a poem by Neil Gaiman, an urban fairy tale from Will Shetterly, and a take-off on Rapunzel from Lois Metzger, among other contributions. Booklist's Rochman felt the collection would be "great for writing classes and discussion," though the various retellings were "driven more by ideas and message than by story."

If you enjoy the works of Terri Windling

If you enjoy the works of Terri Windling, you might want to check out the following books:

Ramsey Campbell, editor, Gathering the Bones, 2003.

Angela Carter, The Bloody Chamber, and Other Stories, 1987.

Emma Donoghue, Kissing the Witch: Old Tales in New Skins, 1998.

Windling is also an artist whose paintings have been exhibited both nationally and internationally. In addition, she is the founder of the Endicott Studio, which she established in 1987. The studio is a center intended to support art projects relating to traditional myth and folktale themes formerly located in Boston and now, since Windling's departure from that city, maintained as a Web presence. She has devoted herself to full time writing and editing since moving to England and Arizona, a process that is not unlike the fairy tales which she retells. As Windling noted in her St. James Guide to Young Adult Writers entry, it is important to remember "that the hero's journey is one that is never really done. For all of us who have emerged from the dark forest, there are times when we must turn around and head back into the trees again—only now we've a different role to play. This time we must be the Good Witch, the Fairy Godmother, or the Animal Guide; the one who waits by the side of the road, ready to light the way for those young heroes who struggle on behind us."

Biographical and Critical Sources


Clute, John, and Peter Nicholls, editors, Encyclopedia of Science Fiction, St. Martin's Press (New York, NY), 1993.

Reginald, Robert, Science Fiction and Fantasy Literature, 1975-1991, Gale (Detroit, MI), 1992.

St. James Guide to Young Adult Writers, 2nd edition, St. James Press (Detroit, MI), 1999.


Booklist, January 15, 1982, Roland Green, review of Elsewhere, p. 634; March 15, 1983, p. 945; June 1, 1984, p. 1378; March 1, 1985, Roland Green, review of Faerie!, p. 927; April 15, 1986, p. 1184; July, 1992, Candace Smith, review of The Year's Best Fantasy and Horror: Fifth Annual Collection, p. 1925; August, 1994, Ray Olson, review of Black Thorn, White Rose and The Year's Best Fantasy and Horror: Seventh Annual Collection, p. 2030; August, 1995, Roland Green, review of The Year's Best Fantasy and Horror: Eighth Annual Collection, p. 1933; December 15, 1995, Roland Green, review of Ruby Slippers, Golden Tears, p. 689; July, 1996, p. 1812; April 15, 1997, Roland Green, review of Black Swan, White Raven, p. 1387; September 15, 1998, Roland Green, March 15, 1999, review of The Essential Bordertown, p. 205; Roland Green, review of Silver Birch, Blood Moon, p. 1293; July, 1999, Ray Olson, review of The Year's Best Fantasy and Horror: Twelfth Annual Collection, p. 1930; February 1, 2000, Michael Cart, review of A Midsummer Night's Faery Tale, p. 1022; May 15, 2000, review of Black Heart, Ivory Bones, Black Swan, White Raven, Black Thorn, White Rose, Ruby Slippers, Golden Tears, Silver Birch, Blood Moon, Snow White, Blood Red, and The Armless Maiden and Other Tales for Childhood's Survivors, p. 1753; September 1, 2000, Hazel Rochman; review of A Wolf at the Door: And Other Fairy Tales, p. 73; September 1, 2000, Roland Green, review of The Year's Best Fantasy and Horror: Thirteenth Annual Collection, p. 71; July, 2001, Roland Green, review of The Year's Best Fantasy and Horror: Fourteenth Annual Collection, p. 1993; April 15, 2002, Sally Estes, review of The Green Man, p. 1412; August, 2002, Kristine Huntley, review of The Year's Best Fantasy and Horror: Fifteenth Annual Collection, p. 1939; September 15, 2003, Hazel Rochman, review of Swan Sister, p. 232.

Fantasy Review, January, 1985, p. 32; March, 1985, p. 20; November, 1986, p. 35.

Kirkus Reviews, August 15, 1996, review of The Wood Wife, p. 1196; May 1, 2002, review of The Green Man, p. 651; June 15, 2002, review of The Year's Best Fantasy and Horror: Fifteenth Annual Collection, p. 847; September 1, 2003, review of Swan Sister, p. 1121.

Kliatt, fall, 1986, Eugene E. LaFaille, Jr., review of Borderland, p. 30.

Library Journal, December, 1988, C. Robert Nixon, review of The Year's Best Fantasy and Horror: First Annual Collection, p. 113; August, 1992, review of The Year's Best Fantasy and Horror: Fifth Annual Collection, p. 155; November 15, 1995, Jackie Cassada, review of Ruby Slippers, Golden Tears, p. 103; October 1, 1996, p. 93; June 15, 1997, p. 100; June 15, 1997, Susan Hamburger, review of Black Swan, White Raven, p. 100; October 15, 1997, Susan Hamburger, review of The Year's Best Fantasy and Horror: Tenth Annual Collection, p. 98; August, 2000, Ann Kim, review of The Year's Best Fantasy and Horror: Thirteenth Annual Collection, p. 168.

Locus, August, 1991, Tom Whitmore, review of Life on the Border, pp. 29, 52.

Los Angeles Times Book Review, February 6, 1983, p. 8.

Magazine of Fantasy and Science Fiction, June, 1995, p. 33; October/November, 1996, p. 59; December, 1996, p. 42; September, 1997, p. 34.

New York Times Book Review, January 31, 1993, Meg Wolitzer, review of Snow White, Blood Red, p. 29.

Publishers Weekly, July 29, 1988, p. 227; June 22, 1990, Penny Kaganoff, review of The Year's Best Fantasy and Horror: Third Annual Collection, p. 49; July 12, 1991, review of The Year's Best Fantasy and Horror: Fourth Annual Collection, p. 61; July 6, 1992, review of The Year's Best Fantasy and Horror: Fifth Annual Collection, p. 50; November 23, 1992, review of Snow White, Blood Red, p. 57; July 5, 1993, review of The Year's Best Fantasy and Horror: Sixth Annual Collection, p. 68; August 8, 1994, review of Black Thorn, White Rose, p. 392; April 10, 1995, review of The Armless Maiden and Other Tales for Childhood's Survivors, p. 58; July 17, 1995, review of The Year's Best Fantasy and Horror: Eighth Annual Collection, p. 227; November 6, 1995, review of Ruby Slippers, Golden Tears, p. 86; July 8, 1996, review of The Year's Best Fantasy and Horror: Ninth Annual Collection, p. 80; September 16, 1996, review of The Wood Wife, p. 74; May 26, 1997, review of Black Swan, White Raven, p. 71; August 11, 1997, review of The Year's Best Fantasy and Horror: Tenth Annual Collection, p. 390; September 10, 2001, review of The Winter Child, p. 66; July 9, 2001, review of The Year's Best Fantasy and Horror: Fourteenth Annual Collection, p. 52; September 4, 2002, review of The Year's Best Fantasy and Horror: Thirteenth Annual Collection, p. 90; review of The Year's Best Fantasy and Horror: Fifteenth Annual Collection, p. 59; review of The Year's Best Fantasy and Horror: Sixteenth Annual Collection, pp. 83-84; October 6, 2003, review of Swan Sister, p. 86.

School Library Journal, April 15, 1982, John Adams, review of Elsewhere, p. 88; July, 1997, p. 117; August, 2000, Ellen A. Greever, review of A Wolf at the Door: And Other Retold Fairy Tales, p. 180; November, 2000, Francisca Goldsmith, review of Black Heart, Ivory Bones, p. 182; June, 2002, Margaret A. Chang, review of The Winter Child, p. 116; July, 2002, Amy Kellman, review of The Green Man, pp. 118-119.

Science Fiction Chronicle, March, 1987, p. 43; November, 1991, p. 33; March, 1995, p. 42.

Science Fiction Review, February, 1983, p. 34; August, 1983, p. 45.

Voice of Youth Advocates, December, 1981, Eugene E. LaFaille, Jr., review of Elsewhere, p. 38; April, 1983, p. 45; December, 1986, p. 233; December, 1991, p. 324; April, 1992, p. 10; October, 1995, Beth Karpas, review of The Armless Maiden and Other Tales for Childhood's Survivors, p. 228; April, 1996, p. 17; December, 1996, p. 266; February, 1997, p. 341.

Wilson Library Bulletin, June, 1991, Gene LaFaille, review of The Year's Best Fantasy and Horror: Third Annual Collection, p. 117; December, 1994, Fred Lerner, review of Black Thorn, White Rose, p. 82.


Endicott Studio Web Site, (March 23, 2004).

Green Man Review Online, (November 8, 1999), Michael Jones, "The Long and Wind(l)ing Road: An Interview with Terri Windling."

Hour of the Wolf, (November 14, 1996), Jim Freund, interview with Terri Windling.

Locus Magazine Online, (October, 2003), interview with Terri Windling.

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