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  • Barnaby Grimes: Legion of the Dead
  • Written by Paul Stewart and Chris Riddell
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  • Barnaby Grimes: Legion of the Dead
  • Written by Paul Stewart and Chris Riddell
  • Format: eBook | ISBN: 9780375895364
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Barnaby Grimes: Legion of the Dead

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Written by Paul StewartAuthor Alerts:  Random House will alert you to new works by Paul Stewart and Chris RiddellAuthor Alerts:  Random House will alert you to new works by Chris Riddell


List Price: $6.99


On Sale: March 09, 2010
Pages: 240 | ISBN: 978-0-375-89536-4
Published by : David Fickling Books RH Childrens Books
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The corpses swayed where they stood, their bony arms outstretched before them and tattered sleeves hanging limply in the foggy air. Their sunken eyes bored into mine. I was surrounded. . . . Barnaby Grimes is a tick-tock lad, running errands in his city and high-stacking around the rooftops in search of new mysteries to solve. Gangland funerals and diving expeditions are hazardous enough, but when the graveyards begin to give up their dead, Barnaby is faced with his deadliest challenge yet.


I have heard people exclaim that they’d be better off dead – weary washerwomen on a midnight shift in the steam cellars, ragged beggars down by the Temple Bar, fine young ladies snubbed at a Hightown ball . . . But if they had seen what I saw on that cold and foggy night, they would have realized the foolishness of their words.
It was a sight that will haunt me till my dying day – after which, I fervently hope and pray, I shall remain undisturbed.
This was not something that could be said for the ghastly apparitions that stumbled through the swirling mists towards me. Some lurched haltingly, their arms dangling at their sides; others had their hands outstretched before them, as though their bony fingertips rather than their sunken eyes were guiding their lurching bodies through the curdled fog.
There was a wizened hag with a hooked nose and rat’s-nest hair. A portly matron, the ague that had seen her off still glistening on her furrowed brow . . . A sly-eyed ragger and a bare-knuckled wrestler, his left eyeball out of its socket and dangling on a glistening thread. A corpulent costermonger; a stooped scrivener, their clothes – one satins and frill, the other threadbare serge – smeared alike with black mud and sewer slime. A maid, a chimney-sweep, a couple of stable-lads; one with the side of his skull stoved in by a single blow from a horse’s hoof, the other grey and glittery-eyed from the blood-flecked cough that had ended his life. And a burly rivertough – his fine waistcoat in tatters and his chin tattoo obscured by filth. Glistening at his neck was the deep wound that had taken him from this world to the next.
I shrank back in horror and pressed hard against the cool white marble of the de Vere family vault at my back. Beside me – his body quivering like a slab of jellied ham – Sir Alfred was breathing in stuttering, wheezy gasps. From three sides of the marble tomb in that fog-filled graveyard, the serried ranks of the undead were forming up in a grotesque
parody of a parade-ground drill.
‘They’ve found me,’ the old doctor croaked, in a voice not much more than a whisper.
I followed his terrified gaze and found myself staring at four ragged figures in military uniform, red jackets with gold braid at the epaulettes and cuffs, who were standing on a flat-topped tomb above the massed ranks. Each of them bore the evidence of fatal injuries.
The terrible gash down the face of one, that had left his cheekbone exposed and a flap of leathery skin dangling. The blood-stained chest and jagged stump – all that remained of his left arm – of the second figure, splinters of yellow bone protruding through the wreaths of grimy bandages. The rusting axe, cleaving the battered bell-top shako, which was embedded in the skull of the third. And the bulging bloodshot eyes of the fourth, the frayed length of rough rope that had strangulated his last breath still hanging round his bruised and red-raw neck – and a flagpole clutched in his gnarled hands.
As I watched, he raised the splintered flagpole high. Gripping my swordstick, I stared at the fluttering curtain of blood-stained cloth, tasselled brocade hanging in filthy matted strands along the four sides. At its centre was the embroidered regimental emblem – the Angel of Victory, her wings spread wide on a sky-blue field, and beneath, the words 33rd Regiment of Foot written in an angular italic script. The ghastly standard-bearer’s tight lips parted to reveal a row of blackened teeth.
‘Fighting Thirty-Third!’ he cried out, his voice a rasping whisper.
The corpses swayed where they stood, their bony arms reaching forward, with tattered sleeves hanging limply in the foggy air. I smelled the sourness of the sewers about them; that, and the sweet whiff of death. Their sunken eyes bored into mine.
We were surrounded. There was nothing Sir Alfred or I could do. The standard-bearer’s voice echoed hoarsely round the graveyard.

From the Hardcover edition.
Paul Stewart|Chris Riddell

About Paul Stewart

Paul Stewart - Barnaby Grimes: Legion of the Dead

Photo © Rolf Marriott

Paul Stewart is the co-creator of the bestselling Edge Chronicles series, with Chris Riddell. He is also the author of a number of previous titles for children including The Wakening.

About Chris Riddell

Chris Riddell - Barnaby Grimes: Legion of the Dead

Photo © Rolf Marriott

Chris Riddell is the co-creator of the bestselling Edge Chronicles series, with Paul Stewart. He has illustrated many children’s books including the award-winning Pirate Diary. He is also the political cartoonist for the Guardian and Observer newspapers.

Talking to Paul Stewart & Chris Riddell about the Edge Chronicles

Q. What was your inspiration for The Edge Chronicles?
The Edge Chronicles started off with the map. Chris drew it and gave it to me saying, 'here is the world, tell me what happens there.'
Chris: I drew a map that looked like the edge of a map because I’ve always been fascinated by the edges of maps - the place where the known world ends.
Paul: My main inspiration for the Deepwoods was perhaps the fairy tales of the Brothers Grimm, though other books–Alice in Wonderland and Through the Looking Glass, Gormenghast, Gulliver's Travels– also played their part.
Q: What was your favorite character(s) to create?
My favorite character is the spindlebug. It was easy for Paul to write that it was see-through, like glass, but a challenge for an illustrator to draw. The creatures live an immense amount of time–up to four centuries –which means that they witness a lot more history of the Edge than other characters.
Paul: My favorite characters are the banderbears. Chris drew them first as fierce, pyramid-like bear creatures. Because they looked so ferocious, I made their character more timid. We have enjoyed developing the creatures as the series has progressed, learning about their natural habits and habitat and creating a language all of their own.
Q: Where did you come up with the names for your characters? The various personalities and life stories?
Both of us hate the clichéd fantasy names and tried to make the names in the Edge world a little different. Woodtrolls have woody names, like Snatchwood, Gruffbark, Snetterbark. Slaughterers have 'meaty' names like Gristle, Sinew, Tendon and Brisket. The academics have Latin/Basque names with lots of ius's and x's. Cowlquape, who goes through lots of changes, has a name taken from the German for tadpole - Kaulquappe. While Twig, of course, is just a tiny bit of the forest.
As the series has progressed, with prequels and sequels, the life histories of the various characters have become more deeply described. So Twig's mother, Maris, is only mentioned in Beyond the Deepwoods. In book 4, the Curse of the Gloamglozer, we meet her as a girl. And in the book we have just completed, Book 7 - Freeglader - we learn all about what happened to her after she abandoned her baby in the Deepwoods. The continuity revealed as the story unfolds is deeply satisfying.
Q: What was your favorite book as a child?
Flat Stanley by Jeff Brown
Paul: The Phantom Tollbooth by Norton Juster
Q: Since you both work as a team from conception to finish, what is the creative process like?  How exactly does the collaboration work?
The pictures and words take shape simultaneously, each affecting the development of the other. Sometimes characters and creatures start with a picture, sometimes with a textual description. In addition, the plot is worked on constantly by both of us and, when they are around, our children! Similarly, the text is passed back and forth, being rewritten continuously, until both of us are happy with it.
Q: What has been the most challenging part of writing the series?
The whole process is challenging. More importantly, though, it is also rewarding. Both of us have immense fun playing with the Edge world. Beyond the Deepwoods was the simplest book, an episodic rite of passage novel where we, as well as the main protagonist, began to explore this new world. As we have gone deeper into it, the world has become richer and richer, and the storylines similarly, more involved. We are fascinated by the way the world is still developing as we learn more and more about its history and explore all areas of the political and natural world in increasing depth.
Q: When did you first begin writing/drawing?
At five years old in the back pew of my father's church. My mother gave me paper and pens to keep me quiet during Dad's (very interesting) sermons.
Paul: From the moment I could write, I have been writing down stories. At seven, I was working on a series of stories about a snail called Oliver. At ten, I attempted to write a follow-up to The Phantom Tollbooth with ideas that took shape over the next 20 years and finally became a book entitled The Thought Domain.
Q: In Midnight Over Sanctaphrax, Twig deals with the loss of two father figures. How is this important for his development?
Twig has to grow up and assume responsibility for his father's crew and, when he learns of Tuntum's death, he realizes how he has grown and matured since he left the Woodtroll village. He hopes that Tuntum would be proud of him, and what he has achieved.
Q: What scene did you have the most fun creating?
Both of us enjoyed the wig-wig arena scene a lot. The whole Shryke slave market, with its platforms and walkways all hanging from the Deepwoods trees, was great fun to create as a home for the flightless Shrykes. The escape from it on Prowlgrinback was also great fun both to write and draw. 
Paul: Midnight over Sanctaphrax was the third in the series, and the book where we were beginning to reap the rewards both of close collaboration and of getting to know the world more deeply. The Prowlgrins (which I had originally described as being like hyena/leopard-like creatures, but which Chris had drawn as a curious cross between a whale and a toad) looked to me as if they were brilliantly designed for leaping from branch to branch. Therefore the pictures in Book 1 directly influenced the plot in Book 3. Similarly, in book 1, I had wanted a pirate-like punishment similar to keelhauling, and had come up with sky-firing. In Midnight over Sanctaphrax, this throwaway idea becomes pivotal to the plot– but we won't give it away just in case you haven't read the book yet!
Q: The Edge Chronicles seems perfectly suited for film, with its fast-paced action, loveable creatures, and incredible comic-timing. Were you thinking along these lines during its inception?
We did not deliberately set out to produce fiction which could be turned into a film. That said, both of us work in a very visual way, so a lot of the plotting, characterization and scene development is quite cinematic. It would be a great thrill to see The Edge Chronicles realized on the big screen!

  • Barnaby Grimes: Legion of the Dead by Paul Stewart and Chris Riddell
  • December 11, 2012
  • Juvenile Fiction - Action & Adventure
  • Yearling
  • $6.99
  • 9780385736992

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