If the river-lilt of “Idle Days on the Yann” and the hushed, opaline mood of “Bethmoora” drew you in, you’ll love how Lud-in-the-Mist sings. Mirrlees’s sentences glow with the same twilight shimmer, as Mayor Nathaniel Chanticleer grapples with contraband fairy fruit and the whisper of the hills. Like Dunsany’s jeweled city-dreams, Mirrlees conjures a world where everyday law meets the echolalia of wonder—and the prose itself feels like a spell.

If drifting down the Yann past impossible ports was your favorite reverie, Randolph Carter’s odyssey in The Dream-Quest of Unknown Kadath will feel like an answering dream. Carter wanders through the marble streets of Celephais, bargains with the cats of Ulthar, and sails strange seas toward a forbidden mountain—much as Dunsany’s dreamer slips from city to city, guided by awe more than map.

If the single-sitting shimmer of “Bethmoora” enchanted you—the way a city can be an idea, a memory, a mirage—Invisible Cities offers a whole cabinet of such facets. Through Marco Polo’s vignettes to Kublai Khan, each city arrives like a Dunsany tale-in-miniature: a page or two of atmosphere, metaphor, and hush, inviting you to linger as you did over Dunsany’s most delicate sketches.

If the bittersweet hush at the end of “Bethmoora” or the wide-eyed vistas of “Idle Days on the Yann” stayed with you, The Last Unicorn carries that same tremor of wonder. The unicorn’s quest with Schmendrick and Molly Grue moves through quiet forests and haunted castles with a tender, glimmering magic—the kind that makes every revelation feel like the opening of a hidden door.

If you loved how Dunsany’s enchantments in “Idle Days on the Yann” simply are—unexplained yet inevitable—McKillip’s The Forgotten Beasts of Eld will feel right. Sorceress Sybel commands legendary creatures and names with a power that’s felt rather than diagrammed, and the story’s quiet inevitabilities echo the myth-soft logic you savored in Dunsany’s dreamscapes.