The King of Elfland's Daughter is a 1924 fantasy novel by Anglo-Irish writer Lord Dunsany. It is widely recognized as one of the most influential and acclaimed works in all of fantasy literature. Although the novel faded into relative obscurity following its initial release, it found new longevity and wider critical acclaim when a paperback edition was released in 1969 as the second volume of the Ballantine Adult Fantasy series.
It has also been included in a more recent series of books reprinting the best of modern fantasy, the Fantasy Masterworks series. While seen as highly influential upon the genre as a whole, the novel was particularly formative in the (later-named) subgenres of fairytale fantasy and high fantasy.
Although the novel fell into obscurity after its initial release, it found a new readership when Ballantine Books re-issued it as part of their Adult Fantasy series in June 1969. The novel has since become widely recognized as one of the most influential and most praised of the genre. Many critics, including L. Sprague de Camp, described it as being on par with The Lord of the Rings in terms of its quality and influence. Arthur C. Clarke felt that the novel helped cement Dunsany as "one of the greatest writers of this century".
The novel's reputation has continued to grow in the ensuing decades. In his review of the 1999 edition for The Magazine of Fantasy & Science Fiction, Charles de Lint praised the novel as superlative. "It's not simply the beauty of the language, the astute eye for character, the hint of humor, or even the spell of legendry and wonder, but Dunsany's unique combination of all of the above. Even read today, with all the fantasy novels I've read, his work remains fresh and exuberant". Gahan Wilson also praised Elfland's Daughter lavishly, calling it "likely Dunsany's masterpiece" and concluding "that may well be the same as saying it could be the very best fairy story ever written".
However, some reviewers have been more modest in their praise. E. F. Bleiler noted that the novel included "many stylistic brilliances, but the story suffers from too many shifts of attention". Jo Walton commented that it "is probably best described as good but odd. [Dunsany] isn't at his best writing characters, which gets peculiar at novel length. What he could do, what he did better than anyone, was to take poetic images and airy tissues of imagination and weight them down at the corners with perfect details to craft a net