the 2017 results from the Ness of Brodgar, Must Farm and some other notables) are eschewed for talk of lithified fiddlers, be-musedpoets, thirsty rambling rocks and as much Victorian folklore as you might wish. Although straightforward, mainstream, professional archaeology is not the primary intent of this book, it is there for those who want it and indeed Vicki Cummings’ initial chapter on ‘Prehistoric Landscapes’ will be plagiarised in many future undergraduate essays. This is not the place to find citations to twentieth-century excavation reports, but page after page of geographical data show the regional patterns that exist. Some of these are well known, like the Dartmoor stone rows; others, such as localised hot spots of Scottish rock art, are less obvious. Reading the book at a sitting (slightly against its primary intention, for it is a peerless field guide) really shows the scale of ritual landscapes; just as history is no longer king-lists and big battles but rather includes the ‘little people’, so the Boyne Valley, Machrie Moor, Kilmartin Glen and Wessex have more to them than the upstanding central tourist attractions. This book gives these and many other well-trodden sites a more rounded context. Some of the big boys have additional brief descriptions given by establishment academic archaeologists, but for others (inevitably, Stonehenge) less mainstream pundits are given a stepping-stone or soap box, with short vignettes (not all coherent, correct or successful) that stop just short of extra-terrestrials, ley-lines and arch-druidry, although the attempt to reproduce Neolithic ritual via dowsing steps may be at least one megalithic foot over the line. The collective that produced this book is not just the result of crowd-funding, but demonstrates crowd-thinking in its universality. However, despite the plausible (archaeo-astronomy), the barely possible (archaeo-acoustics) and the impossibly deluded (some rock art interpretation), the stones ring a clear note within the illuminated staves of this book. Perhaps their regional tunes, barely audible, are still awaiting a Sharp-minded collector.

中文翻译：

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仙女、恶魔和自然精灵：基督教世界边缘的“小神”

2017 年来自布罗德加内斯、Must Farm 和其他一些知名人士的结果）被避免谈论僵化的小提琴手、沉思的诗人、口渴的漫无边际的岩石和尽可能多的维多利亚民俗。虽然直接、主流、专业的考古学不是本书的主要目的，但它是为那些想要它的人准备的，事实上，Vicki Cummings 关于“史前景观”的第一章将在未来的许多本科论文中被抄袭。这不是找到 20 世纪发掘报告引用的地方，而是一页又一页的地理数据显示了存在的区域模式。其中一些是众所周知的，例如达特穆尔石排；其他的，例如苏格兰岩画的局部热点，则不太明显。坐着看书（有点违背它的主要意图，因为它是绝世的实地指南）真正展示了仪式景观的规模；正如历史不再是王牌和大战役，而是包括“小人物”，博因河谷、马赫里摩尔、基尔马丁峡谷和威塞克斯对他们来说不仅仅是中央旅游景点。本书为这些和许多其他人迹罕至的网站提供了更全面的背景。一些大人物有权威学术考古学家提供的额外简短描述，但对于其他人（不可避免的巨石阵），不太主流的专家被给予了踏脚石或肥皂盒，带有简短的小插曲（并非所有连贯、正确或成功的）停止离外星人、地脉和大德鲁伊德差不远，尽管试图通过寻宝步骤重现新石器时代的仪式可能至少要超过一条巨石脚。制作这本书的集体不仅仅是众筹的结果，而是展示了大众思维的普遍性。然而，尽管可信（考古天文学）、几乎不可能的（考古声学）和不可能被迷惑的（一些岩画解释），这些石头在这本书的发光五线谱中发出了清晰的音符。也许他们几乎听不见的地方曲调仍在等待敏锐的收藏家。