The A to Z of Fantasy Literature (The A to Z Guide Series)
Language: English
Pages: 568
ISBN: 0810868296
Format: PDF / Kindle (mobi) / ePub
Once upon a time all literature was fantasy, set in a mythical past when magic existed, animals talked, and the gods took an active hand in earthly affairs. As the mythical past was displaced in Western estimation by the historical past and novelists became increasingly preoccupied with the present, fantasy was temporarily marginalized until the late 20th century, when it enjoyed a spectacular resurgence in every stratum of the literary marketplace.
Stableford provides an invaluable guide to this sequence of events and to the current state of the field. The chronology tracks the evolution of fantasy from the origins of literature to the 21st century. The introduction explains the nature of the impulses creating and shaping fantasy literature, the problems of its definition and the reasons for its changing historical fortunes. The dictionary includes cross-referenced entries on more than 700 authors, ranging across the entire historical spectrum, while more than 200 other entries describe the fantasy subgenres, key images in fantasy literature, technical terms used in fantasy criticism, and the intimately convoluted relationship between literary fantasies, scholarly fantasies, and lifestyle fantasies. The book concludes with an extensive bibliography that ranges from general textbooks and specialized accounts of the history and scholarship of fantasy literature, through bibliographies and accounts of the fantasy literature of different nations, to individual author studies and useful websites.
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Shadows and Light (2002), The House of Gaian (2003). The latter features a young witch doubly threatened by hunters and fairies. BISHOP, K. J. (1972– ). Australian writer and artist. Her early work for Aurealis, including “The Art of Dying” (1997) and “The Love of Beauty” (1999), was bylined Kirsten Bishop. The conspicuous decadent elements in these stories was further exaggerated in “Maldoror Abroad” (2003) in Album Zutique and in the elaborate novel The Etched City (2003), in which two former
she wrote Black Trillium (1990); she made a solo contribution to the project in Lady of the Trillium (1995). Tiger Burning Bright (1995) used the same template, its other contributors being Norton and Mercedes Lackey. Bradley also collaborated with Holly Lisle on Glenraven (1996) and its sequel In the Rift (1998). Her Avalon series was continued by Diana L. Paxson. Bradley was a zealous promoter of genre fantasy, especially its feminized variants, following up the original anthologies Sword of
formulas correlate very well with the formulas of commodified fantasy, partly due to the fact that some fantasy writers make conscious use of his ideas in planning and underpinning their endeavors, as did Michael Moorcock in his celebration of “the Eternal Champion.” CANADIAN FANTASY. Although David Ketterer’s history of Canadian Science Fiction and Fantasy (1992) lists several early examples of French-Canadian fantastique and numerous similar supernatural fictions in English, he finds few
Christopher Stasheff, to which de Camp contributed Sir Harold and the Gnome King (1991) and “Sir Harold of Zodanga.” De Camp and Pratt also collaborated on the Celtic fantasy The Land of Unreason (1941; book 1942), the alternative history fantasy The Carnelian Cube (1948), and the tall stories collected in Tales from Gavagan’s Bar (1953; exp. 1978). De Camp’s solo fantasies for Unknown included the parodic fairy tale The Undesired Princess (1942; book 1990 with a sequel by David Drake, “The
Godly Beside Himself and Vernon Knowles’s “The Shop in the Off-Street” (1935). They also arise in timeslip fantasies with an element of karmic romance, as in Edwin Lester Arnold’s Lepidus the Centurion (1901). Existentialist fantasies involving doppelgängers include Henry James’s “The Jolly Corner” (1908), Robert Hichens’s “The Man in the Mirror” (1950), Elizabeth Sewell’s The Dividing of Time (1951), Nicholas Royle’s Counterparts (1993), Alice Thompson’s Justine (1997), and Peter Straub’s Mr. X.