In this comprehensive study, Williamson traces the literary history of the fantasy genre from the eighteenth century to its coalescence following the success of Tolkien's work in the 1960s. While some studies have engaged with related material, there has been no extended study specifically exploring the roots of this now beloved genre.

Focusing on representations of Celtic motifs and traditions in post-1980s adult fantasy literature, this book illuminates how the historical, the mythological and the folkloric have served as inspiration for the fantastic in modern and popular culture of the western world. Bringing together both highly-acclaimed works with those that have received less critical attention, including French and Gaelic fantasy literature, Imagining the Celtic Past in Modern Fantasy explores such texts as Susanna Clarke's Jonathan Strange & Mr Norrell, Alan Garner's Weirdstone trilogy, the Irish fantasies of Jodi McIsaac, David Gemmell's Rigante novels, Patricia Kennealy-Morrison Keltiad books, as well as An Sgoil Dhubh by Iain F. MacLeòid and the Vertigen and Frontier series by Léa Silhol. Lively and covering new ground, the collection examines topics such as fairy magic, Celtic-inspired worldbuilding, heroic patterns, classical ethnography and genre tropes alongside analyses of the Celtic Tarot in speculative fiction and Celtic appropriation in fan culture. Introducing a nuanced understanding of the Celtic past, as it has been informed by recent debates in Celtic studies, this wide-ranging and provocative book shows how modern fantasy is indebted to medieval Celtic-language texts, folkloric traditions, as well as classical sources.

The birth of modern fantasy in 1930s Britain and America saw the development of new literary and film genres. J.R.R. Tolkien created modern fantasy with The Lord of the Rings, set in a fictional world based upon his life in the early 20th century British Empire, and his love of language and medieval literature. In small-town Texas, Robert E. Howard pounded out his own fantasy realm in his Conan stories, published serially in the ephemeral pulp magazines he loved. Jerry Siegel created Superman with Joe Shuster, and laid the foundation for perhaps the most far-reaching fantasy worlds: the universe of DC and Marvel comics. The work of extraordinary people who lived in an extraordinary decade, this modern fantasy canon still provides source material for the most successful literary and film franchises of the 21st century. Modern fantasy speaks to the human experience and still shows its origins from the lives and times of its creators.

This book illuminates the racialized nature of twenty-first century Western popular culture by exploring how discourses of race circulate in the Fantasy genre. It examines not only major texts in the genre, but also the impact of franchises, industry, editorial and authorial practices, and fan engagements on race and representation. Approaching Fantasy as a significant element of popular culture, it visits the struggles over race, racism, and white privilege that are enacted within creative works across media and the communities which revolve around them. While scholars of Science Fiction have explored the genre’s racialized constructs of possible futures, this book is the first examination of Fantasy to take up the topic of race in depth. The book’s interdisciplinary approach, drawing on Literary, Cultural, Fan, and Whiteness Studies, offers a cultural history of the anxieties which haunt Western popular culture in a century eager to declare itself post-race. The beginnings of the Fantasy genre’s habits of whiteness in the twentieth century are examined, with an exploration of the continuing impact of older problematic works through franchising, adaptation, and imitation. Young also discusses the major twenty-first century sub-genres which both re-use and subvert Fantasy conventions. The final chapter explores debates and anti-racist praxis in authorial and fan communities. With its multi-pronged approach and innovative methodology, this book is an important and original contribution to studies of race, Fantasy, and twenty-first century popular culture.

This book reveals the workings of the bourgeois passion for submission in a variety of contemporary contexts. By (re)introducing the concept ‘bourgeois’ as an analytical term and describing this contemporary subject as a psychic economy rather than just as a social class, Panu shows the intractability of contemporary forms of enjoyment and neoliberalism’s periodic outbursts of aggressiveness to be connected by a recurrent circuit of trauma and anxiety originating in the bourgeois subject’s difficult relationship with symbolic authority.So far, most anticapitalist and decolonial struggles in the West have been hesitant when engaging with the issue of bourgeois enjoyment as the main source of capitalism’s resilience. This exciting new work draws on an extensive range of theorists such as Butler, Copjec, Žižek and Zupancic to emphasise the importance of psychological mechanisms irreducible to rationality or knowledge such as desire, enjoyment, and the obscure nature of selfhood in the reiteration of the current capitalist reality.

A book on the experience of reading Ursula Le Guin's Earthsea novels. What makes readers fall in love? You might want to start your answer by explaining Ursula Le Guin. She owned John Plotz at age eight, on the overlit and understaffed second floor of the DC library. Four decades and who knows how many re-readings later, her Earthsea owns him still. The reasons to love her Earthsea are many. Le Guin sets readers adrift among worlds: peripatetic but somehow at home. She sublimely mixes comfort and revelatory, emancipatory unsettlement. Ursula Le Guin's Earthsea aims to do justice to both Le Guin's passionate simplicity and her revenant complexity. Small wonder the inspiration she has been for later speculative writers like Neil Gaiman, Kim Stanley Robinson, and N. K. Jemisin. The boldness and coldness of the later three books of Earthsea is a revelation. In Tehanu, Tales from Earthsea, and The Other Wind, she turned a cold eye, a dragon's searching eye, back on the comfortable green world she herself had made decades earlier. They unfold a distinctive vision of the writer's task: worldbuilding as responsibility plus openness. Call it invitational realism. She builds a world that leaves the real task of building, of creating of imagining and of reimagining, with her readers. Drawing on his own crooked path--from a DC childhood to teaching in Prague to San Francisco journalism to graduate school and then parenthood--Plotz maps the ways that readers young and old find in Earthsea a kind of scholar's stone, a delightfully mutable surface that rewards recurrent contemplation.

Classical Traditions in Modern Fantasy is the first collection of essays in English focusing on how fantasy draws deeply on ancient Greek and Roman mythology, philosophy, literature, history, art, and cult practice. Presenting fifteen all-new essays intended for both scholars and other readers of fantasy, this volume explores many of the most significant examples of the modern genre-including the works of H. P. Lovecraft, J. R. R. Tolkien's The Hobbit, C. S. Lewis's Chronicles of Narnia, J. K. Rowling's Harry Potter series, George R. R. Martin's Game of Thrones series, and more-in relation to important ancient texts such as Aeschylus' Oresteia, Aristotle's Poetics, Virgil's Aeneid, and Apuleius' The Golden Ass. These varied studies raise fascinating questions about genre, literary and artistic histories, and the suspension of disbelief required not only of readers of fantasy but also of students of antiquity. Ranging from harpies to hobbits, from Cyclopes to Cthulhu, and all manner of monster and myth in-between, this comparative study of Classics and fantasy reveals deep similarities between ancient and modern ways of imagining the world. Although antiquity and the present day differ in many ways, at its base, ancient literature resonates deeply with modern fantasy's image of worlds in flux and bodies in motion.

Pringle presents his selections in chronological order and includes a synopsis of the story, a discussion of the author's overall contribution to fantasy literature, critical commentary on the title's significance, and a brief publishing history. An introductory essay tackles the difficulty of defining fantasy, while a "Brief Bibliography" directs readers to other discussions of the genre. By no means a definitive subject guide, this entertaining volume should serve as a solid introduction to the elusive field of imaginative literature.

WORLD FANTASY AWARD WINNER • A true horde of fantasy tales sure to delight fans, scholars, and even the greediest of dragons—from bestselling authors Ann and Jeff VanderMeer Step through a shimmering portal ... a worn wardrobe door ... a schism in sky ... into a bold new age of fantasy. When worlds beyond worlds became a genre unto itself. From the swinging sixties to the strange, strange seventies, the over-the-top eighties to the gnarly nineties—and beyond, into the twenty-first century—the VanderMeers have found the stories and the writers from around the world that reinvented and revitalized the fantasy genre after World War II. The stories in this collection represent twenty-two different countries, including Russia, Argentina, Nigeria, Columbia, Pakistan, Turkey, Finland, Sweden, China, the Philippines, and the Czech Republic. Five have never before been translated into English. From Jorge Luis Borges to Ursula K. Le Guin, Michael Moorcock to Angela Carter, Terry Pratchett to Stephen King, the full range and glory of the fantastic are on display in these ninety-one stories in which dragons soar, giants stomp, and human children should still think twice about venturing alone into the dark forest. Completing Ann and Jeff VanderMeer's definitive The Big Book of Classic Fantasy, this companion volume to takes the genre into the twenty-first century with ninety-one astonishing, mind-bending stories. A VINTAGE ORIGINAL

First in-depth study of the use of landscape in fantasy literature Winner of the Mythopoeic Scholarship Award for Myth and Fantasy Studies (2016) Fantasy worlds are never mere backdrops. They are an integral part of the work, and refuse to remain separate from other elements. These worlds combine landscape with narrative logic by incorporating alternative rules about cause and effect or physical transformation. They become actors in the drama—interacting with the characters, offering assistance or hindrance, and making ethical demands. In Here Be Dragons, Stefan Ekman provides a wide-ranging survey of the ubiquitous fantasy map as the point of departure for an in-depth discussion of what such maps can tell us about what is important in the fictional worlds and the stories that take place there. With particular focus on J. R. R. Tolkien's The Lord of the Rings, Ekman shows how fantasy settings deserve serious attention from both readers and critics. Includes insightful readings of works by Steven Brust, Garth Nix, Robert Holdstock, Terry Pratchett, Charles de Lint, China Miéville, Patricia McKillip, Tim Powers, Lisa Goldstein, Steven R. Donaldson, Robert Jordan, and Neil Gaiman and Charles Vess.