"Fantasy is a creation of the Enlightenment and the recognition that excitement and wonder can be found in imagining impossible things. From the ghost stories of the Gothic to the zombies and vampires of twenty-first-century popular literature, from Mrs Radcliffe to Ms Rowling, the fantastic has been popular with readers. Since Tolkien and his many imitators, however, it has become a major publishing phenomenon. In this volume, critics and authors of fantasy look at the history of fantasy since the Enlightenment, introduce readers to some of the different codes for the reading and understanding of fantasy and examine some of the many varieties and subgenres of fantasy; from magical realism at the more literary end of the genre, to paranormal romance at the more popular end. The book is edited by the same pair who edited The Cambridge Companion to Science Fiction (winner of a Hugo Award in 2005)"-- Provided by publisher.
"Fantasy is not so much a mansion as a row of terraced houses, such as the one that entranced us in C. S. Lewis's The Magician's Nephew with its connecting attics, each with a door that leads into another world. There are shared walls, and a certain level of consensus around the basic bricks, but the internal decor can differ wildly, and the lives lived in these terraced houses are discrete yet overheard. Fantasy literature has proven tremendously difficult to pin down. The major theorists in the field - Tzvetan Todorov, Rosemary Jackson, Kathryn Hume, W. R. Irwin and Colin Manlove - all agree that fantasy is about the construction of the impossible whereas science fiction may be about the unlikely, but is grounded in the scientifically possible. But from there these critics quickly depart, each to generate definitions of fantasy which include the texts that they value and exclude most of what general readers think of as fantasy. Most of them consider primarily texts of the nineteenth and early twentieth century. If we turn to twentieth-century fantasy, and in particular the commercially successful fantasy of the second half of the twentieth century, then, after Tolkien's classic essay, 'On Fairy Stories', the most valuable theoretical text for taking a definition of fantasy beyond preference and intuition is Brian Attebery's Strategies of Fantasy (1992)"-- Provided by publisher.
Provides plot summaries to hundreds of famous and well-regarded works in sci-fi and fantasy, including analysis of those works in terms of their contributions to literature and effectiveness of literary devices employed (from the Publisher's Note).
Guide to the more obscure sources of science fiction and fantasy, primarily those of the pulp age: English and non-English language magazines, English-language anthologies, academic periodicals and major fanzines.
This 3-volume set covers works both recent and classic. Categorical arrangement includes but is not limited to abstract concepts and qualities, animals, characters, events and actions, horror, literary concepts, love and sexuality, magical beings, objects and substances, social and political concepts, settings, space, time, subgenres and narrative patterns, and more.
The Scribner Writers Series has set the standard for literary reference for more than 25 years. In addition to addressing the lives and careers of important writers, the articles discuss the themes and styles of major works and place them in pertinent historical, social and political contexts for today's readers. Novelists, playwrights, essayists, poets, short story writers, and more recently, genre writers in science fiction and mystery, are all expertly discussed in the more than 16 sets comprising this series.Since the first edition was published in 1999, 20 new essays have been added on authors ranging from Gregory Benford and Katherine MacLean to Lucius Shepard and Gene Wolfe. In addition, 19 essays have been extensively revised. Pictures of most of the 96 authors have been added, and the set has been reorganized in alphabetical order for ease of use.
This book is the definitive critical history of science fiction. The 2006 first edition of this work traced the development of the genre from Ancient Greece and the European Reformation through to the end of the 20th century. This new 2nd edition has been revised thoroughly and very significantly expanded. An all-new final chapter discusses 21st-century science fiction, and there is new material in every chapter: a wealth of new readings and original research. The author's groundbreaking thesis that science fiction is born out of the 17th-century Reformation is here bolstered with a wide range of new supporting material and many hundreds of 17th- and 18th-century science fiction texts, some of which have never been discussed before. The account of 19th-century science fiction has been expanded, and the various chapters tracing the twentieth-century bring in more writing by women, and science fiction in other media including cinema, TV, comics, fan-culture and other modes.
Unquestionably the most massive reference work on science fiction to be produced this century. The result of international collaboration and more than two years of effort, it is an expansion of the 1979 edition, with sufficient material added to make this volume a completely distinct work. The 4,360 entries cover major and minor authors who have contributed to the evolution of the genre, themes, terminology (ranging from "corpsicles" and "telekinesis" to "splatter movies") films, television programs (beginning with the 1949 original Captain Video and extending to Star Trek: Deep Space Nine), magazines, comics, 64 illustrators, book publishers, and original anthologies from 27 countries. Of particular value for reference and collection development librarians are lengthy entries on small presses and limited editions, bibliographies, notable collections of science fiction (both public and private), the clear distinction of real names and pseudonyms, and entries on individual publications such as Amazing Stories. Detailed cross-referencing and a checklist of themes fill the absence of indexing. Individual characters and places from specific works are excluded. Suitable for all libraries. R. B. M. Ridinger; Northern Illinois University (text from CHOICE)
The first historical dictionary devoted to science fiction. It shows the development of science-fiction words and their associated concepts over time, with full citations and bibliographic information. Citations are drawn from science-fiction books and magazines, fanzines, screenplays, newspapers, comics, folk songs, and the Internet. The dictionary reveals how many words we consider to be everyday expressions, like "space shuttle", "blast off", and "robot", have their roots in imaginative literature and not in hard science. It also charts the transfer of science-fiction vocabulary to different subcultures and endeavours, such as neo-paganism, aerospace, computers, and environmentalism.
Featuring more than a thousand illustrations in full color, a decade-by-decade timeline includes fascinating facts about science fiction films, television series, magazines, and novels, making it the most thorough visual reference book on science fiction available.
Opening a window onto the fascinating new world of Latin American and Spanish science fiction for English-speaking readers, this amazing anthology presents 27 popular and influential stories ranging from 1862 to the present.
Mothership: Tales from Afrofuturism and Beyond sets a bold new course by showcasing work from some of the most talented writers inside and outside of speculative fiction. These authors in this anthology (including Junot Diaz, Lauren Beukes, Victor LaValle, N.K. Jemisin, S.P. Somtow, Tobias Buckell, and more) have earned such honors as the Pulitzer Prize, the American Book Award, the Hugo, the Nebula, and the Bram Stoker, among others. They have garnered numerous accolades and have sold millions of copies around the world. Many of their names are likely to be new to you; Mothership is your invitation to get acquainted with them and their incredible writing.
Craft an otherworldly experience for your readers! Do you dream of writing tales that pull readers into extraordinary realms? The Writer's Digest Guide to Science Fiction & Fantasy gives you everything you need to build a fantastic world, inhabit it with original and believable characters, and create an authentic and enthralling story. Two complete books in one, this comprehensive guide includes invaluable and timeless advice for writing and selling speculative fiction from best-selling author Orson Scott Card's How to Write Science Fiction & Fantasy, as well as world-building information and instruction from the indispensable classic The Writer's Complete Fantasy Reference. You'll discover: how to wield story elements that "define" the science fiction and fantasy genres ways to build, populate and dramatize fantastic new worlds how to construct compelling stories by developing ideas, characters, and events that keep readers turning pages historically accurate information about world cultures, legends, folklore and mysticism how to authentically portray the rituals of magic and witchcraft in-depth descriptions of mythological creatures, fantasy races, clothing, weapons, armor, and more The boundaries of your imagination are infinite, but to truly hook your reader you must ground your fiction with credible details. Let this book be your guide as you venture into the fantastic and you'll create vibrant, captivating new worlds that spring off the page.
The Cambridge Companion to American Science Fiction explores the relationship between the ideas and themes of American science fiction and their roots in the American cultural experience. Science fiction in America has long served to reflect the country's hopes, desires, ambitions, and fears. The ideas and conventions associated with science fiction are pervasive throughout American film and television, comics and visual arts, games and gaming, and fandom, as well as across the culture writ large. Through essays that address not only the history of science fiction in America but also the influence and significance of American science fiction throughout media and fan culture, this companion serves as a key resource for scholars, teachers, students, and fans of science fiction.
The Oxford Handbook of Science Fiction attempts to descry the historical and cultural contours of SF in the wake of technoculture studies. Rather than treating the genre as an isolated aesthetic formation, it examines SF's many lines of cross-pollination with technocultural realities since itsinception in the nineteenth century, showing how SF's unique history and subcultural identity has been constructed in ongoing dialogue with popular discourses of science and technology. The volume consists of four broadly themed sections, each divided into eleven chapters. Section I, "Science Fiction as Genre," considers the internal history of SF literature, examining its characteristic aesthetic and ideological modalities, its animating social and commercial institutions, and itsrelationship to other fantastic genres. Section II, "Science Fiction as Medium," presents a more diverse and ramified understanding of what constitutes the field as a mode of artistic and pop-cultural expression, canvassing extra-literary manifestations of SF ranging from film and television tovideogames and hypertext to music and theme parks. Section III, "Science Fiction as Culture," examines the genre in relation to cultural issues and contexts that have influenced it and been influenced by it in turn, the goal being to see how SF has helped to constitute and define important(sub)cultural groupings, social movements, and historical developments during the nineteenth, twentieth, and twenty-first centuries. Finally, Section IV, "Science Fiction as Worldview," explores SF as a mode of thought and its intersection with other philosophies and large-scale perspectives on theworld, from the Enlightenment to the present day.
In The Souls of Cyberfolk, Thomas Foster traces the transformation of cyberpunk from a literary movement into a multimedia cultural phenomenon. He examines how cyberpunk defined a framework for thinking about the cultural implications of new technologies - a framework flexible enough to incorporate issues of gender, queer sexualities, and ethnic and racial differences as well as developments in nationalist models of citizenship and global economic flows. Beginning with William Gibson's paradigmatic text Neuromancer, and continuing through the works of Maureen McHugh, Melissa Scott, Neal Stephenson, Greg Egan, and Ken MacLeod, Foster measures cyberpunk's reach into social and philosophical movements (the Extropy Institute), commercial art (Hajime Sorayama's gynoids or sexy robot illustrations), comic books (Deathlok), film (Robocop), and music video (from Billy Idol's Cyberpunk album). The central challenge that cyberpunk poses for cultural critics, Foster argues, is to understand what happens when the technological denaturalization of physical embodiment becomes the norm. This question acquires urgency as the focus of his book moves beyond the typical technocultural concerns with gender and sexuality to consider race and models of citizenship - a shift that constitutes one of the book's most original contributions to scholarship on the topic.