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The ancient tales of long-dead civilizations to the wild success of J. R. R. Tolkien’s Lord of the Rings, fantasy has fired our imaginations for as long as there has been story. Whether sweeping sagas of fantastic adventures or cautionary tales told around the campfire, fantasy is deeply woven into the very fabric of humanity, wearing many faces and coming in many flavors. But what fantasy is distinctly American? The American Fantasy Tradition sets out to answer this very question. This comprehensive critical anthology of American fantasy literature applies the groundbreaking theorems of such esteemed American literary critics as Leslie Fiedler, Richard Chase, and Irving Howe to the genre of fantasy in an effort to delineate the true American tradition of fantasy from the more prominent Anglo-European canon, breaking it down into three distinctive strains: The American Tale: Folk, Tall, and Weird Stories that might be considered fables or legends, much like the epics of the Age of Heroes from the classical eras of Rome and Greece, or the tales of the fairy folk from the European tradition, or the fables of Aesop. Fantastic Americana Stories set directly within the American historic landscape, much as the Arthurian tradition is set within the confines of British history. Lands of Enchantment in Everyday Life Stories that involve what might be called the American spirit, focusing on worlds that exist in the shadows of our own, just beyond Rod Serling’s famous signpost for The Twilight Zone.
Includes chapters on L. Frank Baum and Ursula Le Guin, with material on Washington Irving, Edgar Allan Poe, Herman Melville, Nathaniel Hawthorne, Edgar Rice Burroughs, James Branch Cabell, H. P. Lovecraft, Ray Bradbury, Edward Eager, and James Thurber, among others.
The first really original book on the classical period in American writing that has appeared for a long time.
Imaginative fiction from Neil Gaiman, Karen Russell, Daniel H. Wilson, and more, selected by New York Times-bestselling author Joe Hill. Science fiction and fantasy enjoy a long literary tradition, stretching from Mary Shelley, H. G. Wells, and Jules Verne to Ray Bradbury, Ursula K. Le Guin, and William Gibson. In The Best American Science Fiction and Fantasy, 2015 award-winning editor John Joseph Adams and Joe Hill deliver a diverse and vibrant collection of stories published in the previous year. Featuring writers with deep science fiction and fantasy backgrounds, along with those who are infusing traditional fiction with speculative elements, these stories uphold a longstanding tradition in both genres—looking at the world and asking, What if? The Best American Science Fiction and Fantasy, 2015 includes Kelly Link, Neil Gaiman, Karen Russell T. C. Boyle, Sofia Samatar, Jo Walton, Cat Rambo Daniel H. Wilson, Seanan McGuire, Jess Row, and more. “The overall quality of the work is very high.”—Publishers Weekly
Our fascination with the trickster figure, whose presence is global, stems from our desire to break free from the tightly regimented structures of our societies. Condemned to conform to laws and rules imposed by governments, communities, social groups and family bonds, we revel in the fantasy of the trickster whose energy and cunning knows no bounds and for whom nothing is sacred. One such trickster is Brer Rabbit, who was introduced to North America through the folktales of enslaved Africans. On the plantations, Brer Rabbit, like Anansi in the Caribbean, functioned as a resistance figure for the enslaved whose trickery was aimed at undermining and challenging the plantation regime. Yet as Brer Rabbit tales moved from the oral tradition to the printed page in the late nineteenth-century, the trickster was emptied of his potentially powerful symbolism by white American collectors, authors and folklorists in their attempt to create a nostalgic fantasy of the plantation past. American Trickster offers readers a unique insight into the cultural significance of the Brer Rabbit trickster figure, from his African roots and through to his influence on contemporary culture. Exploring the changing portrayals of the trickster figure through a wealth of cultural forms including folktales, advertising, fiction and films the book scrutinises the profound tensions between the perpetuation of damaging racial stereotypes and the need to keep African-American folk traditions alive. Emily Zobel Marshall argues that Brer Rabbit was eventually reclaimed by twentieth-century African-American novelists whose protagonists ‘trick’ their way out of limiting stereotypes, break down social and cultural boundaries and offer readers practical and psychological methods for challenging the traumatic legacies of slavery and racism.
An anthology of American fantasy literature which describes the main themes, ideas, and characteristics of the fantasy genre.
Classical Traditions in Modern Fantasy presents fifteen all-new essays on how fantasy draws on ancient Greek and Roman mythology, philosophy, literature, history, art, and cult practice. Ranging from harpies to hobbits, from Cyclopes to Cthulhu, the comparative study of Classics and fantasy reveals deep similarities between ancient and modern ways of imagining the world.
In the early chapters, the author sorts out some of the confusion about the term fantasy, distinguishing the fantastic as a technique from fantasy as a popular formula and a literary genre. Looking back to the early reception of Tolkien's trend-setting epic fantasy, he points out how critical theory at the time was simply unable to account for either the strengths or the weaknesses of The Lord of the Rings. By contrast, critical methods developed for coping with postmodernist metafictions are shown to apply equally well to the genre of fantasy. Having worked primarily with older fantasies in his study of The Fantasy Tradition in American Literature, Attebery focuses here on important recent examples such as Gene Wolfe's Book of the New Sun, Suzette Haden Elgin's Ozark Trilogy, and John Crowley's Little, Big.
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 its history 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 produced The Cambridge Companion to Science Fiction (winner of a Hugo Award in 2005).
WINNER OF THE 2020 PULITZER PRIZE FOR POETRY Finalist for the 2019 National Book Award "100 Notable Books of the Year," The New York Times Book Review One Book, One Philadelphia Citywide Reading Program Selection, 2021 "By some literary magic—no, it's precision, and honesty—Brown manages to bestow upon even the most public of subjects the most intimate and personal stakes."—Craig Morgan Teicher, “'I Reject Walls': A 2019 Poetry Preview” for NPR “A relentless dismantling of identity, a difficult jewel of a poem.“—Rita Dove, in her introduction to Jericho Brown’s “Dark” (featured in the New York Times Magazine in January 2019) “Winner of a Whiting Award and a Guggenheim Fellowship, Brown's hard-won lyricism finds fire (and idyll) in the intersection of politics and love for queer Black men.”—O, The Oprah Magazine Named a Lit Hub “Most Anticipated Book of 2019” One of Buzzfeed’s “66 Books Coming in 2019 You’ll Want to Keep Your Eyes On” The Rumpus poetry pick for “What to Read When 2019 is Just Around the Corner” One of BookRiot’s “50 Must-Read Poetry Collections of 2019” Jericho Brown’s daring new book The Tradition details the normalization of evil and its history at the intersection of the past and the personal. Brown’s poetic concerns are both broad and intimate, and at their very core a distillation of the incredibly human: What is safety? Who is this nation? Where does freedom truly lie? Brown makes mythical pastorals to question the terrors to which we’ve become accustomed, and to celebrate how we survive. Poems of fatherhood, legacy, blackness, queerness, worship, and trauma are propelled into stunning clarity by Brown’s mastery, and his invention of the duplex—a combination of the sonnet, the ghazal, and the blues—is testament to his formal skill. The Tradition is a cutting and necessary collection, relentless in its quest for survival while reveling in a celebration of contradiction.