For almost the whole of his life, Kenneth Grahame’s first love was ‘the cool and secluded reaches of the Thames, the stripling Thames, remote and dragonfly-haunted’ – in short, that section of the river between Streatley in the west and Windsor Castle in the east, which he first came to from Edinburgh, in sadness, as a boy of nearly five. Grahame was grieving for his mother, who had just died from scarlet fever and for his father who, broken-hearted, had fled abroad to live by himself. Kenneth, his two elder siblings and his younger brother Roland were taken in by their grandmother at a large house called The Mount, situated on the banks of the Thames at Cookham Dene. Henceforth, Grahame’s happiest childhood days would be spent playing about on the river, sometimes ‘messing about in boats’ though more often on foot, so that he came to know the life of the river banks intimately. At first it was a new and unusual world to this city boy, whose knowledge of meadows and rivers was as limited as if he had spent his whole life underground. But soon came the awakening of his interest in boats, and the love that every country child has for long summer days and the woods under winter snow. Many commentators have spoken of literary creativity arising from some terrible loss in an author’s life. Whatever it was, as a result, Kenneth found the need to daydream, and many of his dreams are re-created in that bedtime idyll of a pastoral England, already disappearing in Edwardian times, The Wind in the Willows.
The jackalope is a mythical animal of North American folklore (a so-called fearsome critter) described as a jackrabbit with antelope horns. The word “jackalope” is a portmanteau of “jackrabbit” and “antelope”, although the jackrabbit is not a rabbit, and the American antelope is not an antelope. In early lumberjack folklore, fearsome critters were mythical beasts that were said to inhabit the frontier wilderness of North America. Many fearsome critters were simply the products of pure exaggeration; while a number however, were used either seriously or jokingly as explanations for unexplained phenomena. For example, the hidebehind served to account for loggers who failed to return to camp, while the treesqueak offered justification for strange noises heard in the woods. A handful mirrored descriptions of actual animals. The mangrove killifish, which takes up shelter in decaying branches after leaving the water, exhibits similarities to the upland trout, a mythical fish purported to nest in trees. In addition, the story of the fillyloo, about a mythical crane that flies upside-down, may have been inspired by observations of the wood stork, a bird that has been witnessed briefly flying in this manner. In particular instances more elaborate ruses – such as the jackalope – were created using taxidermy or trick photography.
Greg Bear (born August 20, 1951) is an American writer best known for science fiction. His work has covered themes of galactic conflict (the Forge of God books), artificial universes (The Way series), consciousness and cultural practices (Queen of Angels), and accelerated evolution (Blood Music, Darwin’s Radio, and Darwin’s Children). Greg Bear has written 44 books in total. His most recent work is the Forerunner Trilogy, written in the Halo universe. Greg Bear was also one of the five co-founders of the San Diego Comic-Con. While most of Bear’s work is science fiction, he has written in other fiction genres. Songs of Earth and Power is an omnibus edition of two classic fantasy novels from the eighties. In The Infinity Concerto (1984) Michael Perrin endures years of captivity and deadly struggles in the Realm of the Sidhe, a fantastic, beautiful and dangerous world. In The Serpent Mage (1986) he returns to Los Angeles – but the Sidhe are following him. Greg Bear’s land of elves is not the pretty, enchanted place of so many fantasy novels but is an oppressive, menacing land of cruelty and fear, ruled by the unfeeling fair folk of Celtic mythology. His brilliantly descriptive narrative draws the reader in until you feel part of this world. Songs of Earth and Power isn’t an easy or comfortable read but it is one that is well worth the effort.
In The Lord of the Rings a strange and primitive folk named the Woses came to aid the men of Gondor in breaking the siege of Minas Tirith. These wild woodland people lived in the ancient forest of Druadan, below the White Mountains. In form they were weather-worn, short-legged, thick-armed and stumpy-bodied and they knew wood-craft better than any man. The men of Gondor called the Woses the Wild-men of Druadan and believed that they were descended from the even more ancient Pukel-men of the First Age. These Wood Woses or Wild-men were an example of J R R Tolkien’s seemingly boundless capacity to invent plausible and memorable fictional races from the gaps and errors in ancient literature – in this particular case the mysterious medieval poem Sir Gawain and the Green Knight. For Tolkien was by no means the first author to make use of the literary and mythical archetype of the Wild-man. This is a mythological figure that appears fairly frequently in the artwork and literature of medieval Europe, comparable to the satyr or faun type in classical mythology and to Silvanus, the Roman god of the woodlands. Tolkien’s skill is in adapting this archetype to the landscape of English folklore through his fantasy masterpiece.
The lost world is a subgenre of the fantasy or science fiction genre that involves the discovery of a new world out of time, place, or both. It began as a subgenre of the late-Victorian adventure romance and remains popular into the 21st century. The genre arose during an era when the fascinating remnants of lost civilizations around the world were being discovered, such as the tombs of Egypt’s Valley of the Kings, the semi-mythical stronghold of Troy, the jungle-shrouded pyramids of the Maya, or the cities and palaces of the empire of Assyria. Thus, real stories of archaeological finds by imperial adventurers succeeded in capturing the public’s imagination. Between 1871 and the First World War, the number of published lost-world narratives, set in every continent, dramatically increased. The genre has similar themes to “mythical kingdoms”, such as El Dorado. In the popular imagination lost cities are real, prosperous, well-populated areas of human habitation that have fallen into terminal decline and been lost to history. Most real lost cities are of ancient origins, and have been studied extensively by archaeologists. Abandoned urban sites of relatively recent origin are generally referred to as ghost towns. Fictional lost cities have been created by many authors as the setting for stories and myths throughout the ages. These include places such as Atlantis, Ur, Lemuria and Thule, which have become part of the shared mythology of the human race.
The Man in the High Castle (1963) is an alternative history novel by American writer Philip K Dick depicting a nightmare world divided by Germany and Japan, winners of the second World War in an alternate timeline from our own. Set in 1962, fifteen years after an alternative ending to World War II, the novel concerns intrigues between the victorious Axis Powers as they rule over the former United States, as well as daily life under the resulting totalitarian rule. The story features a “novel within the novel” comprising an alternate history within this alternate history wherein the Allies defeat the Axis (though in a manner distinct from the actual historical outcome). A hypothetical Axis victory in World War II is a common concept of alternate history, the second World War being one of the two most popular points of divergence for the English language alternative history fiction genre (the other being the American Civil War). As such, The Man in the High Castle (which has recently been adapted into a popular and critically acclaimed series by Amazon) has much in common with other fictional alternative histories, such as Swastika Night, Fatherland and Dominion.
In the Indian tradition, time is seen as non-linear – past, present and future co-exist in each generation. This theory underpins the doctrines of karma and samsara, the cycles of causality and rebirth. Indian religion has evolved over many centuries – its gods and goddesses have not been discarded but modified, and their attributes and roles have become fluid. It is this fluidity that has resulted in a rich body of stories and one of the world’s oldest unbroken traditions – India’s earliest religious texts are the four Vedas (‘books of knowledge’), which date from circa 1000 BC. Present-day India, as diverse in cultures and topography as ever, is imbued with ideas that can be traced back through millennia. There are few distinctions made between mind and matter, or humankind and nature. Hinduism, the most widespread religion in India (although just one of seven major faiths with Islam, Buddhism, Christianity, Sikhism, Jainism and Zoroastrianism), is at once also a science, a lifestyle and a social system. The vast number of Hindu gods and goddesses can be bewildering, but beyond this variety lies unity, expressed in the unchanging, indestructible divine reality known as brahman that, according to Hindus, exists in all things. Everything in the universe, every creature and plant, is a manifestation of brahman and thus contains an element of the divine.
The birth of fantasy literature (as distinct from myths and fairy tales, which have on some level always been with us) has often proved somewhat difficult to pin down. Whilst the general public may regard the genre as having originated with the publication of The Lord of the Rings in the 1950’s, fantasy literature has in many ways existed for perhaps hundreds of years before this. It is in the 17th century that we can find the first critical awareness of the separate existence of a genre of ‘fantasy’, so here I am not talking about earlier fictions about the fantastical, such as The Odyssey, Beowulf or Sir Gawain and the Green Knight. Before the reading public was introduced to the alternate world of Middle Earth, Clark Ashton Smith and Robert E Howard used the secondary world settings of Hyperborea, Poseidonis, Averoigne and Zothique for their heroic fantasy tales. Before them, fantastical creatures and other worlds appeared in the writings of William Hope Hodgson, most memorably The House on the Borderland (1908). Going back even earlier, the Victorian writer Lord Dunsany, who began his authorial career in the 1890s, was responsible for two major works – The Book of Wonders and The King of Elfland’s Daughter – that were an important influence on Tolkien and many of those who came after him. But can the birth of fantasy as a literary genre be traced back even earlier than this? Who were the founders of fantasy literature?