Fantasy is a demanding genre.
So, when people try to give you some book with a shiny round award on the cover, be kind and gracious, but tell them you don't read "fantasy," because you prefer stories that are real. Then come back here and continue your research on the cult of evil Librarians who secretly rule the world.
'The Hobbit' was one of the first biggish books I ever read. I remember vividly the 'riddles in the dark' passage, and it meant a lot to me to finally get to play it after all these years.
The Hobbits are just rustic English people, made small in size because it reflects the generally small reach of their imagination - not the small reach of their courage or latent power.
I was born in 1991, and 'Harry Potter' came out in '97, so, you know, I was really obsessed. I used to read them in one night.
I am the only living person in the English speaking world who didn't have the Narnia books as a child.
The best fantasy is written in the language of dreams. It is alive as dreams are alive, more real than real, for a moment at least, that long magic moment before we wake.
'The Chronicles of Narnia' are war-determined stories. I do not think Lewis could have written well or truthfully if he had tried to avoid the reality of war.
Beneath the Sugar Sky' is an homage to the portal fantasies of my childhood: it is the portal running in reverse.
The Tower. He would come to the Dark Tower and there he would sing their names; there he would sing their names; there he would sing all their names. The sun stained the east a dusky rose, and at last Roland, no longer the last gunslinger but one of the last three, slept and dreamed his angry dreams through which there ran only that one soothing blue thread: There I will sing all their names!
How to read "Harry Potter and the Sorcerer's Stone"? Why, very quickly, to begin with, and perhaps also to make an end. Why read it? Presumably, if you cannot be persuaded to read anything better, Rowling will have to do.
I think it's really hard to draw a hard-and-fast line and say 'Grimm's Fairy Tales' doesn't count as science fiction or fantasy. Or at what point do we say mythology is not fantasy, so reading mythology when you're young does not count as an exposure to fantasy?
Children are not deceived by fairy-tales; they are often and gravely deceived by school-stories. Adults are not deceived by science-fiction ; they can be deceived by the stories in the women's magazines.
Hobbits are an unobtrusive but very ancient people, more numerous formerly than they are today; for they love peace and quiet and good tilled earth: a well-ordered and well-farmed countryside was their favourite haunt.
Lord of the Rings, I think, is far and away the most brilliantly done stuff.
From as far back as I can remember, I always loved the King Arthur stories, fairy tales, mythology - things like that. So it was very natural for me when I came to write the 'Prydain' books to sort of follow that direction.
If you take 'The Hobbit' and 'The Lord of the Rings' as books, one is written for children, and one is an adult's book.
I was a massive Tolkien fan. 'The Hobbit' was... my favorite book as a little girl, and the Silvan Elves were my favorite characters in the book.
Great gandalfs ghost! if he had a ghost. i doubt it. he was such a snob.
When I was in my early to mid-teens, that was a very heavy diet of science fiction and fantasy, so those were the kinds of books I tended to imagine writing someday, or even began to try to write.
I'd never heard of the 'Lord of the Rings', actually. So I went to the bookstore and there it was, three shelves of books about Tolkien and Middle-earth, and I was like, 'Holy cow, what else am I missing out on?'
There have been a number of us working very, very hard to bring myth and fairy tales into public consciousness, through fantasy literature and other media. I hope we're succeeding in some small way.
The Lord of the Rings is of course a fundamentally religious and Catholic work; unconsciously so at first, but consciously in the revision.
Jeff VanderMeer's fiction has always been entrancingly, engagingly, enthusiastically weird, a winning combination of mimesis and the fantastical that privileges neither component: perhaps the very definition of that mode categorized as the 'New Weird' and exemplified most famously by the groundbreaking work of China Mieville.
As [John] Tolkien himself said, the story [Lord of the Ring ] is not allegorical. He said so when people tried to make analogies to World War II and the fight against Hitler and his fascist coalition.
