Publication History |
Michael Moorcock's treatise has been updated and re-released in Monkeybrain
Books' 2004 edition with an Introduction by China Miéville and Afterword by
Jeff VanderMeer. It is valuable reading for fans and writers of the genre,
providing not only an astonishing history of speculative fiction but also
critiques of various works, authors, and stereotypes by Moorcock, one of both
Britian's and the genre's most prolific, original, and respected authors. But be
forewarned: bring your dictionary and leave your sense of decorum at the door.
Miéville's Introduction provides an apt description of the book, likening it to a
wild and sometimes frustrating tour by a frenzied librarian whose knowledge
and insights bring fresh perspective on a hackneyed genre. In chapters entitled
Origins, The Exotic Landscape, The Heroes and Heroines, Wit and Humour,
Epic Pooh, and Excursions and Developments, Moorcock sets forth and
develops his thesis: good fantasy should allow for self-reflection and self-
understanding, as well as wit, epic elements, irony, poetry, objectivity,
metaphor, and insight into the human condition. "The romance's [his word for
fantasy] prime concern," he writes, "is not with character or narrative but with
the evocation of strong, powerful images; symbols conjuring up a multitude of
sensations to be used (as mystics once used distorting mirrors, as romantics
used opium or, latterly, LSD) as escape from the pressures of the objective
world or as a means of achieving increased self-awareness." ("Wizardry," p. 20)
A major weakness is the uncountable references and terms dropped
throughout "Wizardry" without any context or clarification, leaving the reader
(presumably less well-traveled in the genre than Moorcock) no more
enlightened. This on-going problem is one of the most serious structural flaws
of the work because it limits what the reader can learn from Moorcock's
impressive familiarity with the genre. Other weakness include: failure to
distinguish between fact and opinion; unacknowledged and unexplained
contradictions; blanket condemnations of certain authors (particularly J.R.R.
Tolkien and C.S. Lewis); and the generally acerbic tone.
Despite its weaknesses, the strengths of "Wizardry" are legion. Moorcock
writes with authority born of experience, knowledge, wisdom, and his own
unrivaled place in the genre. "Wizardry" introduces the reader to under-
appreciated writers. Numerous excerpts help illustrate Moorcock's points. The
work is full of lines that cause thoughtful pauses, such as: "A writer of fantasy
must be judged, I think, by the level of inventive intensity at which he or she
works." ("Wizardry," p. 47) Reading "Wizardry" was a true learning
experience, and many of Moorcock's points resonate strongly.
Perhaps the greatest legacy of a work like "Wizardry" is sparking such
discussions. While I disagree with his style and some of his analysis, I certainly
recognize that Moorcock's ultimate goal in "Wizardry" is laudable. Moorcock
clearly believes that the ravaged genre can be salvaged. He clearly wants
fantasy to rise above its flat, played out stereotypes. He wants authors to be
more original, to love and care about their characters, to develop them into full
people. In short, he wants authors to be better writers, and fans to be more
critical readers and more discerning consumers. And certainly it takes no small
amount of courage (or conceit) to confront the pillars of fantasy's temples,
asking readers to reconsider their favorite authors and works. Moorcock
surely succeeds in demanding more from the genre and challenging us to do the
same. Whether you ultimately agree with him or not, he will provoke you to
think – and this is reason enough to make "Wizardry" a worthy read.
I rate if a 9 out of 10.
Books' 2004 edition with an Introduction by China Miéville and Afterword by
Jeff VanderMeer. It is valuable reading for fans and writers of the genre,
providing not only an astonishing history of speculative fiction but also
critiques of various works, authors, and stereotypes by Moorcock, one of both
Britian's and the genre's most prolific, original, and respected authors. But be
forewarned: bring your dictionary and leave your sense of decorum at the door.
Miéville's Introduction provides an apt description of the book, likening it to a
wild and sometimes frustrating tour by a frenzied librarian whose knowledge
and insights bring fresh perspective on a hackneyed genre. In chapters entitled
Origins, The Exotic Landscape, The Heroes and Heroines, Wit and Humour,
Epic Pooh, and Excursions and Developments, Moorcock sets forth and
develops his thesis: good fantasy should allow for self-reflection and self-
understanding, as well as wit, epic elements, irony, poetry, objectivity,
metaphor, and insight into the human condition. "The romance's [his word for
fantasy] prime concern," he writes, "is not with character or narrative but with
the evocation of strong, powerful images; symbols conjuring up a multitude of
sensations to be used (as mystics once used distorting mirrors, as romantics
used opium or, latterly, LSD) as escape from the pressures of the objective
world or as a means of achieving increased self-awareness." ("Wizardry," p. 20)
A major weakness is the uncountable references and terms dropped
throughout "Wizardry" without any context or clarification, leaving the reader
(presumably less well-traveled in the genre than Moorcock) no more
enlightened. This on-going problem is one of the most serious structural flaws
of the work because it limits what the reader can learn from Moorcock's
impressive familiarity with the genre. Other weakness include: failure to
distinguish between fact and opinion; unacknowledged and unexplained
contradictions; blanket condemnations of certain authors (particularly J.R.R.
Tolkien and C.S. Lewis); and the generally acerbic tone.
Despite its weaknesses, the strengths of "Wizardry" are legion. Moorcock
writes with authority born of experience, knowledge, wisdom, and his own
unrivaled place in the genre. "Wizardry" introduces the reader to under-
appreciated writers. Numerous excerpts help illustrate Moorcock's points. The
work is full of lines that cause thoughtful pauses, such as: "A writer of fantasy
must be judged, I think, by the level of inventive intensity at which he or she
works." ("Wizardry," p. 47) Reading "Wizardry" was a true learning
experience, and many of Moorcock's points resonate strongly.
Perhaps the greatest legacy of a work like "Wizardry" is sparking such
discussions. While I disagree with his style and some of his analysis, I certainly
recognize that Moorcock's ultimate goal in "Wizardry" is laudable. Moorcock
clearly believes that the ravaged genre can be salvaged. He clearly wants
fantasy to rise above its flat, played out stereotypes. He wants authors to be
more original, to love and care about their characters, to develop them into full
people. In short, he wants authors to be better writers, and fans to be more
critical readers and more discerning consumers. And certainly it takes no small
amount of courage (or conceit) to confront the pillars of fantasy's temples,
asking readers to reconsider their favorite authors and works. Moorcock
surely succeeds in demanding more from the genre and challenging us to do the
same. Whether you ultimately agree with him or not, he will provoke you to
think – and this is reason enough to make "Wizardry" a worthy read.
I rate if a 9 out of 10.
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| Wizardry & Wild Romace: A Study of Epic Fantasy (Michael Moorcock) By SC Bryce |
Second Printing:
FantasyBookSpot.com (Sept. 15, 2005).
FantasyBookSpot.com (Sept. 15, 2005).
Third Printing:
SCBryce.com (Dec. 22, 2006).
SCBryce.com (Dec. 22, 2006).
First Printing:
SFReader.com (Sept. 10, 2005).
SFReader.com (Sept. 10, 2005).
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