Publication History |
Michael Moorcock’s treatise on epic fantasy, "Wizardry & Wild Romance: A
Study of Epic Fantasy," 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.
In this essay, I’ll give a summary of the book and then explain my reactions.
A. Summary of "Wizardry"
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. Miéville also warns
the reader that this perspective will not be agreeable to all, but should at least
cause reconsideration of the accepted values of the genre and whether
something else (something more) should be demanded.
Moorcock’s Forward discusses how fantasy is subject to the whims of fashion,
with its popularity and acceptance waxing and waning. He notes that many
critics look down upon fantasy as a genre while exalting works that embrace
fantastical elements. He decries commercialization, which he blames for the
current boom of indistinguishable and substandard works. He traces the
history of the genre from Icelandic, Greek, Mesopotamian and other ancient
sagas, through the 1700s, 1800s, and into the modern eras. In this history, he
explains what each period brought to the form we now know.
In the Forward, Moorcock also sets forth 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) This thesis is developed throughout the
work.
Chapter 1: Origins claims fantasy is, by definition, doomed to be of limited
appeal despite its enduring archetypes because its written expression follows
the sensibilities of the times in which it is produced. Moorcock then explores
seminal works from several periods. The growth of Chivalric Romances in the
1500s marked the beginning of commercialization as writers took the durable
archetypes of ancient sagas and gave them 1500s treatment. These works are
characterized by less poetic and less powerful language, the removal of tragic
elements, and the addition of sentimentality and chivalric sensibilities – all
with the purpose of gaining popular appeal.
The 1700s saw the development of Gothic Romances, which replaced the
emphasis on chivalric sensibilities with one on terror. Those writers (like Mary
Shelley, author of Frankenstein) examined themes such as pure good versus
pure evil, light versus darkness, beauty versus hideousness, nature versus
science, and imaginings of the soul (including its acquisition and loss).
Moorcock argues these works were reactionary, simultaneously suspicious of
science, progress, and religion. Overall, I found this insightful chapter to be a
wonderful antidote to my ignorance...
Study of Epic Fantasy," 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.
In this essay, I’ll give a summary of the book and then explain my reactions.
A. Summary of "Wizardry"
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. Miéville also warns
the reader that this perspective will not be agreeable to all, but should at least
cause reconsideration of the accepted values of the genre and whether
something else (something more) should be demanded.
Moorcock’s Forward discusses how fantasy is subject to the whims of fashion,
with its popularity and acceptance waxing and waning. He notes that many
critics look down upon fantasy as a genre while exalting works that embrace
fantastical elements. He decries commercialization, which he blames for the
current boom of indistinguishable and substandard works. He traces the
history of the genre from Icelandic, Greek, Mesopotamian and other ancient
sagas, through the 1700s, 1800s, and into the modern eras. In this history, he
explains what each period brought to the form we now know.
In the Forward, Moorcock also sets forth 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) This thesis is developed throughout the
work.
Chapter 1: Origins claims fantasy is, by definition, doomed to be of limited
appeal despite its enduring archetypes because its written expression follows
the sensibilities of the times in which it is produced. Moorcock then explores
seminal works from several periods. The growth of Chivalric Romances in the
1500s marked the beginning of commercialization as writers took the durable
archetypes of ancient sagas and gave them 1500s treatment. These works are
characterized by less poetic and less powerful language, the removal of tragic
elements, and the addition of sentimentality and chivalric sensibilities – all
with the purpose of gaining popular appeal.
The 1700s saw the development of Gothic Romances, which replaced the
emphasis on chivalric sensibilities with one on terror. Those writers (like Mary
Shelley, author of Frankenstein) examined themes such as pure good versus
pure evil, light versus darkness, beauty versus hideousness, nature versus
science, and imaginings of the soul (including its acquisition and loss).
Moorcock argues these works were reactionary, simultaneously suspicious of
science, progress, and religion. Overall, I found this insightful chapter to be a
wonderful antidote to my ignorance...
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| Why We Should Care About Michael Moorcock's "Wizardry & Wild Romance: A Study of Epic Fantasy" By SC Bryce |
Third Printing:
Aoife's Kiss, Vol. 5, No. 3, Tyree
Campbell, ed. (Dec. 2006), at
www.samsdotpublishing.com/aoife/
main.htm.
Aoife's Kiss, Vol. 5, No. 3, Tyree
Campbell, ed. (Dec. 2006), at
www.samsdotpublishing.com/aoife/
main.htm.
Second Printing:
Universe Pathways, Issue 2, George
Sotirhos, et al., eds. (Jul. 2006)
(Revised).
Universe Pathways, Issue 2, George
Sotirhos, et al., eds. (Jul. 2006)
(Revised).
Fourth Printing:
Universe Pathways, George
Sortihos, et al, eds. (Dec. 2006).
(Reprinted in Greek).
Universe Pathways, George
Sortihos, et al, eds. (Dec. 2006).
(Reprinted in Greek).
|
First Printing:
SwordandSorcery.org, Howard
Andrew Jones, ed. (May 7, 2005), at
www.SwordandSorcery.org.
SwordandSorcery.org, Howard
Andrew Jones, ed. (May 7, 2005), at
www.SwordandSorcery.org.