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Wizardry and Wild Romance: A Study of Epic Fantasy Paperback – 1 Nov 2004

4.0 out of 5 stars 3 customer reviews

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Product details

  • Paperback: 208 pages
  • Publisher: MonkeyBrain; Rev Ed edition (1 Nov. 2004)
  • Language: English
  • ISBN-10: 1932265074
  • ISBN-13: 978-1932265071
  • Product Dimensions: 16.5 x 1.4 x 22.8 cm
  • Average Customer Review: 4.0 out of 5 stars  See all reviews (3 customer reviews)
  • Amazon Bestsellers Rank: 893,263 in Books (See Top 100 in Books)

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Format: Paperback
If you're at all familiar with Moorcock's divergent take on fantasy literature, then there will be little in this book that will take you by surprise. The book is a collection of essays about various aspects of high/epic fantasy writing, culminating in the infamous 'Epic Pooh' essay in which Moorcock accuses J.R.R. Tolkien and C.S. Lewis of producing a form of 'corrupted romanticism' that is nostalgic for a rural past that can't be regained (and probably never actually existed). Moorcock cites the likes of Ursula Le Guin's Earthsea series as an admirable counterpoint, and essentially this is the aim of the book: to call on both authors and readers to maintain a level of artistic and intellectual integrity in reading and writing fantasy literature. It is by no means a new argument, but it never hurts to be reminded, and Moorcock substantiates his arguments with comprehensive examples that are a result of being widely read and immersed in the genre for quite a number of years.

The major flaw in Moorcock's writing is a frustrating tendency to quote enormous chunks of his source novels at the expense of digging deeper into his arguments. One could argue that the texts speak for themselves and little extrapolation on Moorcock's part isn't required, but I paid for his interpretation and perspective. It's great that he has so much material to substantiate his claims, but it has the frustrating effect of breaking up his writing in places. Despite this, Moorcock remains an influential figure and his arguments in this book shouldn't be ignored.
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Format: Paperback
A writing masterclass from a fantasy master

When it comes to Fantasy, there are few better than Moorcock. He's read the best, he's written the best, he's been the best.

In this collection of essays, Moorcock casts a critical, no holds barred, eye over the genre. The result is an insightful, and sometimes frustrating look at the evolution of the fantasy genre.

Moorcock is right to have a go at Tolkien. As much as I've enjoyed the LOTR, there are aspects of it that do not stand up to critical scrutiny. Moorcock's championing of Fritz Lieber and Mervyn Peake, as giants of the genre, is long overdue, and introduced me to criminally overlooked novels. For that, I'm grateful.

The role of women in the genre ( criticised for being often two dimensional or the stereotypical maiden in distress) and the use of evocative imagery (landscapes) are discussed, and yield up insights, that no aspiring fantasy author should do without.

On the negative side, the random insertion of obscure authors, and the structure of this book (random essay thrown together) did make me gnash my teeth at times.

As a critique of the genre or as a primer in fantasy writing, I have yet to come across a comparable book. Well worth a look.
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Format: Paperback
This is an excellent collection of essays about writing and reading fantasy that anybody writing a script in Hollywood should have as mandatory reading. Moorcock's main point is a criticism of black/white heavily romanticized fantasy fiction that for instance films like A Princes' Bride and Shrek poke fun at. Wellwritten and intelligent. Recommended for anyone that has more than a passing interest in fantasy
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Most Helpful Customer Reviews on (beta) 3.9 out of 5 stars 11 reviews
34 of 38 people found the following review helpful
4.0 out of 5 stars Passionate 18 Mar. 2001
By Alex - Published on
Format: Paperback
This is a passionate, opinionated overview of the fantasy genre - from its beginnings in Renaissance romances, through the Gothic awakening of the nineteenth century, the literary explosion of the turn of the century, the pulps of the twenties and thirties, and the Celtic boom from the sixties and on. Moorcock is heavily, perhaps not without reason, biased toward maturity, wit, complexity, and literary passion. He ridicules the idyllic, pro-status quo Tolkien and his followers: he compares his "Lord of the Rings" to Miln's "Winnie-the-Pooh", and accuses it of blatant stupefaction - "let's forget all our troubles and go to sleep". He also openly criticizes Lewis' "Narnia Chronicles" for overly obvious ideology. He shoots down any author who "writes down" to his readers - adults or children. He also dislikes imitators, dull narration, poor vocabularies, and a great deal of other things, which is precisely what makes this book such an attention grabber.
Moorcock divides his book into several chapters - dealing separately with settings, heroes, humor, etc. If nothing else, "Wizardry and Wild Romance" provides an excellent grounding in the obscure classics of fantasy - but Moorcocks's disjointed narrative proves to be both thoughtful and thought-inspiring. He leaves a great deal of room for statements on tone, richness of vision, characters. He also quotes extensively from the books he is talking about. Quite literally he leaves no stone unturned - all sorts of fantasy falls under discussion: children's, Burroughs, Kipling, Lovecraft, and many others. Lastly, there is even a nice introductory list of places to look for further information.
Moorcock viciously shook my preconceptions and tastes in fantasy, constantly leaving me unbalanced and on my toes. This book of bombastic discussions represents a valuable addition to any collection.
26 of 29 people found the following review helpful
4.0 out of 5 stars A fine overview. 23 Sept. 2003
By Robert Beveridge - Published on
Format: Paperback
Michael Moorcock, Wizardry and Wild Romance (Gollancz, 1987)
Michel Moorcock would be, it seems, the obvious choice to produce a critical work on epic fantasy. After all, he's written more of it than jut about any living author, or he had at the time this book was commissioned, ten years before its release, after the publication of his article "Epic Pooh" in 1977. ("Epic Pooh," revised, appears as chapter five here, and is one of the true gems of this book.) Still an excellent choice, as most of the similarly prolific writers who have emerged in the shadow of Moorcock lack the wit and originality he displays in novel after novel.
Interestingly, this is one of his main criticisms of the fantasy genre overall, not just in the moderns but going back to the earliest days of epic fantasy. The book, which is far more a survey than a critical analysis, strikes a Paul DeMan-esque note in its willingness (perhaps too much willingness) to turn many of fantasy's sacred cows into shish kebab. What is refreshing about Moorcock is that, unlike most critics, he is always willing to suggest a good number of alternatives for each piece of overwrought, mindless fluff the public is willing to take to heart. (Moorcock seems to have a special circle in Hell reserved for the Inklings, the chief fantasists of which were J. R. R. Tolkein and C. S. Lewis, both of whom Moorcock roundly despises; he spends more column inches disparaging Narnia and Middle Earth than all the other writers he castigates combined.)
One wonders, idly, why a survey draws as much money as it does these days. I could probably pay a month's rent auctioning off my copy of this, a first edition/first printing. Odd, since the volume barely gets a few lines into page one hundred fifty before it reaches its conclusion. But mine is not to reason why. It's not worth the incredible sums it fetches from booksellers these days, but as a jumping-off point for readers of fantasy who are looking for ways to branch out into wider genre-specific reading, it's a pretty darned fine piece of work.
Most of Moorcock's jaundiced views on epic fantasy could apply to all types of literature, which is at the same time both the book's main strength and its weakness. One expects, when reading a survey, to see the ways that the subject's lineage relates to what has come before and what has come after (see Eliade's wonderful Shamanism: Archaic Techniques of Ecstasy for perhaps the finest extant example of how to write a survey on a particular subject), but Moorcock seems to have the underlying belief that writing in a particular genre should have the same strengths and weaknesses as writing in any other, or in writing that is genreless or transcends its genre. To some extent this is true; the best fantasy writers, like the best writers of most genres, do transcend what the hacks are doing and make their work into literature. Where Moorcock goes slightly wrong, though, is in not delineating the transcendent from the more satisfying genre tales. He gives equal weight to, for example, Terry Pratchett (whose work, while parodic, is still very much genre fiction) and Ursula K. LeGuin (who is the very definition of an author who transcends any genre in which she chooses to apply herself). Perhaps he is expecting the reader to be able to discern which is which. Not an unreasonable expectation, if you assume your audience is as widely read in the genre as you are. I doubt many fantasy readers, or for that matter many academics, are as widely-read in their chosen fields as Moorcock, who tosses out the names and critical overviews of fantasy works going back to the pre-Romantic period that have been out of print for a few hundred years as if he'd assigned them the week before while teaching a class on fantasy literature, and we are all expected to go down to the University bookstore and pick up copies of them. Would that we could.
Still, as an overview of what's out there, where both the aspiring fantasy reader and the aspiring fantasy writer should be looking to find the stuff that really is worth being influenced by, despite its age Wizardry and Wild Romance is still the definitive survey on epic fantasy. It'd be nice to see a second edition. I, for one, would love to see what Moorcock thinks of, say, Philip Pullman, Terry Goodkind, or Neil Gaiman. But the recommendations in here should be enough to keep me hunting down obscure titles for the next decade, and the approach he takes to epic fantasy is a witty and readable one. ****
5 of 5 people found the following review helpful
5.0 out of 5 stars Sympathy for Sauron 12 Jan. 2012
By Sertorius - Published on
Format: Paperback Verified Purchase
"Someone who hates hobbits can't be all that bad", says Michael Moorcock of Sauron. That sums up a major theme of this book, a critical appraisal and historic summary of the fantasy genre by one of its foremost practitioners. Moorcock has a distinct, but carefully considered aesthetic which may not coincide with the tastes of all readers. Moorcock, like a true literary artist, is most concerned with technical matters such as tone, charaterization, discriptive imagery, and irony. He ranks these considerations above plot. As such he ranks masters of style such as Mervin Peake, Fritz Leiber, and Harrison above authors of more plot driven works such as Tolkien, CS Lewis, and Robert Howard. Moorcock repeatedly expresses a preference for irony and conscious artistry over the earnest, serious story-telling one finds in Tolkien or Howard. I myself disagree with Moorcock aesthetically, preferring plot-driven, sincere story-telling of the latter authors to the labyrinths of style and irony one finds in Peake. A major point of difference between my own taste and that of Moorcock would be the works of Cabell, which Moorcock praises highly, but I myself find unreadable. To me Cabell is a mania of ironies and cheap jokes supporting no discernable plot or substance, all icing and no cake.

Moorcock expresses a particular hatred for most all the works of Tolkien and CS Lewis. He despises the Christian foundations of their moral philosophies and writing styles. I wonder how much of his enmity reflects envy at the commercial success and cult status of these writers--I don't seem to recall anyone making a block-buster movie series out of the Elric saga, like Lord of the Rings or Narnia! Yet, he has courted mainstream appeal by working as a lyricist for several rock bands, Blue Oyster Cult and Hawkwind. Moorcock himself alludes to the origin of this envy when he discusses how a self-selected aristocracy of writers will seek ever more exotic genres as their old sphere of practice gains in popularity. This is the adolescent "obscure=cool" mentality.

A refreshing point of his philosophy is his approval and embrasure of the modern world, correctly diagnosing a widespread flaw of romantics as a yearning for an idealised past. Moorcock also likes the works of ER Eddison, one small circle of common ground I share with him, which is fitting because Eddison is the one author who combines plot and style in a dazzling synthesis.

Wizardry and Wild Romance is a fantastic guide for anyone who loves fantasy and wants to find the best, most classic works of the genre. I think this book serves as an excellent adjunct to Lin Carter's Imaginary Worlds(qv), as Moorcock spends considerable time on works published after Imaginary Worlds was written. I was suprised at how different Moorcock's aesthetic is from my own, almost exactly the opposite, because I have really liked Michael Moorcock's own fantasy writing.
1 of 1 people found the following review helpful
4.0 out of 5 stars Iconoclast! 4 Nov. 2015
By Dan'l Danehy-Oakes - Published on
Format: Paperback
Moorcock is well-read, intelligent, and opinionated, and all three show clearly in this book. One more curmudgeonly than I might say that his primary motive for writing was _ressentiment_ that J.R.R. Tolkien gets all (or anyway, most of) the attention he believes due to Mervyn Peake; but he has a great deal more to say than that, and much of it is very good.

His first three chapters, which are by turns the Origins, Landscapes, and Characters of epic fantasy, are excellent, as is his last chapter, a brief survey of some of the better fantasy work current as of the time of writing. (This third edition was completed in 2003 and published by Monkeybrain Books in 2004.) The two chapters in between, one on wit and humor and one on "Epic Pooh," are ... less good. They come down to Moorcock's blindness to the qualities of some strains of modern fantasy, from which blindness he infers that those qualities simply do not exist. Tolkien humorless? Well, yes, mostly; but then humor is not really appropriate to the high seriousness of his work, any more than it would be to Mallory.

If Moorcock takes his iconoclasm too seriously (he also takes a rather large and clumsy mallet to C.S. Lewis, James Branch Cabell, and several others), his praise of writers like Leiber and Wolfe is pointed and spot-on. The worst that can be said for the worst parts of this book is that they are quite readable.
11 of 14 people found the following review helpful
5.0 out of 5 stars Excellent Overview of fantasy lit 25 July 2004
By Just a Reader - Published on
Format: Paperback
Traditional fantasy isn't merely 'dwarves and dragons, magical quests and prophecies and little adorable elfs going off wandering'...and this fine book, in itself, disproves that idea that fantasy is based purely on Tolkien and 'the northern thing'. Wildly opinionated, interesting, extremely well written, this is a necessity for anyone who wants to go beyond the mass media fantasy that's become a formulaic waste of time. Excellent essays by China Mieville and Jeff Vandermeer are included.
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