JOHN GRANT AND JOHN CLUTE THE ENCYCLOPEDIA OF FANTASY PDF

Oct 13, David Hebblethwaite rated it it was amazing I was working on an A Level English coursework project about fantasy literature when I came across a cheap copy of The Encyclopedia of Fantasy at a book sale on holiday. The book had been published only a year or so before; a full-price copy would have been well out of my budget, but I could afford to take a chance on the sale copy and it turned out to be one of the best purchases I ever made. Its difficult to put into words just what it felt like to read The Encyclopedia of Fantasy and be I was working on an A Level English coursework project about fantasy literature when I came across a cheap copy of The Encyclopedia of Fantasy at a book sale on holiday. The book had been published only a year or so before; a full-price copy would have been well out of my budget, but I could afford to take a chance on the sale copy — and it turned out to be one of the best purchases I ever made. These became strong influences on the way I think and write about books, and some of that influence is still there today. The Encyclopedia of Fantasy did more to shape me as a reader than just about any book before or since.

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It is slightly smaller in terms of content, containing 1, alphabetical pages, over 4, entries and approximately one million words, the bulk of which were written by Clute, Grant and Ashley. The Encyclopedia uses a similar system of categorization to The Encyclopedia of Science Fiction, but does not include an index of theme entries. A theme index was later included in the on-line addenda: see "External links" below. One of the major differences is that there are no entries related to publishing.

Neologisms[ edit ] The Encyclopedia often invented new terms for theme entries, rather than using headings that may have previously appeared in critical literature.

Examples include: Instauration Fantasy: a story in which the real world is transformed; the authors cite Little, Big by John Crowley as the first full-fledged example.

Thinning: the gradual loss or decay of magic or vitality, as when the Elves depart from Middle-earth in The Lord of the Rings. In many novels by Tim Powers , denizens of the 20th century can work magic, but not as easily as could be done in earlier centuries.

Water Margins: shifting or ill-defined boundaries used as both a physical description and a metaphor; derived from the Japanese television adaptation of The Water Margin. Polder: defined as "enclaves of toughened reality demarcated by boundaries" that are entered by crossing a threshold.

Pariah elite: a marginalized but uniquely talented or knowledgeable minority. Into the woods: the process of transformation or passage into a new world signalled by entering woods or forests. Slick Fantasy: a style of Fantasy writing which uses certain specific themes: typically a Pact with the Devil ; three wishes; or identity exchange. So named because these were the fantasy stories mostly likely to be published by slick magazines , as opposed to pulp magazines.

Reception[ edit ] Characterizing the book as "an excellent and highly readable source for fantasy", the industry publication Library Journal described The Encyclopedia of Fantasy as "the first of its kind".

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The Encyclopedia of Fantasy

It is slightly smaller in terms of content, containing 1, alphabetical pages, over 4, entries and approximately one million words, the bulk of which were written by Clute, Grant and Ashley. The Encyclopedia uses a similar system of categorization to The Encyclopedia of Science Fiction, but does not include an index of theme entries. A theme index was later included in the on-line addenda: see "External links" below. One of the major differences is that there are no entries related to publishing. Neologisms[ edit ] The Encyclopedia often invented new terms for theme entries, rather than using headings that may have previously appeared in critical literature. Examples include: Instauration Fantasy: a story in which the real world is transformed; the authors cite Little, Big by John Crowley as the first full-fledged example.

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