Jump to content

Contemporary fantasy: Difference between revisions

From Wikipedia, the free encyclopedia
Browse history interactively
← Previous edit
Content deleted Content added
VisualWikitext
AnomieBOT (talk | contribs)
Bots
6,540,070 edits
m Dating maintenance tags: {{More citations}} {{Cn}}
Replaced period with comma between words "urban fantasy" and "low fantasy".
 
(30 intermediate revisions by 16 users not shown)
Line 1: Line 1:
{{Short description|Subgenre of fantasy}}
{{Fantasy}}
{{Fantasy}}
'''Contemporary fantasy''' is a [[genre|subgenre]] of [[fantasy]] set in the present day. It is perhaps most popular for its subgenre, [[urban fantasy]]. Several authors note that in contemporary fantasy, magical or fantastic elements are separate or secret from the mundane world.
'''Contemporary fantasy''' is a [[genre|subgenre]] of [[fantasy]] set in the present day. It is perhaps most popular for its subgenres, [[Occult detective fiction]], [[urban fantasy]], [[low Fantasy]], [[Supernatural Fiction]] and [[Paranormal fiction]]. Several authors note that in contemporary fantasy, magical or fantastic elements are separate or secret from the mundane world.


==Definition and overview==
==Definition and overview==
The term are used to describe stories set in the putative real world (often referred to as ''[[consensus reality]]'') in contemporary times, in which magic and magical creatures exist but are not commonly seen or understood as such, either living in the interstices of our world or leaking over from [[Parallel universe (fiction)|alternate world]]s.
The term is used to describe stories set in the putative real world (often referred to as ''[[consensus reality]]'') in contemporary times, in which magic and magical creatures exist but are not commonly seen or understood as such, either living in the interstices of our world or leaking over from [[Parallel universe (fiction)|alternate world]]s.


Frances Sinclair, determining what to call fantasy set in our known world, contrasts contemporary fantasy with [[magical realism]]. She notes that in contemporary fantasy magical elements are often kept secret from most people, and notes the amount of young adult fantasy in the subgenre. In contrast, Sinclair points out that in magical realism "the impossible can occur without comment", and the relationship between reader and narrator may be stronger.<ref>{{cite book
Frances Sinclair, determining what to call fantasy set in our known world, contrasts contemporary fantasy with [[magical realism]]. She notes that in contemporary fantasy magical elements are often kept secret from most people, and notes the amount of young adult fantasy in the subgenre. In contrast, Sinclair points out that in magical realism "the impossible can occur without comment", and the relationship between reader and narrator may be stronger.<ref>{{cite book
Line 12: Line 13:
| publisher = [[School Library Association]]
| publisher = [[School Library Association]]
| page = 34
| page = 34
| url =https://www.google.com/books/edition/Fantasy_Fiction/DX2O_0df_REC?hl=en&gbpv=1
| url =https://books.google.com/books?id=DX2O_0df_REC
| access-date = 2023-08-09
| access-date = 2023-08-09
| isbn = 9781903446461
| isbn = 9781903446461
}}</ref>
}}</ref>


Brian Stableford attempts to narrowly define the genre, excluding [[portal fantasy]] and fantasy "in which the magical entity is a blatant anomaly".<ref name=Stableford>{{cite book
[[Brian Stableford]] attempts to narrowly define the genre, excluding [[portal fantasy]] and fantasy "in which the magical entity is a blatant anomaly".<ref name=Stableford>{{cite book
| last = Stableford
| last = Stableford
| first = Brian
| first = Brian
| author-link = Brian Stableford
| date = 2009
| date = 2009
| title = The A to Z of Fantasy Literature
| title = The A to Z of Fantasy Literature
| publisher = [[Scarecrow Press]]
| publisher = [[Scarecrow Press]]
| page = 86
| page = 86
| url = https://www.google.com/books/edition/The_A_to_Z_of_Fantasy_Literature/7JKw5FYA4GgC?hl=en&gbpv=1&dq=%22contemporary+fantasy%22&pg=PA86&printsec=frontcover
| url = https://books.google.com/books?id=7JKw5FYA4GgC&dq=%22contemporary+fantasy%22&pg=PA86
| access-date= 2023-08-09
| access-date= 2023-08-09
| isbn = 9780810863453
| isbn = 9780810863453
}}</ref> He arrives at a definition of fantasy set in the mundane world, often including an "elaborate secret history". He notes that much contemporary fantasy is set in rural settings, but also notes the subgenre of [[urban fantasy]], and that both children's fiction and literary fiction often fall within this genre.<ref name=Stableford/>
}}</ref> He arrives at a definition of fantasy set in the mundane world, often including an "elaborate secret history". He notes that much contemporary fantasy is set in rural settings, but also notes the subgenre of [[urban fantasy]], and that both children's fiction and literary fiction often fall within this genre.<ref name=Stableford/>


The ''[[Encyclopedia of Fantasy]]'' similarly suggests that the mundane and fantastic are contrasted within the genre. The ''Encyclopedia''{{'}}s definition includes "portal fantasy in which transition between the two realms occurs regularly", as well as several other subgenres.<ref name=CluteGrant>{{cite book
The ''[[Encyclopedia of Fantasy]]'' similarly suggests that the mundane and fantastic are contrasted within the genre. The ''Encyclopedia''{{'}}s definition includes "portal fantasy in which transition between the two realms occurs regularly", as well as several other subgenres; it cites [[Peter S. Beagle]]'s ''Lila the Werewolf'' as a classic of the type. It also notes that in many contemporary fantasies, the fantastic "colonizes" the mundane home.<ref name=CluteGrant>{{cite book
| last = Clute
| last1 = Clute
| first = John
| first1 = John
| last2 = Kaveney
| last2 = Kaveney
| first2 = Roz
| first2 = Roz
| editor-last = Clute
| editor-last = Clute
| editor-first = John
| editor-first = John
| editor-last2 = Grant
| editor-last2 = Grant
| editor-first2 = John
| editor-first2 = John
| date = 1997
| date = 1997
| title = The Encyclopedia of Fantasy
| title = The Encyclopedia of Fantasy
| publisher = [[Orbit Books]]
| publisher = [[Orbit Books]]
| url = https://sf-encyclopedia.com/fe/contemporary_fantasy
| url = https://sf-encyclopedia.com/fe/contemporary_fantasy
| access-date = 2023-08-09
| access-date = 2023-08-09
| isbn = 978-1-85723-368-1
| isbn = 978-1-85723-368-1
}}</ref> It also notes that many contemporary fantasies include a theme of colonization, either of the fantastic or of the mundane home.<ref name=CluteGrant/> Greg Bechtel agrees with the ''Encyclopedia'', saying the sub-genre "explicitly depicts the collision of the contemporary world with a world of magic and spirits".<ref name=Bechtel>{{cite journal
}}{{Dead link|date=December 2023 |bot=InternetArchiveBot |fix-attempted=yes }}</ref> Greg Bechtel agrees with the ''Encyclopedia'', saying the sub-genre "explicitly depicts the collision of the contemporary world with a world of magic and spirits".<ref name=Bechtel>{{cite journal
| last1 = Bechtel
| last1 = Bechtel
| first1 = Greg
| first1 = Greg
Line 52: Line 54:
| volume = 18
| volume = 18
| issue = 3
| issue = 3
| pages = 204-223,285
| pages = 204–223, 285
}}</ref> He notes the distinction between this genre and magical realism, crediting Greer Watson,<ref>{{cite journal
}}</ref> He notes the distinction between this genre and magical realism, crediting Greer Watson,<ref>{{cite journal
| last1 = Watson
| last1 = Watson
Line 62: Line 64:
| volume = 11
| volume = 11
| issue = 2
| issue = 2
| pages = 165-172
| pages = 165–172
| jstor = 43308437
| access-date = 2023-08-11
| access-date = 2023-08-11
}}</ref> but says that there can be overlap.<ref name=Bechtel/>
}}</ref> but says that there can be overlap.<ref name=Bechtel/>
Line 75: Line 78:
| volume = 32
| volume = 32
| issue = 124
| issue = 124
| pages = 49-63
| pages = 49–63
| access-date = 2023-08-09
| access-date = 2023-08-09
}}</ref> He says that such works are usually driven by genre conventions other than mythical archetypes.
}}</ref> He says that such works are usually driven by genre conventions other than mythical archetypes.

The term has also been equated with "Paranormal Fantasy", due to the frequency of "paranormal characters ([[werewolves]], [[vampire]]s, [[Wizard (fantasy)|wizards]], [[fairies]], etc.)"<ref name=Burcher>{{cite journal
| last1 = Burcher
| first1 = Charlotte
| last2 = Hollands
| first2 = Neil
| last3 = Smith
| first3 = Andrew
| last4 = Trott
| first4 = Barry
| last5 = Zellers
| first5 = Jessica
| date = Spring 2009
| title = Core Collections in Genre Studies: Fantasy Fiction 101
| jstor = 20865077
| journal = Reference & User Services Quarterly
| volume = 48
| issue = 3
| pages = 226–231
}}</ref>

=== A broad definition ===

[[Camille Bacon-Smith]] uses the term to describe fantasy stories set in the time they were written, and provides [[H.P. Lovecraft]] and [[Fritz Leiber]]'s novel ''[[Conjure Wife]]'' as examples. She states that "contemporary fantasy belongs to the Gothic tradition of Bram Stoker's ''[[Dracula]]'' and Poe's '[[The Fall of the House of Usher]]'", noting also that "contemporary fantasy has been a part of the genre since its beginning".<ref name=Bacon-Smith>{{cite book
| last = Bacon-Smith
| first = Camille
| author-link = Camille Bacon-Smith
| date = 2000
| title = Science Fiction Culture
| publisher = [[University of Pennsylvania Press]]
| page = 250
| isbn = 9780812215304
}}</ref> She notes that the genre was less popular by the 1960s, considering it supplanted by [[New Wave science fiction|New Wave]] and [[Celtic Twilight]] books. Bacon-Smith credits [[Terri Windling]]'s 1986 introduction of [[Borderland (book series)|Borderland]] as a key event in improving interest in the genre, also noting the earlier influence of [[Anne Rice]]'s ''[[Interview With The Vampire]]'' which she says has a "contemporary background".<ref name=Bacon-Smith/>


== Style ==
== Style ==
In his preface to ''[[That Hideous Strength]]'', one of the earlier works falling within this subgenre, [[C.S. Lewis]] explained why, when writing a tale about "''magicians, devils, pantomime animals and planetary angels''", he chose to start it with a detailed depiction of narrow-minded academic politics at a provincial English university and the schemes of crooked real estate developers: "''I am following the traditional fairy-tale. We do not always notice its method, because the cottages, castles, woodcutters and petty kings with which a fairy tale opens have become for us as remote as the witches and ogres to which it proceeds. But they were not remote at all to the men who first made and enjoyed the tales''".<ref>{{cite book|last1=Lewis|first1=C.S.|title=That Hideous Strength|url=https://books.google.com/books?id=IbVTcgOyCRoC&q=I+am+following+the+traditional+fairy-tale.+We+do+not+always+notice+its+method,+because+the+cottages,+castles,+woodcutters+and+petty+kings+with+which+a+fairy+tale+opens+have+become+for+us+as+remote+as+the+witches+and+ogres+to+which+it+proceeds.+But+they+were+not+remote+at+all+to+the+men+who+first+made+and+enjoyed+the+tales&pg=PA7|date=October 1996|publisher=Simon and Schuster|isbn=9780684833675|access-date=15 October 2017}}</ref> The same is true for many of the later works in the genre, which often begin with a seemingly normal scene of modern daily life to then disclose supernatural and magical beings and events hidden behind the scenes.{{cn|date=August 2023}}
In his preface to ''[[That Hideous Strength]]'', one of the earlier works falling within this subgenre, [[C. S. Lewis]] explained why, when writing a tale about "magicians, devils, pantomime animals and planetary angels", he chose to start it with a detailed depiction of narrow-minded academic politics at a provincial English university and the schemes of crooked real estate developers:
{{Blockquote
|text=I am following the traditional fairy-tale. We do not always notice its method, because the cottages, castles, woodcutters and petty kings with which a fairy tale opens have become for us as remote as the witches and ogres to which it proceeds. But they were not remote at all to the men who first made and enjoyed the tales.<ref>{{cite book|last1=Lewis|first1=C.S.|title=That Hideous Strength|url=https://books.google.com/books?id=IbVTcgOyCRoC&q=I+am+following+the+traditional+fairy-tale.+We+do+not+always+notice+its+method,+because+the+cottages,+castles,+woodcutters+and+petty+kings+with+which+a+fairy+tale+opens+have+become+for+us+as+remote+as+the+witches+and+ogres+to+which+it+proceeds.+But+they+were+not+remote+at+all+to+the+men+who+first+made+and+enjoyed+the+tales&pg=PA7|date=October 1996|publisher=Simon and Schuster|isbn=9780684833675|access-date=15 October 2017}}</ref>
}}
The same is true for many later works in the genre, which often begin with a seemingly normal scene of modern daily life to then disclose supernatural and magical beings and events hidden behind the scenes.{{citation needed|date=August 2023}}

In an analysis of religion in modern fantasy, Sylvia Kelso notes a "market shift" from [[high fantasy]] toward contemporary fantasy, also explaining that "paranormal" subgenres have branched from contemporary fantasy, especially ones centered on vampires and werewolves. Kelso notes that contemporary fantasy is more willing to draw on religious themes than high fantasy. This has been influenced by its openness to vampires and other traditionally evil supernatural beings, which encourages writers to use Christianity to create villains such as demons. However, other books and series draw on other religions and traditions.<ref name=Kelso>{{cite journal
| last1 = Kelso
| first1 = Sylvia
| date = 2007
| title = The God in the Pentagram: Religion and Spirituality in Modern Fantasy
| journal = [[Journal of the Fantastic in the Arts]]
| volume = 18
| issue = 1
| pages = 76–77
| jstor = 24351027
}}</ref>


==Relationship with other subgenres==
==Relationship with other subgenres==
{{more citations|section|date=August 2023}}
{{unreferenced section|date=August 2023}}
Novels in which modern characters travel into other worlds, and all the magical action takes place there (except for the portal required to transport them), are not considered contemporary fantasy. Also, contemporary fantasy is generally distinguished from [[horror fiction]] that mixes contemporary settings and fantastic elements by the overall tone, emphasizing joy or wonder rather than fear or dread.
Novels in which modern characters travel into other worlds, and all the magical action takes place there (except for the portal required to transport them), are not considered contemporary fantasy. Also, contemporary fantasy is generally distinguished from [[horror fiction]] that mixes contemporary settings and fantastic elements by the overall tone, emphasizing joy or wonder rather than fear or dread.


The contemporary fantasy and [[low fantasy]] genres can overlap as both are set in the real world. There are differences, however. Low fantasies are set in the real world but not necessarily in the modern age, in which case they would not be contemporary fantasy.
The contemporary fantasy and [[low fantasy]] genres can overlap as both are set in the real world. There are differences, however. Low fantasies are set in the real world but not necessarily in the modern age, in which case they would not be contemporary fantasy.


When the story takes place in a city, the work is often called ''[[urban fantasy]]''.
There is a considerable overlap between contemporary fantasy and [[urban fantasy]].<ref name=CluteGrant/>

Contemporary fantasy can also be found marketed as mainstream or [[literary fiction]] and frequently marketed as [[magical realism]], itself arguably a fantasy genre.{{Citation needed|date=August 2023}} Examples include ''[[Practical Magic (novel)|Practical Magic]]'' by [[Alice Hoffman]], ''[[The Antelope Wife]]''<ref>{{cite web|last1=Kakutani|first1=Michikomi|title='Antelope Wife': Myths of Redemption Amid a Legacy of Loss|url=https://www.nytimes.com/books/98/03/22/daily/antelope-book-review.html|website=Books of the Times|publisher=The New York Times Company|access-date=16 October 2017}}</ref> by [[Louise Erdrich]], and ''[[Mistress of Spices]]'' by [[Chitra Bannerjee Divakaruni]].{{Citation needed|date=August 2023}}


== Examples ==
== Examples ==
Examples are grouped by author, ordered by initial publication year in the genre.
⚫
* ''Lila the Werewolf'' by [[Peter S. Beagle]]<ref name=CluteGrant/>

⚫
* ''[[Talking Man]]'' by [[Terry Bisson]]<ref name=Stableford/>
⚫
* The occult thrillers of [[Charles Williams (UK writer)|Charles Williams]], 1930–1945<ref name=CluteGrant/>
⚫
* ''[[Tithe: A Modern Faerie Tale]]'' by [[Holly Black]]<ref name="EndicottList"/>
* ''Dangerous Angels'' by [[Francesca Lia Block]]<ref name="EndicottList"/>
* ''[[That Hideous Strength]]'' by [[C. S. Lewis]], 1945
* ''[[War for the Oaks]]'' by [[Emma Bull]]<ref name=CluteGrant/>
* ''Lila the Werewolf'' by [[Peter S. Beagle]], 1969<ref name=CluteGrant/>
* ''[[Summerland (novel)|Summerland]]'' by [[Michael Chabon]]<ref name=Stableford/>
* The novels of [[Tom Robbins]], 1971–2009<ref name=Stableford/>
* ''[[Little, Big]]'' by [[John Crowley (author)|John Crowley]]<ref name=Stableford/>
* ''[[Little, Big]]'' by [[John Crowley (author)|John Crowley]], 1981<ref name=Stableford/>
* ''The Seventh Heart'' by [[Marina Fitch]]<ref name=Stableford/>
* ''Living in Ether'' by [[Patricia Geary]], 1982<ref name=Stableford/>
⚫
* ''[[Moonheart]]'', 1984, and ''[[The Onion Girl]]'', 2001, and the rest of the Newford series by [[Charles de Lint]], 1990–2009<ref name="EndicottList"/>
⚫
* ''[[Neverwhere (novel)|Neverwhere]]'' and the graphic novels of [[Neil Gaiman]]<ref name="EndicottList">{{cite web |title=A Contemporary Fantasy Reading List |url=https://web.archive.org/web/20041021034006/http://www.endicott-studio.com/lists/index.html |website=The Endicott Studio |access-date=11 August 2023}}</ref><ref name=CluteGrant/>
* ''Living in Ether'' by [[Patricia Geary]]<ref name=Stableford/>
* ''[[Talking Man]]'' by [[Terry Bisson]], 1986<ref name=Stableford/>
* ''Dark Cities Underground'' by [[Lisa Goldstein]]<ref name="EndicottList"/>
* ''[[War for the Oaks]]'' by [[Emma Bull]], 1987<ref name=CluteGrant/>
⚫
* The short fiction of [[Lucius Shepard]]<ref name=CluteGrant/>
⚫
* ''[[The Magicians (Grossman novel)|The Magicians]]'' and its sequels by [[Lev Grossman]]<ref>{{cite journal
⚫
* ''[[Neverwhere (novel)|Neverwhere]]'', 1996, and the graphic novels of [[Neil Gaiman]]<ref name="EndicottList">{{cite web |title=A Contemporary Fantasy Reading List |url=http://www.endicott-studio.com/lists/index.html |website=The Endicott Studio |archive-url=https://web.archive.org/web/20041021034006/http://www.endicott-studio.com/lists/index.html |access-date=11 August 2023|archive-date=2004-10-21 }}</ref><ref name=CluteGrant/>
* ''The Hex Witch of Seldom'' by [[Nancy Springer]], 1988<ref>{{cite news
| last = Straub
| first = Matt
| date = Feb 19, 1989
| title = 77 books later, Nancy Springer is writing 'like a dream'
| url = https://books.google.com/books?id=yrclAAAAIBAJ&dq=%22contemporary+fantasy%22&pg=PA5&article_id=6704,1191300
| work = [[The Gettysburg Times]]
| page = 8A
| access-date = 2023-08-11
}}</ref>
⚫
* ''Dangerous Angels'' by [[Francesca Lia Block]], 1989<ref name="EndicottList"/>
⚫
* ''The Thread That Binds the Bones'' by [[Nina Kiriki Hoffman]], 1993<ref name=Stableford/>
⚫
* ''[[Waking the Moon]]'' by [[Elizabeth Hand]], 1994<ref name=CluteGrant/>
⚫
* ''[[The Wood Wife]]'' by [[Terri Windling]], 1996<ref name="EndicottList"/>
⚫
* ''The Seventh Heart'' by [[Marina Fitch]], 1997<ref name=Stableford/>
⚫
* The ''[[Harry Potter]]'' series by [[J.K. Rowling]], 1997–2007<ref name=Stableford/>
⚫
* ''[[King Rat (1998 novel)|King Rat]]'' by [[China Miéville]], 1998<ref name="EndicottList"/>
* ''Dark Cities Underground'' by [[Lisa Goldstein]], 1999<ref name="EndicottList"/>
⚫
* ''The Dragons of the Cuyahoga'' by [[S. Andrew Swann]], 2001<ref name=Stableford/>
⚫
* ''[[Tithe: A Modern Faerie Tale]]'' by [[Holly Black]], 2002<ref name="EndicottList"/>
⚫
* ''[[Summerland (novel)|Summerland]]'' by [[Michael Chabon]], 2002<ref name=Stableford/>
⚫
* ''The Summer Country'' by [[James A. Hetley]], 2002<ref name=Stableford/>
* ''Hannah's Garden'' by [[Midori Snyder]], 2004<ref name="EndicottList"/>
⚫
* ''[[The Magicians (Grossman novel)|The Magicians]]'' and its sequels by [[Lev Grossman]], 2009–2014<ref>{{cite journal
| last1 = Kramer
| last1 = Kramer
| first1 = Kelly
| first1 = Kelly
Line 113: Line 190:
| volume = 35
| volume = 35
| issue = 130
| issue = 130
| pages = 153-169
| pages = 153–169
| access-date = 2023-08-09
| access-date = 2023-08-09
}}</ref>
}}</ref>
* ''[[Waking the Moon]]'' by [[Elizabeth Hand]]<ref name=CluteGrant/>
* ''The Book of Heroes'' by [[Miyuki Miyabe]], 2009<ref name=Trebicki/>
⚫
* ''The Summer Country'' by [[James A. Hetley]]<ref name=Stableford/>
⚫
* ''The Thread That Binds the Bones'' by [[Nina Kiriki Hoffman]]<ref name=Stableford/>
* ''[[That Hideous Strength]]'' by [[C.S.Lewis]]
⚫
* ''[[Moonheart]]'', ''[[The Onion Girl]]'' and the Newford series by [[Charles de Lint]]<ref name="EndicottList"/>
⚫
* ''[[King Rat (1998 novel)|King Rat]]'' by [[China Miéville]]<ref name="EndicottList"/>
* ''The Book of Heroes'' by [[Miyuki Miyabe]]<ref name=Trebicki/>
⚫
* ''Hannah's Garden'' by [[Midori Snyder]]<ref name="EndicottList"/>
⚫
* The novels of [[Tom Robbins]]<ref name=Stableford/>
⚫
* The ''[[Harry Potter]]'' series by [[J.K. Rowling]]<ref name=Stableford/>
⚫
* The short fiction of [[Lucius Shepard]]<ref name=CluteGrant/>
⚫
* ''The Dragons of the Cuyahoga'' by [[S. Andrew Swann]]<ref name=Stableford/>
⚫
* The occult thrillers of [[Charles Williams (UK writer)|Charles Williams]]<ref name=CluteGrant/>
⚫
* ''[[The Wood Wife]]'' by [[Terri Windling]]<ref name="EndicottList"/>


==See also==
==See also==
Line 138: Line 202:
{{reflist}}
{{reflist}}


== General references ==
== Sources ==
* Martin Horstkotte, ''The postmodern fantastic in contemporary British fiction''. WVT, Trier 2004, {{ISBN|3-88476-679-1}}
* Martin Horstkotte, ''The postmodern fantastic in contemporary British fiction''. WVT, Trier 2004, {{ISBN|3-88476-679-1}}
* Lance Olsen, ''Ellipse of uncertainty : an introduction to postmodern fantasy''. Greenwood Press, Westport 1987, {{ISBN|0-313-25511-3}}
* Lance Olsen, ''Ellipse of uncertainty : an introduction to postmodern fantasy''. Greenwood Press, Westport 1987, {{ISBN|0-313-25511-3}}

Latest revision as of 19:40, 1 September 2024

Fantasy
Media
Genre studies
Subgenres
Fandom
Categories

Contemporary fantasy is a subgenre of fantasy set in the present day. It is perhaps most popular for its subgenres, Occult detective fiction, urban fantasy, low Fantasy, Supernatural Fiction and Paranormal fiction. Several authors note that in contemporary fantasy, magical or fantastic elements are separate or secret from the mundane world.

Definition and overview

[edit]

The term is used to describe stories set in the putative real world (often referred to as consensus reality) in contemporary times, in which magic and magical creatures exist but are not commonly seen or understood as such, either living in the interstices of our world or leaking over from alternate worlds.

Frances Sinclair, determining what to call fantasy set in our known world, contrasts contemporary fantasy with magical realism. She notes that in contemporary fantasy magical elements are often kept secret from most people, and notes the amount of young adult fantasy in the subgenre. In contrast, Sinclair points out that in magical realism "the impossible can occur without comment", and the relationship between reader and narrator may be stronger.[1]

Brian Stableford attempts to narrowly define the genre, excluding portal fantasy and fantasy "in which the magical entity is a blatant anomaly".[2] He arrives at a definition of fantasy set in the mundane world, often including an "elaborate secret history". He notes that much contemporary fantasy is set in rural settings, but also notes the subgenre of urban fantasy, and that both children's fiction and literary fiction often fall within this genre.[2]

The Encyclopedia of Fantasy similarly suggests that the mundane and fantastic are contrasted within the genre. The Encyclopedia's definition includes "portal fantasy in which transition between the two realms occurs regularly", as well as several other subgenres; it cites Peter S. Beagle's Lila the Werewolf as a classic of the type. It also notes that in many contemporary fantasies, the fantastic "colonizes" the mundane home.[3] Greg Bechtel agrees with the Encyclopedia, saying the sub-genre "explicitly depicts the collision of the contemporary world with a world of magic and spirits".[4] He notes the distinction between this genre and magical realism, crediting Greer Watson,[5] but says that there can be overlap.[4]

Grzegorz Trebicki describes "contemporary" fantasy works "set in our 'primary' world, in which the textual reality has been enriched by various fantastical elements, usually borrowed from particular mythologies or folk traditions".[6] He says that such works are usually driven by genre conventions other than mythical archetypes.

The term has also been equated with "Paranormal Fantasy", due to the frequency of "paranormal characters (werewolves, vampires, wizards, fairies, etc.)"[7]

A broad definition

[edit]

Camille Bacon-Smith uses the term to describe fantasy stories set in the time they were written, and provides H.P. Lovecraft and Fritz Leiber's novel Conjure Wife as examples. She states that "contemporary fantasy belongs to the Gothic tradition of Bram Stoker's Dracula and Poe's 'The Fall of the House of Usher'", noting also that "contemporary fantasy has been a part of the genre since its beginning".[8] She notes that the genre was less popular by the 1960s, considering it supplanted by New Wave and Celtic Twilight books. Bacon-Smith credits Terri Windling's 1986 introduction of Borderland as a key event in improving interest in the genre, also noting the earlier influence of Anne Rice's Interview With The Vampire which she says has a "contemporary background".[8]

Style

[edit]

In his preface to That Hideous Strength, one of the earlier works falling within this subgenre, C. S. Lewis explained why, when writing a tale about "magicians, devils, pantomime animals and planetary angels", he chose to start it with a detailed depiction of narrow-minded academic politics at a provincial English university and the schemes of crooked real estate developers:

I am following the traditional fairy-tale. We do not always notice its method, because the cottages, castles, woodcutters and petty kings with which a fairy tale opens have become for us as remote as the witches and ogres to which it proceeds. But they were not remote at all to the men who first made and enjoyed the tales.[9]

The same is true for many later works in the genre, which often begin with a seemingly normal scene of modern daily life to then disclose supernatural and magical beings and events hidden behind the scenes.[citation needed]

In an analysis of religion in modern fantasy, Sylvia Kelso notes a "market shift" from high fantasy toward contemporary fantasy, also explaining that "paranormal" subgenres have branched from contemporary fantasy, especially ones centered on vampires and werewolves. Kelso notes that contemporary fantasy is more willing to draw on religious themes than high fantasy. This has been influenced by its openness to vampires and other traditionally evil supernatural beings, which encourages writers to use Christianity to create villains such as demons. However, other books and series draw on other religions and traditions.[10]

Relationship with other subgenres

[edit]

Novels in which modern characters travel into other worlds, and all the magical action takes place there (except for the portal required to transport them), are not considered contemporary fantasy. Also, contemporary fantasy is generally distinguished from horror fiction that mixes contemporary settings and fantastic elements by the overall tone, emphasizing joy or wonder rather than fear or dread.

The contemporary fantasy and low fantasy genres can overlap as both are set in the real world. There are differences, however. Low fantasies are set in the real world but not necessarily in the modern age, in which case they would not be contemporary fantasy.

There is a considerable overlap between contemporary fantasy and urban fantasy.[3]

Examples

[edit]

Examples are grouped by author, ordered by initial publication year in the genre.

See also

[edit]

References

[edit]
  1. ^ Sinclair, Frances (2008). Fantasy Fiction. School Library Association. p. 34. ISBN 9781903446461. Retrieved 2023-08-09.
  2. ^ a b c d e f g h i j k l Stableford, Brian (2009). The A to Z of Fantasy Literature. Scarecrow Press. p. 86. ISBN 9780810863453. Retrieved 2023-08-09.
  3. ^ a b c d e f g h Clute, John; Kaveney, Roz (1997). Clute, John; Grant, John (eds.). The Encyclopedia of Fantasy. Orbit Books. ISBN 978-1-85723-368-1. Retrieved 2023-08-09.[permanent dead link‍]
  4. ^ a b Bechtel, Greg (2007). "The Word for World Is Story: Syncretic Fantasy as Healing Ritual in Thomas King's Green Grass, Running Water". Journal of the Fantastic in the Arts. 18 (3): 204–223, 285.
  5. ^ Watson, Greer (2000). "Assumptions of Reality: Low Fantasy, Magical Realism, and the Fantastic". Journal of the Fantastic in the Arts. 11 (2): 165–172. JSTOR 43308437. Retrieved 2023-08-11.
  6. ^ a b Trebicki, Grzegorz (2014). "Subverting Mythopoeic Fantasy: Miyuki Miyabe's the Book of Heroes". Mythlore. 32 (124): 49–63. Retrieved 2023-08-09.
  7. ^ Burcher, Charlotte; Hollands, Neil; Smith, Andrew; Trott, Barry; Zellers, Jessica (Spring 2009). "Core Collections in Genre Studies: Fantasy Fiction 101". Reference & User Services Quarterly. 48 (3): 226–231. JSTOR 20865077.
  8. ^ a b Bacon-Smith, Camille (2000). Science Fiction Culture. University of Pennsylvania Press. p. 250. ISBN 9780812215304.
  9. ^ Lewis, C.S. (October 1996). That Hideous Strength. Simon and Schuster. ISBN 9780684833675. Retrieved 15 October 2017.
  10. ^ Kelso, Sylvia (2007). "The God in the Pentagram: Religion and Spirituality in Modern Fantasy". Journal of the Fantastic in the Arts. 18 (1): 76–77. JSTOR 24351027.
  11. ^ a b c d e f g h "A Contemporary Fantasy Reading List". The Endicott Studio. Archived from the original on 2004-10-21. Retrieved 11 August 2023.
  12. ^ Straub, Matt (Feb 19, 1989). "77 books later, Nancy Springer is writing 'like a dream'". The Gettysburg Times. p. 8A. Retrieved 2023-08-11.
  13. ^ Kramer, Kelly (2017). "A Common Language of Desire: The Magicians, Narnia, and Contemporary Fantasy". Mythlore. 35 (130): 153–169. Retrieved 2023-08-09.

Sources

[edit]
  • Martin Horstkotte, The postmodern fantastic in contemporary British fiction. WVT, Trier 2004, ISBN 3-88476-679-1
  • Lance Olsen, Ellipse of uncertainty : an introduction to postmodern fantasy. Greenwood Press, Westport 1987, ISBN 0-313-25511-3
[edit]
Retrieved from "https://en.wikipedia.org/w/index.php?title=Contemporary_fantasy&oldid=1243490450"