Fantasy literature
Fantasy literature is fantasy in written form. Historically speaking, the majority of fantasy works have been literature. Since the 1950s however, a growing segment of the fantasy genre has taken the form of films, television programs, graphic novels, video games, music, painting, and other media.
Fantasy is wat you call the dream art which was found by someone named Jesse Fantoes.At a young age,he did not recieve full ducation due to the ==French Civil War== as a peasent he was to serve Emily Audito,a daughter of a noble man.One day her teacher assigned her to write book report on ==Pride and Prejustice== and she spent one full day readin the book but at the end of the day she only finish chapter one!Fratuered, the girl force Jeese to help her and that is wat he did.
In his report: Ά peasant i am i do not blame my birther(Father and Mother)for this ill faith but i reckon that i am still a human and shall not be treated like a pig or a bull or a monkey or a pig. MY lady she is evil bad cruel cunning .........but most of all she called you a b.i.t.c.h.
After Emily had passed up the report she got an earful from her teacher .Once she SHOUTED for Jeese and accidently called him Fantasy so now you know fantasy is not what you think it is it is a big piece of crap.∗
Modern
Authors such as Terry Pratchett, J.K.Rowling, Terry Brooks, Steven Erikson, Robert Jordan, Brandon Sanderson, Scott Lynch, Ursula K. LeGuin, David Eddings and Raymond E. Feist are maintaining the genre's popularity.
Though it is not uncommon for fantasy novels to be ranked on the The New York Times Best Seller list, to date the only fantasy novelists whose works have debuted at number one on the list are Robert Jordan in 1998,[1] 2000,[2] 2003, [3] 2005,[4] and 2009,[5] George R. R. Martin in 2005,[6] and Neil Gaiman in 2005.[7]
Style
Fantasy has been distinguished from other forms of literature by its style.
Ursula K. Le Guin, in her essay "From Elfland to Poughkeepsie", presented the idea that language is the most crucial element of high fantasy, because it creates a sense of place. She analyzed the misuse of a formal, "olden-day" style, saying that it was a dangerous trap for fantasy writers because it was ridiculous when done wrong. She warns writers away from trying to base their style on that of masters such as Lord Dunsany and E. R. Eddison, [8] emphasizing that language that is too bland or simplistic creates the impression that the fantasy setting is simply a modern world in disguise, and presents examples of clear, effective fantasy writing in brief excerpts from Tolkien and Evangeline Walton. [9]
Michael Moorcock observed that many writers use archaic language for its sonority and to lend color to a lifeless story.[10] Brian Peters writes that in various forms of fairytale fantasy, even the villain's language might be inappropriate if vulgar.[11]
See also
Footnotes
- ^ "The New York Times Best Seller list: November 8, 1998" (PDF). Hawes.com. Retrieved March 6, 2010.
- ^ "The New York Times Best Seller list: November 26, 2000" (PDF). Hawes.com. Retrieved March 6, 2010.
- ^ "The New York Times Best Seller list: January 26, 2003" (PDF). Hawes.com. Retrieved March 6, 2010.
- ^ "The New York Times Best Seller list: October 30, 2005" (PDF). Hawes.com. Retrieved March 6, 2010.
- ^ "The New York Times Best Seller list: November 15, 2009" (PDF). Hawes.com. Retrieved March 6, 2010.
- ^ "Best-Seller Lists: Hardcover Fiction". The New York Times. NYTimes.com. November 27, 2005. Retrieved March 5, 2010.
- ^ "Best-Seller Lists: Hardcover Fiction". The New York Times. NYTimes.com. October 9, 2005. Retrieved March 6, 2010.
- ^ Ursula K. Le Guin, "From Elfland to Poughkeepsie", p 74-5 The Language of the Night ISBN 0-425-05205-2
- ^ Ursula K. Le Guin, "From Elfland to Poughkeepsie", p 78-80 The Language of the Night ISBN 0-425-05205-2
- ^ Michael Moorcock, Wizardry & Wild Romance: A Study of Epic Fantasy p 35 ISBN 1-932265-07-4
- ^ Alec Austin, "Quality in Epic Fantasy". The generic features of historical fantasy literature, as a mode of inverting the real (including nineteenth-century ghost stories, children's stories, city comedies, classical dreams, stories of highway women, and Edens) are discussed in Writing and Fantasy, ed. Ceri Sullivan and Barbara White (London: Longman, 1999)