The Centre for Fantasy and the Fantastic was delighted to host the online event “Fantasy in the Midst of War: Perspectives from Ukraine” with our academic colleagues at the Centre for Fantasy Literature Studies, Taras Shevchenko Institute of Literature, National Academy of Sciences of Ukraine, who opened a discussion about the intersection between fantasy and conflict. The presentations covered some of the most well-respected fantasy writers, the history of folk traditions and mythologies, and how fantastic motifs appear in digital media responding to contemporary conflict. Working under constantly changing circumstances, their research takes place in the increasingly online landscape of modern warfare where battle footage is often dissected under the lens of popular culture.
Yevheniia Kanchura opened with her paper “The War Theme in Fantasy Literature: Tradition and Transformation” examining the postmodern shift in fantasy literature, which redirects the good/evil dichotomy into discussions about the ethical dilemma of war. Where high fantasy may traditionally feature the heroic epic, postmodern fantasy deconstructs the grand narratives and binary thinking that positions war as necessary. The final battle is no longer sacred, prophecies become coercive narratives, and alternative solutions are sought in the defence against attacks to end the world.
After setting the foundations for the changes in the representation of war in fantasy, Alexandra (Oleksandra) Filonenko focussed on how social media has been employed in Tolkienian discourses of war in “‘You Shall Not Pass!’: Tolkienian (Social) Media” Discourse of the Russian-Ukrainian War, an Overview. Beginning with a Cold War era map of Europe as Middle-earth, a new language of war has evolved around depictions of Ukraine as the Shire and Orcs as Russian occupiers. The huge number of examples of social media memes in her presentation only scratched the surface and they ranged from anonymous accounts to the Ukrainian Minister of Defence. The phenomena of the Tolkien fandom’s rewriting of The Lord of the Rings in the context of the current war is so prolific that it has garnered attention from Western media. Fast-moving and constantly evolving, this research sits between the study of fantastic in new media and the impact of social media on conflict, where research methods are still developing on how to document these fleeting cultural moments.
TetianaRiazantseva’s “‘We Keep Holding On to Life…’: Elements of Magical Thinking and Folklore Imagery in Inna Honchar and Yurko Kostyshyn’s Photopoetic Project ‘#4.5.0’ (2023)” expanded these themes in the consideration of the relationship between photopoetry and the fantastic. A visual-verbal form, photopoetry is the poetic response to a photograph or the photographic response to poetry. Technical art and literature combine to interpret the complexity before the lens or beneath the pen. In this case, the visual and emotional realities of the war are interpreted through folklore tradition and the optimism of magical thinking. This study of photopoetry through the fantastic lens to understand contemporary conflict brings an interdisciplinary approach that will be of interest to fantasy and conflict scholars alike.
Returning to the fantastic imagination, GannaKolesny’s “The Womanly Face of War: Mythological Imagery in Artistic Representations of Ukraine on Social Media” considered feminised mythology as an ideological weapon. The mythologised Ukrainian woman represents collective memory and traditional values. In images shared widely on social media, Ukraine is conceptualised as a suffering mother through iconography of the Virgin Mary. This is juxtaposed against images of war, often taking a mythological form like Morana, the goddess of death and rebirth. Gendered assumptions unite with the material reality of war, where goddesses hold both weapon and baby, to bring ideological weaponry into online spaces.
Olena Tykhomyrova finished the presentations with “The Fairy Librarian: Combining War and Fantasy in Fiction” where she read from and discussed her short story weaving fantasy with the Ukraine-Russia war. The story was written while teaching creative writing students about sources of inspiration. It asks questions about whether writing about war through the lens of the fantastic is naive wishful thinking or perhaps a form of escapism. The answers are unclear, but the diversity of topics covered in the presentations suggest another interpretation – fantasy can be a way to articulate difficult topics through familiar motifs, while also generating discourses and imagery that become rallying points, sources of hope or even ideological tools.
As a PhD researcher at the Centre for Fantasy and the Fantastic studying war and fantasy, I was so interested to hear these fascinating presentations. What stood out to me was the incredible range of forms discussed, from high fantasy novels and short stories to digital media and photopoetry. Watching the presentations together highlighted their interconnectedness – legend and mythology inform fantasy literature which inspires fan culture and then develops into online memes that take inspiration from mythology and so on. I was struck by the research methods surrounding online discourses and social media. Digital media is always evolving and, although it is accessible for now, we cannot rely on its permanence. This is why research like this is so important to capture these digital landscapes, so we can have a fuller picture of the everyday responses to current conflicts and a better understanding of the huge diversity of ways to express complex experiences.
You can watch a recording of the event in the Centre’s YouTube Channel:
You can access the slides from Dr Kanchura’s presentation here:
Fantasy in the Midst of War: Perspectives from Ukraine
Wednesday 26th February 2025, 6pm
Whether we historicise fantasy as an age-old mythical tradition or focus on the fantasy genre as it developed during the last couple of centuries, some of the most popular fantasy texts offer memorable representations of the politics and practices of warfare, but also its resulting trauma and devastation. But what happens when fantasy is being written, read, or consumed in other ways (via visual references, memes, political discourse, etc.) in the midst of contemporary conflicts? How is fantasy entangled with the creativity, academic research, and fandom in Ukraine, three years after the outbreak of war?
Yevheniia Kanchura, “The War Theme in Fantasy Literature: Tradition and Transformation”
The high fantasy tradition portrays a world divided into Good and Evil, with war as the inevitable clash culminating in Good’s triumph. The Last Battle, rooted in mythological and biblical motifs, enforces binary thinking and coercive narratives. Post-modern fantasy deconstructs these binaries, revising war motives and exploring two main types of warfare: profit-driven conflicts seen as crimes and protective wars aimed at defending life, home, and land, interpreted as acts of justice. The talk is based on the works by Diana Wynne Jones, Terry Pratchett, Neil Gaiman, Vladislav Krapivin and Max Frei created in the late 20th-early 21st century.
Alexandra (Oleksandra) Filonenko, “‘You Shall Not Pass!’: Tolkienian (Social) Media” Discourse of the Russian-Ukrainian War, an Overview
The talk provides an overview of Tolkienian references in (social) media and political discourse on the Russian-Ukrainian war (in meme culture and art, creation of fictional maps, music videos, public speeches, etc.). Since the full-scale invasion on 24 February 24 2022, these references have been widely used to describe this catastrophe (comparing the invaders to Orcs, Russia to Mordor, Putin to Sauron, etc.). Yet this tradition has a long history beginning with the Cold War. Certain tendencies are rooted in the historical and geographical realities of the two countries and the particularities of Russian Tolkien fandom.
Tetiana Riazantseva, “‘We Keep Holding On to Life…’: Elements of Magical Thinking and Folklore Imagery in Inna Honchar and Yurko Kostyshyn’s Photopoetic Project ‘#4.5.0’ (2023)”
The art book #4.5.0 (Kharkiv: Vidkryttia, 2023) presents a collaborative project by poet Inna Honchar and photographer Yurko Kostyshyn. This project celebrates the resilience of life and its essential role in sustaining the balance of the world.
By combining visual depictions of real objects with the poetic texts, the photopoems acquire metaphorical meaning, interpreting notions such as life, transformation, and protection. They also evoke liminal spaces where the realms of life and death intersect. The effect is amplified through the use of folklore and mythological imagery, complemented by the spell-like diction of the texts. The photopoems evoke emotionally charged visions of contemporary reality, some of which allude to recurring historical events, emphasizing the cyclical nature of time. In this project, Ukraine is depicted as the land of the living—a sacred space of struggle and the triumph of life over death.
Ganna Kolesnyk, “The Womanly Face of War: Mythological Imagery in Artistic Representations of Ukraine on Social Media”
The war in Ukraine is a highly visualized conflict. Visual responses to it take different forms, with the creation of artworks being among the most notable. Social media has become a unique space where such works go viral, transmitting important messages to society and shaping public opinion. Contemporary artists draw on cultural heritage, incorporating national mythology and folklore into their creations. In many of these artistic representations Ukraine at war is personified as a Woman depicted through archetypical images (the Warrior, the Mother, the Old Woman, the Maiden). These unexpected interpretations contribute to the development of a new mythology for Ukrainian society.
Olena Tykhomyrova, “The Fairy Librarian: Combining War and Fantasy in Fiction”
I wrote this story almost accidentally. While teaching a creative writing class to Ukrainian students, I talked a lot about sources of inspiration – a walk in the woods, a visit to a local library, a tarot reading. We discussed worldbuilding, both in fantastic and realistic settings. Trying to illustrate my points, I ended up writing a fantasy text, weaving the current Russian-Ukrainian war into it. In it, a young Ukrainian woman comes to a library and finds magic. Are texts that combine war and fantasy escapist, naïve, full of wishful thinking? My students were not sure about all this, and now the discussion is open to you.
“I don’t know, to be honest. Any book on the tarot will do.”
“And how are we supposed to find any book on the tarot, if you don’t know the author?”
“Don’t you have a section for… I don’t know… some kind of esoteric literature? Like, New Age kind of stuff?”
The librarians exchanged a look. Nata felt the desire to leave the library, but she just stood there, wondering what was in that look. Was it a classic who-does-she-think-she-is look or more of a what-the-hell-is-new-age-kind-of-stuff look? The pair of cranky librarians looked as if the thirty-three years of Ukrainian independence never happened and it was still a Soviet library lost somewhere in a sleepy district of Kyiv. There wasn’t a computer in view, and Nata could see those ancient alphabetical catalogue drawers. There was also an old telephone with a dial you stick fingers into. Was it some kind of retro décor? Nata feared it was not. She adjusted her long blond fringe, catching her reflection in a glass cabinet. Those long crimson and black nails of hers. How would it feel to stick them into the holes of that dial?
Nata would have to find those tarot books on the Internet which should not be hard, and then just print them out for uncle Bogdan. The doctors had told him to stay away from screens as much as possible, while he was recuperating. She could have bought a book for him, but the uncle insisted on borrowing one from a library. “Those poor dusty books in there,” he had said. “Those poor dusty librarians. I feel like connecting with as many people now as I can, that’s why I’ve been left alive.” But the fact was that it was Nata who had to connect with the dusty librarians. One of them made a purposeful move towards the retrophone.
“Tarot, yes!” she was shouting in the receiver, “no author, no, nothing. How do I know? Tarot, what category is that, can you look it up? What? Da, da! Can you repeat?” she scribbled something that looked like a number on a page, “Thank you, Larisa, the cats are fine, da, da, talk to you later.”
The information provided by the distant Larisa seemed to be the number of the section that might contain some books on the tarot. The librarians took Nata there in a convoy formation: one ahead of her and one behind, moving along narrow passages between bookcases and checking the numbers on the shelves. The esoteric section turned out to be a half-empty shelf which, as it became evident to Nata much quicker than to the librarians, had no tarot books. There were titles that sounded like philosophy to Nata, a couple of books on kabbalah, one of which promised much happiness to the citizens of Earth, and a book on Carpathian magic with a beautifully designed cover. Nata, who was fond of drawing and was currently studying web design, pulled it off the shelf and discovered there were also excellent illustrations inside. The librarians were about to escort her back when a door slammed somewhere, then there were loud voices and a crash. The two women rushed away, forgetting about Nata, who was lost in the contemplation of a finely drawn molfar’s hat out of which mushrooms and ferns were growing. It also had roots, which made her think of hats and boots sprouting leaves and roots and becoming part of a landscape. There was also a picture with a hand that had an eye in the middle, and much more. She could take this book to uncle Bogdan. Or perhaps borrow it for herself…
“Psst!”
A blur out of the corner of her eye. For a split second Nata thought she saw a small human-like creature moving fast along the shelf, but then just shook her head. Her overactive imagination played a trick, of course.
“Of course. Only a figment of your imagination.”
The voice came from above, so Nata looked up and met the gaze of a pair of translucent pearly eyes. A cat-sized creature reminiscent of a fawn was staring at her point blank.
“We don’t have much time for disbelief and all that,” the creature informed her matter-of-factly, “so, for Merlin’s sake, could we save it for later? The old hags will be back soon. If you want that tarot book, you’d better come with me.”
Nata had a great respect for Merlin, so she suspended her disbelief, returned the Carpathian magic book to the shelf and followed the creature, who started skipping from shelf to shelf leading her… where exactly?
The Den
“I’d call it a Grand Reading Hall or a Parlour of Lost Knowledge, but let’s be honest. It’s a den. Or even a dump. Make yourself comfortable. Now that we are here, I’ll set off my time-extension spell, so we can take our time.”
Nata looked around. It must have been a forgotten storeroom. There were piles of books everywhere, reminding her of the Stone Forest in China she had once seen on a postcard once. A labyrinth, perhaps. She doubted that getting comfortable in here was a possibility, no matter how much time she took.
“So, you wish to step onto the perilous path of divination? Or to explore the great mysteries of the universe? What bends your heart towards this ancient and arcane knowledge? Oh, I am Swerbish, by the way. At your service, obviously.”
Swerbish perched on top of a stack as tall as Nata and bowed ceremoniously. He was indeed very fawn-like, with thick brown fur covering the lower part of his body and small curved horns on his head. He spoke Ukrainian with an accent Nata could not recognise.
“It’s not for me,” she said and felt the urge to apologise for it, “it’s for my uncle. He’s been to the war and he was badly wounded. Almost died. He’s in hospital now. He is a physicist and he’s never been interested in things like tarot, but now he wants to try it. He says he’ll believe anything now.”
Uncle Bogdan had said he had played with destiny once, against his will, and survived. Now he wanted to keep on playing.
“And how may I call the young lady on a noble quest for knowledge taken on the behalf of a wounded knight?”
“Natalya. Well, friends usually call me Nata.”
“And what do fairy librarians usually call you?”
“Er… You’re the first.”
“I’ll call you Nataro, then. If it pleases my lady.”
Nataro, she said in her mind. The name was strangely pleasing. She straightened her back and nodded. Being called “my lady” made you feel… different.
“I will be honoured to show you around my den, Nataro. These books are mostly in Russian, as you can see. People don’t want them anymore and keep bringing them to the library. The old hags sometimes put them on the shelves but mostly they dump them in here. Here is my poetry-that-people-stopped-rereading grove: you can cry your heart out there. Here is the pile of books that people hated to part with, but they felt they had to. Some of them are falling apart. Here is my favourite stack, War and Peace. I’ve read most of them, but I am saving the best for the last.”
Nataro stared at the piles. In the tall tower of books that people hated to part with there were lots of battered volumes that had obviously been reread many times. She noticed at least five copies of Master and Margaret. There was also Dostoyevsky, Chekhov, Ilf and Petrov, some books translated into Russian from other languages. She saw volumes by Shakespeare, Hemingway, Wilde and spotted a copy of Three Men in the Boat exactly like the one her parents used to have. Did they still have it or did they also take it to a local library because they felt they had to? Would they reread the book in Ukrainian or just forget about it?
“You have reread War and Peace so many times?” she wondered out loud, looking at the stack consisting exclusively of the War and Peace volumes. “Why?”
“What do you mean, why?” Swerbish exclaimed in indignation. “Holy Merlin, you don’t think I am reading the text, do you? I am reading the fingerprints on the pages, the coffee stains, the torn pages, the dried flowers, the dead flies! The notes are the best! Sometimes there are accidental bookmarks left inside: concert tickets, postcards, even letters! Those are such thrillers. I am reading the readers, of course. I am reading their past lives.”
“I am so sorry, I didn’t mean to…” Nataro began but Swerbish just waved a hand and continued talking.
“War and Peace is better than a thriller — it is a horror book! So many were terrified by it when they had to study it in schools. Those pages still smell of their fear. Captivating reads! Do you want to read a couple of those?”
“Thank you, but probably not. About that tarot book you mentioned…”
“Oh, certainly, how could I forget! I’ve got a nice pile of diabolici books over here — there is everything you ever dreamt of: theosophy, astrology, chiromancy, water memory, you name it! And the readers of these books, oh, they were even more diabolici than the authors! So many raving notes all over, and blood on pages and… well, you wouldn’t want to know what else!”
“Diabolici?” was all Nataro managed to ask.
“Long story! And my time-extension spell is wearing off… now where was it? Aha, here we are! Two of them, good as new, and only a little blood in this one.”
The one that had “only a little blood” in it was entitled All Secrets of Tarot, and its cover featured two perfectly manicured hands holding a card. There was also a scratch that could have been made by an angry cat. The other one had a naked lady and lots of burning candles on the cover. The title promised that the tarot would be “plain and simple”. It indeed looked as good as new.
“Which will it be?”
“Is this Plain and Simple book very… diabolici on the inside?”
“No blood or anything like that,” said the librarian with a sigh, “very few notes. I’m afraid its previous owner was not really getting into the spirit of it.”
“Can I borrow it then?” Nataro said with relief. She was a bit uneasy about bringing a book with a naked girl on the cover to her uncle, but at least the girl had her back to the reader. In any case, better this than the blood-and-scratch one.
“Certainly!” Swerbish said, beaming and rather forcefully pushing the book into Nataro’s bag. “Of course, you realise that there will be a…”
Price to Pay
On her way to visit the military hospital on the following day Nata was going through her meeting with the fairy librarian over and over again. Should she tell uncle Bogdan about Swerbish, the girl thought, waiting at the traffic lights and then crossing Lesi Ukrainki Avenue. The territory of the hospital was enclosed within crumbling yellow walls, with barbed wire attached on top. In some places, brave vines were clinging to the barbed wire. As Nata rushed towards the checkpoint where, as always, a lot of people were crowding to get in, she reached for her ID inside the bag and felt the glossy surface of the Plain and Simple book. The fairy librarian had set his price: her uncle was supposed to leave as many notes as possible in the book and even more than that: stains, crumbs, drops of sweat or, ideally, blood. Swerbish wanted to read uncle Bogdan, this wounded Ukrainian “knight”, recuperating in the hospital and satisfying his newly discovered thirst for the mysterious. But asking her uncle to do that meant telling him everything. Did he really need that much mystery at the moment?
Once inside the hospital’s huge inner courtyard where autumn was already claiming the leaves on the trees in spite of the unusually warm September, Nata felt the chill that always engulfed her in this place. There were veterans learning to walk without one or even both legs, or trying to use phones with one hand. There was the general atmosphere of gloom that the sunshine and warmth failed to dispel. She was happy uncle Bogdan still had all his limbs, but his internal injuries were grave, and there was a piece of shrapnel in his head which could not be safely removed. Nata hurried along, thinking that she could describe Swerbish as an eccentric librarian who studied people’s habits of note-taking, failing to mention he was a fairy. There was also another alternative, though. As she thought about it, the den was immediately in front of her inner eye and Swerbish’s musical voice sounded in her head.
“Much as I like to read your wounded knight, lady Nataro,” he had said, “you are just as interesting. Or even more so. Should the knight prove unwilling to read the book the way I like it, bring me one of yours instead. The one you have already read. The one in which you left a rich trace. Consider this option well. After all…”
Nata stopped abruptly close to the entrance to the medical building where her uncle’s ward was located. What was it that Swerbish had said in the end? She hadn’t really paid attention to it back then since she had been overwhelmed with the den, the fairy and the choice he had posed. But now it all came back to her.
“After all,” Swerbish had been saying in a rushed soft voice, as he was escorting his visitor back to the esoteric shelf, “I am not asking you to break the curse that binds me to this library to all eternity. Sometimes I wish a missile would hit it and burn me with all its dusty old volumes the sight of which I can’t stand anymore, to say nothing of the hags… I am not asking you to set me free because… speaking of the hags. Here they come. Time for me to disappear. Till we meet aga…” And he was gone a second before the librarians returned.
There is a curse, Nata thought.
I am not asking you to break the curse.
“Nata! There you are!”
“Uncle! You are finally allowed to go outside, great!”
“Fancy a walk around the yard?”
“Sure! I’ve got something for you. Here.”
“Oh wow, look at that! Is that Kama Sutra? Just the thing we need in our ward!”
“Only the tarot I am afraid.”
“Just my luck, eh?”
Very soon, though, a siren announcing another air attack on Kyiv cut short uncle Bogdan’s first walk: they had to rush to the bomb shelter. As they were sitting there together with other patients and the staff, her uncle was studying the book and chatting excitedly. Now and then Nata thought about Swerbish, all alone in his den. She was absent-mindedly doodling in her notebook, as she often did during long hours in shelters or down in the metro stations. Her pencil, as if of its own will, was drawing an outline of a tiny figure on top of a stack of books.
“Nice!” Bogdan commented about her sketch and then he went on talking about the tarot. As he read the description of the card called “Justice”, he digressed into a rant about the war and what would be true justice, when Russia was concerned, and what places in Moscow he would target with rockets.
What if a rocket did hit the library? What if the curse prevented the librarian from leaving it even if it was burning? What if she could break…
That Curse of His
When she went to see Swerbish for the second time, the hags were busy chatting with an old woman who looked like a retired school teacher. She seemed to have brought more Tolstoy books — more thrillers for the War and Peace pile, Nata thought. She hesitated, unsure how to summon the fairy, but he appeared by himself and beckoned her silently. The women were so engrossed in their conversation that Swerbish didn’t bother with a diversion this time.
“I doubt those silly hags even noticed your arrival, my lady Nataro,” he announced with content, “I shall not cast my time-extending spell. Which is a relief: it is exhausting.”
He perched on the stack of translated books, right on the lilac volume of Oscar Wilde’s tales, and looked at Nataro expectantly. She dutifully pulled a book out of her bag. She was ready to pay the price.
It had been easy. Three years ago, when she was still a student, she had taken part in an English-language creative writing program. The participants were given an assignment to write a story from the point of view of one of the characters in Homer’s Odyssey. Nata had bought a second-hand Russian translation and read it, making lots of notes on the margins. There were also scraps of paper with her draft and doodles with the female characters between the pages.
Secretly, she was happy to get rid of the book. She had bought the Odyssey in the Ukrainian translation later, but more importantly, that old book reminded Nata of her failed attempts to write stories. She couldn’t do it, no matter which language she wrote in or which genre she tried. It was frustrating, since she felt she had a story in her. If she could only find a way of releasing it…
Swerbish was exultant as he opened the battered Odyssey. Would he really be able to read her from that book, Nataro wondered. The creative writing event had happened before the Invasion of 2022, and that life was now over. And yet somewhere between those pages was her Homer-filled spring, her clumsy writing attempts, her new friends who also struggled with the task, especially that couple who fell in love while crafting their stories. One of them wrote a story from the point of view of the two monsters whose names Nata had been unable to pronounce, especially in English. But she remembered vividly how that guy read it out loud in two weird voices, and their creative writing instructor commented that they were the symbols of aggression and depression. There was also that funny boy, Taras, who later went to the front and was killed… Would Swerbish sense them all in her book? Nata had picked Penelope as her point-of-view character back then. Now Nataro wondered, why faithful Penelope and not powerful Circe, for example. Circe, the sorceress. She put a curse on someone, didn’t she? The Curse…
Would she dare to ask the fairy about his curse? What if Nataro could break it? And then a thought struck her: what if you had to fall in love? A true love’s kiss or whatever. She threw a quick glance at the twenty-centimetre-tall fairy with hairy legs. Surely not! Swerbish was relishing her Homer, purring with delight and making an occasional comment like “that stain smells of inspiration” or “A bow on the wall? Perfect! Won’t be there for long”. The fairy was lounging on Wilde’s tales, and Nataro suddenly remembered one of them. Wasn’t there a story about a ghost and a girl who liberated him? What was it, the Canterville Ghost? Yes, that was it. Surely, the girl didn’t have to kiss the ghost! But what did she have to do, exactly? Nataro could not recall that part. To go on some kind of journey? And wasn’t that ghost trapped because he had murdered his wife? What did Swerbish do to land a curse that got him trapped in a library?
“What did you do?” Nataro said out loud, and he snapped the book shut immediately. “I mean… the curse,” she added lamely, but it was not necessary. The fairy librarian had understood her perfectly well.
“Does my lady have an appetite for a long tale?” he asked, but without waiting for her reply, he jumped onto another stack, the one with poetry, and began his tale.
The Tale of the Curse
My dear lady Nataro, Homer-reading, Tarot-seeking, Knight-healing lady Nataro, have you ever heard of the enchanted forest of Brocéliande? For this is where my tale starts. Shall I tell it in hexametres — but no, it is not the rhythm of Brocéliande… Oh sweet are its streams and dark are its groves, full of ancient magic. Did you know, my lady, that fairy woods used to roam freely across the world, engulfing a village here, surrounding a town there? Raw, wild, primordial magic, feral and vicious at times, but strong and wonderful. Mortals were drawn to it and burnt by it. Many fairies delighted in human suffering. But then came the time of another kind — the bookish magic, enchantment of words and lore. The two powers clashed, and there were countless wars in magic forests.
In Brocéliande, Corrigan, a powerful sorceress, fought for the old magic, and few could measure up to her, not even Merlin himself. I was there, together with my twin brother, and we fought on the side of the book magic. We both thought it was the future — and we enjoyed the way it tasted. In each alphabet, there are endless possibilities. In each book, there is another world. Corrigan hated bookish enchantments with a passion: she believed that mortals should only be enchanted by the song of leaves and the curve of a river and the dance of a fairy in blooming hemlock.
But she met her match — and out of a Breton tale they stepped, the pair of them, brother and sister, son and daughter of the famous Aoutru and Itroun, whom Corrigan’s spell had destroyed. Their personal grudge and their love of books did wonders. My brother and I rushed, as did many other fairies, to their side and we thought we would defeat Corrigan once and for all. But Los Gemelos — this is, my lady, how my brother called that heroic pair of twins so that nobody confused them with us. Why Spanish, you might ask — well, my brother is a walking Tower of Babel, a mixture of all languages he has read books in. Back to my tale: Los Gemelos did not desire her defeat or death, believe it or not. Their view of revenge was a bit insane, if you ask me. What they desired was Justice. And a Balance.
This is what made Brocéliande what it is today. It is still the place of primordial magic, but now it is confined to the innermost past of the forest. Corrigan still abides there, and she can cast a spell or lay a curse, but Los Gemelos make sure she does it with fairness. If there is a spell, there must be an anti-spell. If there is a curse, there must be clear rules on how to break it.
What did I do, you asked me, my lady, and how can I answer so that you, a lovely lady but a mortal, can understand? You should have been there, you should have seen me, getting exciting in a magic battle, getting carried away with my love of stories. I… overdid it. When you love something too much, your intensity becomes poisonous. Water in a clear stream turns undrinkable, a dance wears the dancer to exhaustion. My passion gave life to something that shouldn’t be alive. And it still dwells in Brocéliande, still hunts, still kills.
“What is it?” Nataro whispered. But Swerbish was silent. Was he angry that she interrupted his story? He had been evidently enjoying telling it. Nataro mumbled an apology, and he raised his hand to stop her. Then he jumped onto another stack. Nataro had noticed this one before: it consisted of various collections of plays: Shakespeare, Moliere, Shaw, Wilde again. Swerbish sat down on the top book in the tower and patted it as if it was a sofa on which he was getting comfortable. Chekhov, Nataro read on the spine. One can hardly get comfortable on that.
Swerbish still didn’t talk.
“You can’t say what it is, can you?” Nataro said at last. He nodded. “So, to break the curse, one would have to figure it out, right? Otherwise, it would be too easy.”
“I doubt it would be easy even if one knew exactly what one is up against. The Metaphor Grove is a dangerous place.”
“Metaphor Grove?”
“Oh yes, a place in Brocéliande where all metaphors that became accidentally alive dwell. Some are peaceful enough. But some are parasites or predators.”
“Like the one you created?”
“Precisely.”
“And one needs to find it in the Grove, without knowing what it is, and defeat it?”
“Yes, or be defeated by it.”
“What will happen then?”
“With Los Gemelos upholding Justice, one would probably not be eaten. But then Corrigan would use it to her advantage somehow. Making my curse even more severe — banning me from visiting my brother, for example. Now I can do so once a year. It is hard to say — Brocéliande always spins its own tales. Whatever happens, it is never straightforward or fully predictable. Like a text with many authors, where one writer’s toy may become another writer’s weapon and shoot.”
“But, if you can’t tell what it is directly, you could at least drop a hint?”
“Trust me, my lady Nataro, I’ve already dropped every possible hint I could. Because, if I’m not mistaken, you are going to…”
Brocéliande
If you fail to be shocked by a fairy in a library, a portal into a magic forest might also seem natural and almost welcoming, Nataro thought. All libraries everywhere are connected to one another, Swerbish had said, and now his library unrolled a shaky bridge into his brother’s library “on the edge of the second circle of Brocéliande”, whatever that meant. Nataro wished she had a map of the place where she was going, slowly, step by step, holding on to the thin railings of the bridge and not looking down. But there was no map. There was one mortal who sometimes came to Brocéliande and put what she saw on a map, Swerbish said, but he did not have a copy of that. She was his brother’s friend, and that selfish fairy didn’t like sharing his friends or their maps. When they got to the other end of the bridge, there was a moment of deafening silence… and then the sounds of rustling leaves, whispering branches and singing streams exploded around them. Nataro found herself gasping, as the enchanted forest of Brocéliande breathed and laughed around her.
“Allora, who have you brought here, bratyku? Ya, yaka, yaka, yaka!”
Swerbish’s twin was very much like him, only his fur had a greenish tint and huge pearly eyes looked naughtier. Of course he was happier, Nataro said to herself, after all, his library, all rocks, stones and caves, was in Brocéliande, and he was free to roam the forest as he pleased. The place reminded her of Dovbush’s cliffs in the Carpathians: huge stony outcrops, luxurious soft moss, pine trees.
“Yaka yaka yaka?” Swerbish repeated with a disgusted look. “What on earth are you reading now, Douz?”
“Gente di Dublino!” shouted Douz, and Nataro felt an urge to shut her ears against the shrillness of his voice.
“You are reading James Joyce in Italian?!”
“Oh sì, certo!”
“I am not even going to ask why,” Swerbish said, rolling his eyes, and then turned to Nataro. “Anyway, this is lady Nataro, and this is my brother Douz, and he is crazy, I am afraid.”
“Pazzo-pazzissimo!” said Douz sweetly, bowing to Nataro.
“Nice to meet you too.”
“The lady has kindly volunteered to try and break my curse,” Swerbish informed his brother. Douz did not answer but performed what looked like a brief battle dance. “Since I can only get out of my library to yours and no further, could you be so kind and take her to the Metaphor Grove? And let Los Gemelos know?”
“Oh they will know, fratellino,” Douz replied with a grin. “There are more ears in questo bosco than earwigs.”
“If even I can’t understand you, brother, nobody else stands a chance!” Swerbish sighed and sat down on a stone that looked like an arm-chair. Then he said to Nataro: “the Grove will tell you your own story in a twisted way, my lady. But you must remain in control. Remember, you are the author.”
“Andiamo, andiamo!” Douz exclaimed to Nataro making a gesture that could only mean one thing — an invitation to follow him. So she did just that.
As they were descending down huge rocky steps, walking though thickets and meadows, past streams and waterfalls, Douz, sitting comfortably on Nataro’s right shoulder, was constantly talking in a mixture of languages out of which she occasionally picked a familiar word or a phrase. Luckily, he gave her directions with his hands rather than words. He also advised her to use her “immaginazione” in the duel with what he called “la bestia”, but, if she heard that correctly “cum grano salis di razionalità”. She knew the Latin expression “cum grano salis” because her mother liked using it — take everything with a grain of salt, she would say when Nata got too excited about something. And razionalità — well, that was clear enough. The sweets of imagination and the salt of rationality. Did she have enough of both?
They stopped to drink some water from a stream that bubbled happily at the foot of a small hill. When they climbed it, Nataro saw a wide road and thick woods beyond it that looked dark in spite of the afternoon sunshine that turned Brocéliande golden. Douz tried to explain something to her urgently, talking about “la bestia” with sparks in his eyes. Nataro stopped even trying to understand him.
“Thank you, little book-lover, I’ll take it from here,” a deep female voice said. Douz fell silent immediately. An old woman with long silver hair stood before them, looking straight at Nataro. The woman’s eyes looked young in her old face and their gaze was disquieting, as if there was murky fire burning deep within. Corrigan herself, Nataro thought.
“You are going to attempt to lift the curse from this insufferable creature’s brother, I am told,” the old woman said in English with a slight accent. Was it Welsh? Or was it Brocéliandish? “This means several rules apply to you, young mortal. First, only the beast that he created will attack you. Other dwellers of the Grove will leave you alone. Second, if you win, the curse will be broken and Swerbish will be free to leave his library. Third, if you lose, well… Los Gemelos will surely protect you from death — they are too soft — but the forest itself will choose the penalty for you. Perhaps, I’ll help it a bit. Have you got any questions?”
“I… don’t know how to fight metaphors,” Nataro mumbled, “do I get a weapon or something?”
Corrigan rolled her eyes, but then another voice spoke. Two voices in fact, speaking in unison.
“You already have the weapon you need. You fight metaphors with metaphors, if you want a duel, but if you want to find their source and get rid of them, you use understanding. You are up against a parasite. Keep your eyes open. If you can recognise it and find where it is growing from, you can cleanse Brocéliande from it forever.”
Los Gemelos were tall and beautiful, putting Nataro in mind of the Elves from The Lord of the Rings. What they said and the tones of their resonant voices were somehow reassuring. It all made sense, strange and otherworldly sense that her life had lacked for so long. She felt she was ready to enter the grove of metaphors and face its parasite.
“In bocca al lupo,” Douz shrieked into her ear, drowning something Corrigan and Los Gemelos were saying.
All right, let us just assume it was a good luck wish.
La Bestia
As Nataro entered the Grove, a furry wolf crossed her path and disappeared among the trees. Was this a good sign? There was only way to find out, so Nataro shrugged her shoulders and walked along the path.
The forest was dense and smelling of fungi. It looked like any other forest at first glance but then Nataro sensed a whiff of strangeness and probably watchfulness. Was the Grove studying her? She thought it was exactly what it was doing. The proof of it came in just a few steps. Nataro caught a glimpse of a crumbling yellow wall among the tree trunks. She stepped off the path to take a closer look and yes, there was some barbed wire on top of it, just like on the wall around the military hospital in Kyiv. There was also something on the wall as well — a nest with an egg in it? And something black hanging off the wall’s peeling surface — a branch perhaps? Or a toy gun? As she tried to make it out, the barbed wire started moving snake-like and crawled down the wall, covering it like prickly ivy. The wire hissed menacingly, and Nataro mumbled: “Okay, okay, I am not touching your wall!” She quickly returned to the path and kept walking. Keep your eyes open, Los Gemelos had said. She just needed to be alert and analyze what she saw. But what did she see?
Trees, more trees. What were they, beeches? And the coniferous trees looked very much like smerekas that grew in the Carpathians. There was also an oak tree with a strange flower-like sign on it. The top of the oak had been sewn off and… was that a bird on top? What did it all mean? She kept walking but when she turned her head to look at the oak one more time, she thought she caught a glimpse of a large bowl with a fish in it. She shook her head, and the bowl disappeared. What was going on?
Walls, eggs, birds, fish — those were metaphors, for sure, but were they all part of her task? Was she supposed to identify or connect them somehow? Nataro didn’t have the slightest clue how to do that, so she just kept walking. Perhaps she was just not that good at thinking and detecting tropes. Still, she could keep her eyes open. What did she see now?
The forest became less dense, and some evening sunshine soaked through. There were a lot of ferns. Among them Nataro spotted a stump with some toadstools growing out of it. The shape of the stump was strange. Wait a minute…
It was a hat, lying upside down! And it definitely stirred something in Nataro’s memory. Something recent, something… bookish? Had she seen this hat before?
As she was standing there, staring at the hat, another one grew among the ferns, and another, and another. One popped out of the ground just by her left foot, and a bunch of bright red fly agarics rapidly grew out of it. Nataro took a step back. Was she going to run away, the way she did with the wall and barbed wire? She broke into cold sweat.
Come on, she said to herself. These are just hats! What harm can they do? And yet she felt she was under attack. What if she just… Nataro stepped forward again and tried to pick up the agaric hat in front of her. She discovered it was genuinely growing — there were roots holding in to the ground. Nataro pulled violently and got it out with a jerk. The dangling roots reminded her a bit of the barbed wire. One of the fly agarics tried to bite her fingers. She dropped the hat again. Fight or flight?
“Neither!” she shouted, and some of the mushrooms in the hats cowered. She had to think! What hints did she get?
First, “immaginazione”. What could she do with hats? How to contain them, stop them from growing? A hat shop! Nataro imagined a large hat shop with hats arranged neatly on shelves. “A hat shop!” she shouted experimentally, still imagining it with all her might. The hats got very still for a moment… and then it happened! They started flying out of the ferns and arranging themselves orderly on the branches of the trees nearby. They even stacked themselves according to the mushroom types. No new hats seemed to be growing out of the ground.
Nataro was exultant. “Immaginazione” worked! The hats did not look menacing at all. In fact, the whole place now reminded her of that pretty hat shop in Miyazaki’s Howl’s Moving Castle. And she, Nataro, was just like Sophie who… Oh no.
Nataro heard someone moving behind her. She knew exactly who she would see when she turned round. She turned with a sense of doom and faced the Witch of the Waste, just as huge and imposing as in the cartoon, wearing luxurious purple furs. The witch in the cartoon put a spell on Sophie, making her old. Was it going to happen to her now? Think, Nataro, think!
Cum grano salis! It sounded like a magic spell in itself. What if she tried it as a spell and launched a pre-emptive attack? “Cum grano salis!” she shouted, and a snowfall of salt — a saltfall — swirled round the Witch, who stopped and waved her hands, as if trying to swat mosquitoes. That gave Nataro a few more moments to think. Where had she seen that first hat before? As well as the oak tree with a sign and a bird and a fish? Weren’t they all in the same book? And why smerekas, here in Brocéliand? There was a pattern to it, wasn’t there? A Carpathian pattern. A molfar’s hat! That book on the esoteric shelf! That was it!
The Witch, brushing away the last grains of salt, transformed in front of Nataro’s eyes. She was now a grim wrinkled man in ethnic clothes, wearing that very hat. He advanced, raising his hand. So much for recognizing the book, Nataro thought. Instead of the Witch of the Waste she would now be cursed by a molfar.
Remain in control of your tale. Remember you are the author.
Not a spell, a thought exploded in her head. Molfars do fortune-telling, don’t they?He would predict Nataro’s future! Actually, he could help her identify the parasite and how it was connected with the book.
“You are an old wise molfar and a sentinel of ancient knowledge”, Nataro informed the man, hoping her voice didn’t tremble. “Tell me my future, o the wise one. I know I will detect the parasite soon. How will I do that, exactly?”
The man stopped and stared at her. Nataro thought he was going to pout, like a child who was forced to tidy his messy room. Then, reluctantly, the man spoke:
“You will do it by going through every hint you were given. You’ve used some but not all. You will remember the ones you have so far ignored, and it will all fall into place.”
“Thank you!” she exclaimed and then shrieked. The man had raised his hand, and she saw an eye in the centre of it. That must have been another illustration in the book, but now the eye looked directly at her. It winced — and then plants started growing rapidly out of it! There was also an explosion of moths. The plants twisted themselves around Nataro’s ankles, and a swarm of moths tried to get into her eyes. Was this the time to run at last? But how would she think and remember the hints if she was running through the forest, being chased by plants and insects? And why do these tendrils look like barbed wire — was there a theme?
And then Nataro couldn’t bear it any longer: she started running back the way she came, trying hard to think. The thought had already been there, forming in her mind, and running actually helped it on its way. The plants hissed behind her back — they were quick, too. Nataro managed to visualise a huge lamppost, just like the one in Narnia. It grew right out of the moss in a small glade that she was running past, and the moths flew to the light, leaving her alone. But she could not imagine how to get rid of the plants. She had to focus on the shape of that thought.
Barbed wire, the wall. There had been something on it, but she had walked away. She definitely had to get back to that wall. What was it? A toy gun? And what had Swerbish said? One writer’s toy may become another writer’s weapon and shoot. Could that toy gun fire? As she was running past the oak again, there was now a big puddle right in her path. Were those stones in the puddle? Or fish?! No time to think — she could hear the hissing plants approaching. Nataro jumped from one stone — or fish — to another and then another, just like the fairy from one book stack to another.
Chekhov! The last stack he had been on, with the plays! There was Chekhov on top. Swerbish had actually patted the book! The thought was now in its last stage of formation. Nataro could feel its outline in her brain.
The Chekhov’s Gun on the wall. The one that must always fire in the critical moment of the story. That was la Bestia!
What was her story? This one, the one she was now running through like a hunted deer. Where did it start? In the library, and there was that book on Carpathian magic. That very book was the gun that had to do the shooting! And here it was, shooting at her now. Or at least trying to. Panting, she tried to speed up. The wall was not far.
So that was the parasite! A gun hanging on the wall and turning every insignificant detail in a story into something that simply had to fire. Its roots invaded the very fabric of the story, becoming more and more prickly and dangerous. Something sharp scraped Nataro’s neck. She was out of breath and the plants were upon her.
In the last rays of sunlight Nataro saw a splash of yellow among the branches. She dashed for it, ripping some clingy tendrils from her neck and shoulders. The gun! The wall was now cleared of all the barbed wires snakes — they must have spread around the forest chasing her, but the wall itself was now uncovered. The gun was right there, long, black and not toy-like at all. She yanked it from the wall. It was heavy and felt good in her hands. The hissing plants stopped and held their breath, if they could breathe. Nataro felt that they could do that and more.
Wasn’t it what the fairy had done? Made this thing alive? Personified it? Wasn’t it the problem? Nataro felt a strong urge to shoot and she did know how: uncle Bogdan had taken her to the shooting ring several times before he was drafted and she had enjoyed it a lot. But was this the solution?
Remain in control of your tale. Remember you are the author.
One writer’s toy may become another writer’s weapon and shoot. What if she reversed it?
“One writer’s weapon may become another writer’s toy and stop shooting,” Nataro said firmly and then addressed the gun in her hands. “You’ve played here for long enough. Time to stop. You’re just a toy. People can have toys in their stories, just for fun and games, not for drama. Insignificant details, little things, mere trifles. Entertaining, funny, harmless. No more firing!”
And she dropped the gun to the ground. The plants stopped breathing and slowly turned into… just plants. A second later, they looked as if they had been growing there peacefully all along. Nataro looked down and saw a yellow plastic gun at her feet. A water gun. Like the one she used to have as a child.
“Hasta la vista, Bestia,” she whispered.
What was it here, in the air of Brocéliande, that made you speak in languages you didn’t even realise you knew? She picked up the gun and walked to the edge of the wood. It felt like walking to…
The Edge of the World
“So. I’ve got my own tarot deck now, look.” Uncle Bogdan showed the deck to Nata proudly. “It’s a classic one, but I’ll get a Ukrainian military one, too. Do you want a reading?”
“Wow, uncle, you do tarot readings already?”
“Well, nothing better than a bit of divination during a missile attack. Everybody around here already knows their future. Your turn, niece!”
Nata stopped doodling and closed her sketchbook. Uncle Bogdan was looking at her very seriously, while the others in the shelter were moving closer. Well, if these long-suffering people wanted a show, why not give it to them?
“Do you want to ask a specific question or just let the deck tell you what it wants to tell?”
“Just let the deck speak.”
“Very good. But I’ll be peeking into the book from time to time, mind. I haven’t learnt everything yet.”
Uncle Bogdan patted the Plain and Simple book — or rather the back of the naked girl on the cover. He could keep the book now, Nata thought. Swerbish was no longer in the library. Once the curse had been lifted, he took the yellow water gun and said he would travel across the world, from library to library, shooting streams of water into readers who tended to grow too hot reading certain books. His brother got so excited about the idea that he wanted to come too, and the twins started arguing. Nataro had not been listening: she had to face Corrigan herself. After the nightfall, the witch turned into a beautiful young woman with shining red eyes. She had a gift for Nataro. And what a strange gift that was…
“Right,” uncle Bogdan interrupted her reverie. “Let’s begin. And the first card is… oh wow!”
Nata looked at the card in front of her. It showed a young man walking on the edge of a cliff, carrying a staff over his shoulder. He looked just as lost in daydreams as Nata had been. He had a white rose in his other hand.
“The Fool!” her uncle announced. “The beginning of beginnings, the zero card. Zero experience, foolish and naïve, but ready to set off on an adventure. He doesn’t realise he is walking on the edge of the world. He is smelling roses! Do you realise you are walking on the edge of the world, niece? Smelling roses?”
“I do, actually.”
“Good for you!”
“Don’t we all,” said another veteran sadly.
“Only some of us are limping,” signed the man who had lost his leg.
Nata remembered the sigh that Corrigan had made when handing over the gift. The bonfire was bathing a wide glade in red light; there were sounds of music and merry-making. The dwellers of Brocéliande were celebrating — but whether it was her own victory over “la bestia” or just another night of fun in the magic forest, she didn’t know. The little object in the palm of her hand felt cool and smooth. What was it? “Let’s call it the moral of the story,” Corrigan said softly.
“Now, the second card,” uncle Bogdan said. “And it is… the King of Cups!”
The card showed a rather pompous king on a throne holding a big chalice. Nata didn’t like the look of him. Her uncle hastily consulted the book.
“An educated and cultured man, trustworthy and empathic, will give you good advice. Hmm, it must be… me! So, listen to me carefully, young and naïve heroine!”
Nata should have told him about her adventure but she couldn’t find the words. She had also tried to write a story about it and, of course, the words failed her one more time. So Nata kept drawing pictures in her sketchbook. A cursed library. A fairy librarian. A parasite metaphor. A wall with a gun on it. A witch with a gift. The opal that Corrigan had given her whispered to her sometimes. It said things like “Mere trifles” and “What if I reversed it”. What did it mean?
“And the third card is… The Two of Wands! Reversed!”
This card showed a man in a red hat, standing between two tall poles and holding something round in his hand. A ball? No, it was actually the globe.
“Why is he holding the globe?” Nata asked. Her uncle was again peeking into the book.
“Not sure about this one,” he admitted. “And the card, when it is reversed, doesn’t bring good news. We’ve got someone going the wrong way. Not realising their potential. Perhaps the globe represents the potential you are not realising, niece? This card can also mean self-doubt. Inattention to detail. Are you inattentive to details, Nata?”
Mere trifles. But what if I reversed it.
And then it hit her.
“I am,” she whispered. “But this changes now. Thank you so much, uncle!”
*
It took her about two months. As the autumn was fading into winter, Nata spent up to six hours daily drawing: she just couldn’t stop. Card after card, with libraries, books, librarians, readers…
Yes, there were details that you didn’t pay attention to, and not every gun on the wall had to fire. But you could reverse it. You could pick a toy, a mere trifle, and start a new story with its help. You could make a trifle significant, if you wanted to. Isn’t it what tarot readers did?
She drew a pair of cranky old librarians. A retrophone that can reach the ultimate catalogue and find the book you need, anywhere in the multiverse. A book with bookmarks, notes and blood stains. A shaky portal between libraries. A magic forest. A rocket hitting a library. A labyrinth with riddles. An escape route. A trope that becomes alive. A heroine who wins by thinking. A reader who gets overheated while reading… Nata was telling her story, after all, but in a way she had never anticipated.
When it was ready, Nata called her deck of thirty cards “Nataro Library Oracle”. She was very shy to do readings at first. But then it just flowed. Her friends loved it and kept coming for more. Her uncle’s hospital friends asked her to do it for them again and again. When her reading featured a card with a book of a particular genre, they asked her to bring them a book like that from the library. The dusty librarians and their shelves soon became much less dusty. “You should publish your deck, niece,” uncle Bogdan told her, “More people should see it.”
Nata kept drawing new cards: the library world seemed to be infinite. When the deck was finally published, there were already sixty cards in it. She knew that was not the end of it. When you are walking on the edge of the world, smelling roses, you might as well make the most of it.
Publishing Fantasy for Younger Readers: A Symposium
University of Glasgow, Thursday 3rd April 2025
Keynote Speaker: Frances Hardinge
Call for Papers:
Fantasy literature for younger readers continues to be a booming arm of the book industry, both in the UK and internationally, with successful children’s fantasy novels and series crossing into film and TV and morphing into multimodal franchises. But to what extent do the ways in which children’s and YA fantasies are read and theorized by the academy chime with the ways these genres are commissioned, produced and marketed by the industry? How are trends set and critiqued, how do industry demands drive creativity, what are the roles of readers, and how is the process of book-producing represented fictionally?
This conference invites answers to all of these questions (and more!) by inviting contributions from academics, publishers, agents, editors, and authors. It explores the fruitful intersections between critical and theoretical knowledge, on the one hand, and practice-based, professional knowledge on the other, seeking to enrich our understanding of the imaginative materials that reach the hands of young readers.
Suggested topics include, but are not limited to, the following:
Mechanics and processes of publishing (including covers, marketing, etc.)
Trends and phases in Children’s Fantasy
The roles of series and publishing formats
Archival work – e.g. authors’ correspondence with agents and publishers
Age-related categories/demographic imaginaries
Representations of the book trade in Children’s Fantasy
Censorship and transgression
Children’s Fantasy in different countries and cultural contexts
Fan cultures (fan fiction, fan art, BookTok, etc.)
We welcome abstracts for twenty-minute papers and other contributions (250 words). These should be submitted along with a short biographical note (50-100 words) to arts-fantasy@glasgow.ac.uk by 30th November 2024.
Please use “Publishing Fantasy for Younger Readers Abstract” as your e-mail subject.
In 2025 Tolkien at IMC Leeds (7-10 July 2025) will be celebrating our ten year anniversary having been started in 2015 by our founder Professor Dimitra Fimi.
Paper submissions are being sought for the following 2025 Tolkien at Leeds sessions:
Tolkien: Medieval Roots and Modern Branches
This session can accommodate wider topics and new approaches to Tolkien’s medievalism, ranging from source studies and theoretical readings to comparative studies of Tolkien’s works.
Learning, Lore and Craft in Tolkien’s Medieval World
Papers in this session can explore the role that learning, preserving lore and producing crafts in their widest sense play in Tolkien’s world-building of his Middle-earth legendarium and other fictional and academic works.
Oral Tradition and Medieval Transmission in Tolkien’s Works
“From ‘The Book of Lost Tales’ to ‘The Red Book of Westmarch’ and ‘The Notion Club Papers,’ Tolkien crafted various narrative frameworks to convey the conceit of transmitting his invented secondary world into our primary reality. In this session, papers can delve into the significance of orality in Tolkien’s works and explore the diverse transmission frameworks he developed. Additionally, researchers may investigate the literary works that might have influenced Tolkien’s efforts to create these connections
J.R.R. Tolkien as Teacher and Mentor at Leeds and Beyond
In this session, papers will celebrate Tolkien’s pivotal role as a teacher and mentor to students at the Universities of Leeds and Oxford. Topics may encompass how Tolkien’s teaching and mentorship influenced scholars, the academic work he supervised, and the establishment of academic clubs like The Viking Club at Leeds and its counterpart, Kolbitar, at Oxford. Additionally, attendees can explore students’ memories of Tolkien as both a teacher and mentor
Tolkien at Leeds Annual Roundtable: Teaching Tolkien
The Annual Tolkien at Leeds Roundtable will invite educators to discuss and debate teaching methodologies and the unique challenges of bringing Tolkien’s works into 21st-century classrooms.
Please submit a paper contribution title and abstract by 31 August 2024 to
Dr. Andrew Higgins (asthiggins@me.com)
Length of abstracts: 150 words (max!)
Please include a short bibliography of main research your paper will be drawing on and be in dialogue with.
Papers will be 15-20 minutes long (3 session papers will be preferred)
With your abstract, please include name and details of contributor (affiliation, address, and preferred e-mail address)
Join the Centre for Fantasy and the Fantastic as we celebrate the launch of Realms of Imagination: Essays from the Wide Worlds of Fantasy, recently released by British Library Publishing as a companion volume to the Fantasy: Realms of Imagination exhibition. This highly-illustrated book contains twenty essays providing a wide range of perspectives on Fantasy, its forms and its communities. Collection editors Tanya Kirk and Matthew Sangster will be in conversation with essay authors Cristina Bacchilega, Dimitra Fimi, Sofia Samatar and Ann VanderMeer.
Cristina Bacchilega is Professor Emerita of English at the University of Hawai‘i-Mānoa and co-edits Marvels & Tales: Journal of Fairy-Tale Studies. Her books include Postmodern Fairy Tales: Gender and Narrative Strategies (1997), Legendary Hawai‘i and the Politics of Place (2006), Fairy Tales Transformed?: 21st-Century Adaptations and the Politics of Wonder (2013) and several co-edited anthologies. Her current projects are collaborations, one on the fantastic in the Pacific, the other on justice in contemporary fairy tales.
Dimitra Fimi is Professor of Fantasy and Children’s Literature and Co-Director of the Centre for Fantasy and the Fantastic at the University of Glasgow. Both her monographs – Tolkien, Race and Cultural History (2008) and Celtic Myth in Contemporary Children’s Fantasy (2017) – won Mythopoeic Scholarship Awards; in 2021, she received the Outstanding Contribution to Tolkien Studies Award from the Tolkien Society. She co-edits the Perspectives on Fantasy book series (Bloomsbury) with Brian Attebery and Matthew Sangster.
Tanya Kirk is Lead Curator of Printed Heritage Collections 1601-1900 at the British Library, and is the lead curator for the major exhibition Fantasy: Realms of Imagination (2023-24). She previously co-curated several other literary exhibitions at the Library, including Terror and Wonder: The Gothic Imagination (2014) and Out of This World: Science Fiction (2011). She has edited five volumes of classic ghost stories drawn from the British Library’s collections, most recently Haunters at the Hearth: Eerie Tales for Christmas Nights (2022).
Sofia Samatar’s first novel, A Stranger in Olondria (2013), won the 2014 William L. Crawford Fantasy Award, the British Fantasy Award, and the World Fantasy Award. She also received the 2014 Astounding Award for Best New Writer. Her novel The Winged Histories (2016) completed the Olondria duology, and was followed by Tender: Stories (2017), Monster Portraits (with the artist Del Samatar; 2018) and The White Mosque: A Memoir (2022). She lives in Virginia and teaches at James Madison University.
Matthew Sangster is Professor of Romantic Studies, Fantasy and Cultural History and Co- Director of the Centre for Fantasy and the Fantastic at the University of Glasgow. His most recent book, An Introduction to Fantasy, was published by Cambridge University Press in 2023. His essays on Fantasy include work on Mervyn Peake, China Miéville and imaginary cities. His other books include Living as an Author in the Romantic Period (2021), Institutions of Literature, 1700-1900 (co-edited with Jon Mee, 2022) and Remediating the 1820s (co-edited with Jon Mee, 2023). He co-curated (with Zoë Wilcox) the British Library’s 2011 exhibition The Worlds of Mervyn Peake and is external curator for Fantasy: Realms of Imagination (2023-24).
Ann VanderMeer is the founder of the award-winning Buzzcity Press. She was the editor-in-chief for Weird Tales (the oldest Fantasy magazine in the world) for five years, during which she was nominated three times for the Hugo Award, winning once. She has won the British Fantasy Award, the Locus Award and the World Fantasy Award. Anthologies she has edited or co-edited include Best American Fantasy (2007 and 2008), The Thackery T. Lambshead Pocket Guide to Eccentric & Discredited Diseases (2011), The Weird: A Compendium of Dark and Strange Stories (2011), The Time Traveller’s Almanac (2013), Sisters of the Revolution (2015), The Big Book of Science Fiction (2016), Current Futures: A Sci-fi Ocean Anthology (2019), The Big Book of Classic Fantasy (2019), AVATARS INC. (2020) and The Big Book of Modern Fantasy (2020). She currently works as an acquiring editor at Tor.com. Ann lives with her husband Jeff and their cat Neo in Tallahassee, Florida.
To celebrate the publication of Matthew Sangster’s An Introduction to Fantasy(Cambridge University Press, 2023) and Brian Attebery’s Fantasy: How it Works (Oxford University Press, 2022) receiving the 2023 Mythopoeic Scholarship Award in Myth and Fantasy Studies, Glasgow’s Centre for Fantasy and the Fantastic invites you to an online conversation between the two authors, exploring how we can make compelling cases for Fantasy’s particular qualities and values. The discussion will take place via Zoom webinar on Thursday 5 October 2023, and will be followed by a Q&A session.
Matthew Sangster is Professor of Romantic Studies, Fantasy and Cultural History and Co-Director of the Centre for Fantasy and the Fantastic at the University of Glasgow. His new book, An Introduction to Fantasy, explores why Fantasy matters in the context of its unique affordances, its disparate pasts and its extraordinary current flourishing. His essays on Fantasy include work on Mervyn Peake, China Miéville and imaginary cities. His previous books include Living as an Author in the Romantic Period (2021), Institutions of Literature, 1700-1900 (co-edited with Jon Mee, 2022) and Remediating the 1820s (co-edited with Jon Mee, 2023). He co-curated (with Zoë Wilcox) the British Library’s 2011 exhibition The Worlds of Mervyn Peake and is external curator for the upcoming exhibition Fantasy: Realms of the Imagination (2023-4).
Brian Attebery is Emeritus Professor of English and Philosophy at Idaho State University. He won the World Fantasy Award for his editing of the Journal of the Fantastic in the Arts and has been honoured by both the Science Fiction Research Association and the Association for the Fantastic in the Arts for his scholarly work. During his time as Leverhulme Visiting Professor of Fantasy at the University of Glasgow, he helped launch the Perspectives on Fantasy book series from Bloomsbury Academic Press, which he edits along with Dimitra Fimi and Matthew Sangster. His Mythopoeic Scholarship Award for Fantasy: How It Works (2022) is his third, following previous awards for Strategies of Fantasy (1992) and Stories about Stories: Fantasy and the Remaking of Myth (2013).
Image courtesy of the British Library, Shelfmark: Harley 3244
The Call for Papers for the 59th International Congress on Medieval Studies in Kalamazoo, Michigan, USA (May 9-11, 2024) is now open. Proposals of papers and contributions to roundtables are due Sept. 15, 2022. The Centre for Fantasy and the Fantastic, University of Glasgow, is sponsoring the following session:
Here Be Dragons: Tolkien at the Medieval Margins
Modality: Virtual
Boundaries, margins and marginality are expanding areas of research in contemporary fantasy studies, in which Tolkien’s work is still central. Tolkien’s medievalist fantasy is particularly ripe for a reconsideration from the perspective of the edges rather than the centre: from negotiating the borders of fantastical geographies, to contested borders of genre within the legendarium, to acknowledging the perspective of racially, culturally, and ethnically marginalised readers, fans, and scholars. This session will continue the conversation which started at the Centre for Fantasy and the Fantastic’s 2023 international conference on boundaries and margins in fantasy.
Tolkien’s medievalist fantasy shows a keen interest in boundaries and margins: from negotiating fantastical geographies and their borders, to examining liminal characters in-between political/racial/cultural boundaries, even challenging borders of traditional genres within the legendarium (fairy-tale, romance, epic, science fantasy, etc.). At the same time, contemporary fantasy and Tolkien scholarship is at last opening up towards the experiences and perspectives of racially, culturally, and ethnically marginalised readers, fans, and scholars.
We invite paper proposals that seek to examine boundaries and margins in Tolkien’s legendarium, be they textual, linguistic, geographical, embodied, or imposed.
All proposals must be made through the Congress’s Confex system. Please carefully follow the instructions on the Congress’s Call for Papers.
Paper abstracts are currently being sought for the following Tolkien sessions for the International Medieval Congress at Leeds, 1-4 July 2024. The special thematic strand of this conference will be ‘Crisis’. See more here.
Paper submissions are being sought for the following sessions:
Tolkien’s Medieval Sub-creation in Crisis
This session will examine different concepts of crisis in Tolkien studies. Papers may explore the types of crises Tolkien himself created in the body of his legendarium by his revising of several keys stories and legends at different times in his lifelong work. Papers can address the significance of these narratives and their revisions in Tolkien’s shifting ideas about the world and cultures he was inventing. Papers may also explore adaptations of Tolkien works and how they create crises in our evolving understanding of the canon of Tolkien’s work and its reception.
Bodily Crises in Tolkien’s Medievalism
Papers in this session can explore crises/concerns of gender and bodily difference in Tolkien’s works including sexuality and disability. Indicative areas to be examined include the role of bodies under physical duress, punishment, injury from battle or war, as well as bodies in transformation including prosthetics, spiritual transformation (good or evil) and how bodies and body transformation from Tolkien’s works are depicted in illustrations and in films and other media.
Racial Medievalism in Tolkien Studies – A Session Celebrating the Works of Professor Dimitra Fimi, founder of Tolkien at Leeds
Papers in this session may respond to, critique and develop key ideas regarding Tolkien’s representations of race that were first explored in Professor Dimitra Fimi’s ground-breaking 2008 book Tolkien, Race and Cultural History: From Fairies to Hobbits, which won the Mythopoeic Scholarship Award for Inklings Studies in 2010. Fimi’s evolving body of work has brought to light neglected aspects of Tolkien’s creativity and world-building, including the centrality of the Elves, the role of linguistic invention, and the relationships between race and material culture in Middle-earth This session invites papers that explore Tolkien’s contexts, racial representations and world-building through engaging with and building upon the approaches Professor Fimi has set out in her academic work.
Tolkien: Medieval Roots and Modern Branches
This continuing Tolkien at Leeds session will accommodate wider topics and new approaches to Tolkien’s medievalism, ranging from source studies and theoretical readings to comparative studies of Tolkien’s works and Middle-earth studies.
Crises in Researching Tolkien: A Round Table
The Annual Tolkien at Leeds roundtable will explore the current crises facing Tolkien teachers, academics and researchers in Tolkien and Middle-earth studies. Topics can include the various adaptions of Tolkien’s works that will continue to grow with new media deals, differing thoughts on treatment of Tolkien’s race, culture and sexuality in his works and the desire of scholars to see, analyse and contextualise more of Tolkien’s remaining unpublished papers.
Please submit a paper contribution title and abstract by 31 August 2023 to Dr. Andrew Higgins (asthiggins@me.com)
Length of abstracts: 150 words (max!)
Papers will be 15-20 minutes long (3 paper sessions will be preferred)
With your abstract, please include name and details of contributor (affiliation, address, and preferred e-mail address)
You never know where magic can be found, even in the Lowlands…
Puck’s Players Presents: Nicholas Stuart Gray’s The Seventh Swan
July 7th and 8th, Govanhill Parish Church
Poster design by Georgia Zachari
Amateur theatre company Puck’s Players present a stage production of Nicholas Stuart Gray’s The Seventh Swan. Puck’s Players was originally formed in 2020 by Centre for Fantasy and the Fantastic members Marita Arvaniti and Chris Lynch-Becher with the aim to stage and perform fantasy theatre. This is their second production, after a successful staging of Terry Pratchett’s The Truth, adapted by Steven Briggs in the summer of 2022.
Written by beloved Scottish fantasy novelist and playwright Nicholas Stuart Gray in 1962, The Seventh Swan tells the story of Alasdair, a young man cursed with a swan’s wing for a right arm. This unique sequel to Hans Christian Andersen’s beloved fairytale “The Wild Swan” relocates the story to the clan times of 16th Central Scotland. Could Alasdair ever feel human again? Could he forget the freedom of the sky? Mixing witchcraft, family drama, and high adventure, the exploits of Alasdair, Fenella and the mercenary Ewen are a poignant blend of humour, excitement, and tragedy.
This production is free, or pay what you can. Any proceeds will be used to cover production costs/pay toward future productions. If you are getting a free ticket, and want to support Puck’s Players, please visit our Ko-fi page to donate: https://ko-fi.com/pucksplayers
Cast:
Ewen – Diego Benedetti
Alasdair – Meg MacDonald
Lady Agnes – Gabi Matic
Ranald of Kinrowan – Nathan Protopapas
Fenella – Lark McManus
Hudart – Chris Lynch-Becherer
The Bocan – Anika Klose
Black Fergus – Grace Worm
The Spaewife – Laura Lynch-Becherer & Amber Pasternack