The Fairy Librarian, by Linda Lotiel

THE FAIRY LIBRARIAN

by Linda Lotiel

Dusty Librarians

“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.

Kyiv, September 2024

The Infernal Riddle of Historical Fantasy – report and video recording

Thank you for joining us online for our The Infernal Riddle of Historical Fantasy event! We are delighted to share a report on this event by Fantasy PhD student Lucinda Holdsworth.

History is an ideological battleground. For as long as humans have thought about the past, we have altered it to suit our view of the world and repurposed it to achieve our goals. Misremembered or misrepresented histories have inspired rampant nationalism and fascism, but reinterpreting  the past also provides opportunities for liberation and new visibility for groups excluded from historical record. With so much at stake, historical fantasy, a genre which consciously changes elements of the past, is a risky business.

The dangerous entanglement of fantasy and history took centre stage one cold night in November as we gathered to celebrate the launch of James Treadwell’s new historical fantasy novel, The Infernal Riddle of Thomas Peach. Treadwell was joined in conversation by L. J. MacWhirter (author of the Tudor fantasy Black Snow Falling), Rob Maslen (Co-director of the Centre for Fantasy and the Fantastic at Glasgow), and Fraser Dallachy (Lecturer in historical linguistics). Our speakers shared a fascination with the affordances of historical fantasy and its unique ability to confront truths of the past.

The evening began with a dramatic reading from The Infernal Riddle of Thomas Peach. As we took in the rich detail of Treadwell’s gorgeous prose, it was easy to become lost in his 18th century world, created by replicating the writing style of the time. It is, as Maslen pointed out, a kind of literary necromancy, resurrecting a long dead style of communication, and with it, the world view that language constructed. Treadwell’s own take on his style is less complimentary, describing this resurrection as a ‘mangled and distorted’ version of the original body. Yet here he makes an important point—it is only through this distortion that a sense of the period can be accurately conveyed to contemporary readers.

The distortion afforded by fantasy plays a similar role here. Our relationship with our own history is often uneasy—did it really happen that way? Can the sources be trusted? Can our own memories? Our knowledge of any given event, be it recent or ancient history, is inherently fuzzy. We misremember, misspeak, misrepresent. We are subjective creatures and that subjectivity, passed down through the ages, is often all we have to go on. How better to navigate the haziness of ancient biases than through the fantastic, a mode which Todorov defines as the ‘hesitation’ between belief and disbelief. Where historical fiction must come down on one side or another of a historical debate, historical fantasy can allow hesitation and the truth of uncertainty to remain. Perhaps the crew of the Mary Celeste really did vanish into thin air. Perhaps Nostradamus really did have prophetic visions. Almost certainly untrue, but perhaps true enough to many at the time that fantasy is the only way to capture a sense of the period accurately. By making the past strange, we can often engage with it more honestly. 

As the conversation turns towards magic systems, Treadwell’s own thoughts on the uncertainty fantasy allows are voiced: ‘magic shouldn’t have systems and rules, magic is what happens when the system collapses’. In his new novel, this is certainly the case. After the Enlightenment, the hesitation of the fantastic should not be possible, and as such the appearance of magic is an embarrassment. It breaks the rules and undermines objective scientific fact. For this reason, magic is made socially invisible.

As we begin to discuss the trials and tribulations of replicating the language of a given time period, Fraser Dallachy gives us a brief overview of the remarkable work of a historical linguist. In this role, Dallachy charts the changing meaning and power of words across time. A particularly intriguing part of this work involves catching anachronisms—words which appear in periods they do not belong in. Such linguistic analysis is invaluable to historical fantasy authors like Treadwell and MacWhirter, both of whom have made use of this kind of research in their work. Treadwell has used historical linguistics to pay homage to the narratorial voice of literature of the time, noting in particular the influence of 18th century gothic novels such as Clarissa. MacWhirter, on the other hand, has used a minimalist approach in her appropriation of historical language. She notes that, given the complex temporal structure of her work, anything more linguistically unconventional might have alienated readers.

As the discussion continues, Maslen realises that there is a striking difference between our authors’ approaches to historical fantasy. Treadwell focuses on the practicalities of his characters’ day to day needs—needs upset by the intrusion of the fantastic. As such, his characters are resistant to the magical elements of their world. MacWhirter’s characters, on the other hand, enter into much larger fantastic frameworks consciously and deliberately. In this, MacWhirter seeks to address issues from our own time, or perhaps more precisely, from our future. The path ahead of us seems, at times, apocalyptic in the light of climate change. Such a global phenomenon is too large to get our heads around, and can only be made sense of through fantastic narratives.

Towards the end of the evening, Maslen asks the question we have all been waiting for: How important is accuracy to historical fantasy?

This question of historical accuracy is a source of great contention in the world of fantasy literature. Demands for historical accuracy have long been used to justify the exclusion of people of colour, women and queer folk from medievalist works. It was an argument that cropped up again and again in the discussion surrounding Game of Thrones which, despite being set in a secondary world, appears to have been heavily influenced by the War of the Roses. Its depictions of sexual assault in particular, many argued, were necessary for historical accuracy. As many scholars and fans have pointed out before me, this kind of historical accuracy is rarely actually accurate. David Olusoga has traced the presence of black individuals and communities in Britain since the time of the Romans. Women have, of course, always been part of our society, as have queer folk. Sexual assault may have been more normalised in the past, but when the women being assaulted are sexualised according to contemporary beauty standards (e.g. skinny women with modern makeup and no body hair), the excuse breaks down. This is not so much historical accuracy as it is a dark romanticisation of history—nostalgia for a past that never existed. At the same time, genuine historical accuracy has a radical power to counter this exclusionary romanticisation by pointing out the truth of our interconnectedness throughout history.

Our authors’ responses reveal a shared awareness of the awesome responsibility of the historical fantasist, yet their approaches to this conundrum are quite different. When asked if historical accuracy matters, Treadwell replies enthusiastically, “Not at all!” He notes that accuracy is not the aim here; instead, he works to create a sense of time and place which feels convincing to contemporary readers. Yet Treadwell’s extensive academic work with 18th century literature puts him at an advantage here. MacWhirter takes the opposite line. For her, research plays a key role in replicating the past as faithfully as possible, allowing her to wrap a rich tapestry of details around her story. Her own academic work is also great source of knowledge and expertise in this—her PhD on pre-modern responses to ontological suffering have given her great insight into the Tudor mind.

As the evening comes to an end, our speakers give us some closing thoughts on the magical power of language. The ability of style and syntax to convey more than the words themselves, they all agree, is magical in itself, let alone the magic of Old Words or verbal spells. It is, as Treadwell notes, a ‘richly textured beautiful thing that is constantly drawing attention to itself’. It is magical because it is how we understand the world, but it is not neutral in this role—it changes the world at the same time it describes it. In this, once again, fantasy is the perfect lens through which to view the past. Our view of history is at times frighteningly malleable (just look at the Mandela Effect for a recent example!) and fantasy, above all other genres, understands the power of language to shape the world and our memories of it.

We close with some final recommendations for historical fantasists—Octavia Butler is a popular choice, her award winning Kindred the perfect example of historical fantasy forcing us to reckon with an uncomfortable past. Alison Uttley and Frances Hardinge are mentioned too, but Macwhirter suggests going back much further and experiencing the magic of historical texts for yourself, starting with medieval romances and dream poetry. After a final thanks to our guests, the night ends.

The evening’s conversation took many twists and turns along the way, through unnatural temporalities, histories real and imagined, and our strange relationship with the truth of that past. Such discussion is, if you’ll forgive the pun, timely, given our current state of affairs. Our movie theatres are full of 80s remakes and every week a new TV reboot is announced. Our political leaders harken back to the good old days at every turn, and there is ever greater public opposition to teaching the ugly truth of history in our schools. Perhaps it is a hopelessness for our future, as MacWhirter noted earlier, that inspires this widespread romanticisation of the past. Whatever the reason, historical fantasy lies at the centre of this conundrum. The night’s discussion has shown us that historical fantasy has a greater power than we could imagine, allowing us to engage, critically, with the past, or obscure the truth. It is a powerful tool, but a tool that can break just as easily as build.

Lucinda Holdsworth

If you missed this event, you can catch up with the video recording here:

CFF Statement on the online abuse of Mariana Rios Maldonado

CFF Statement on the online abuse of Mariana Rios Maldonado

The Centre for Fantasy and the Fantastic (CFF) at the University of Glasgow condemns online attacks, harassment, and bullying against our Equality and Diversity Officer and PhD researcher Mariana Rios Maldonado.

In recognition of her standing as a scholar with special expertise in Tolkien studies, Mariana was interviewed by journalists, and a short quotation from the interview was included in the 10 February 2022 exclusive Vanity Fair article ‘Amazon’s Lord of the Rings Series Rises: Inside The Rings of Power’,which revealed some of the casting, plotline, and other choices behind the highly-anticipated TV epic.

This quotation has elicited unwarranted and unacceptable abuse and misinformation from certain quarters who have taken against the series’ diverse casting.

We are saddened to see hate and abuse directed towards a person of colour researching Tolkien, and we stand by Mariana, her research, and her inclusive approach to fantasy. These are values the Centre shares, clearly articulated in our Code of Conduct.

Dr Dimitra Fimi
Senior Lecturer in Fantasy and Children’s Literature, CFF Co-Director

Dr Robert Maslen
Senior Lecturer in English Literature, CFF Co-Director

Rewarding Fantasy Research

by Oliver Langmead, Editor in Chief of Mapping the Impossible

At Mapping the Impossible, we are so excited to announce that we are taking a significant first step towards appropriately rewarding the authors of the papers we publish.

Launched earlier this year, Mapping the Impossible is a brand new open-access student journal publishing peer-reviewed early career research into fantasy, affiliated with and supported by the University of Glasgow’s Centre for Fantasy and the Fantastic. We are open to submissions for our second issue now.

Renumeration for publication remains notoriously poor in academia. Thanks to generous support from the Centre for Fantasy and the Fantastic, we are proud to be working towards remedying the situation by offering a reward for each paper we publish. On this, the editorial board of Mapping the Impossible and the core team of the Centre agree: publishing research for recognition alone should not be the standard.

As of today, we are pleased to be able to offer a £20 digital voucher (most likely for Amazon, but we are open to providing book tokens) for each paper we publish. This will be available to all scholars (in the UK and internationally), and distributed upon the publication of each paper we accept. Additionally, we have managed to secure funding for our forthcoming first issue, to be released in late January, and all of our current authors will receive vouchers.

Obviously, this is a both literal and figurative token reward, and is not intended to reflect adequate payment for all the hard work the researchers we publish put into their papers. But by providing these tokens, we are doing a number of important things. Firstly, we are putting Centre funds directly into the hands of fantasy researchers, to reward the hard work they are doing to enrich the field. Secondly, we are incentivising other journals to adopt similar policies. And thirdly, of course, we are further encouraging fantasy researchers (like you!) to consider taking the time to submit your paper to us. We’d love to read it.

One day, we hope to be able to offer full, appropriate payment for the papers we publish. But we hope you’ll join us in celebrating what amounts to a significant first step towards that. And to other journals, we say: if we can do it, so can you.

If you’re interested in finding out more, or wondering whether your paper would be eligible for our journal, please check out our website here: https://fantasy-research.gla.ac.uk/ and our page on payments here: https://fantasy-research.gla.ac.uk/index.php/rewarding_research/

Neglected Fantasy Gems

In this blog post, we share recommendations for fantasy works that have been neglected, overlooked, or forgotten. We hope to inspire you to pick up one of these books or stories! The recommendations here were shared in one of the bi-weekly meetings for our fantasy PhD students.

Annals of the Westen Shore by Ursula K Le Guin 

Recommendation by Christopher Lynch Becherer

Dear reader, I know exactly what you’re thinking! Ursula K Le Guin in a blog post on overlooked fantasy works?  

Yet her final fantasy trilogy, Annals of the Western Shore (2004-2007) is curiously ignored. These three novels, Gifts (2004), Voices (2006), and Powers (2007) are set in a fantasy world where both the fantastic and the protagonists are marginalised, side-lined within their own worlds. Despite each novel in the series being award winning, and despite Le Guin’s place at the heart of the fantasy canon, there is almost a complete paucity of scholarship on the series. I suspect this has something to do with their Young Adult categorisation, but maybe also to do with the time in which she wrote and published these novels. After her Earthsea novels (1968-2001) revolutionised fantasy, and the Hainish Cycle (1966-2002) asked bold new questions of science fiction, her work turned inward. After interrogating the patriarchal assumptions of the genre, she turned the critical lens on herself, to stunning effect. Always Coming Home (1985) and the later Earthsea works (2001) re-envisioned her own understanding of fantasy storytelling. 

Her mid-2000s writing is rather unexamined in contrast. For me, though, the Annals trilogy suggests a calm settling of her work. All the richness and balance of her writing is still here, but in this Third Age of Le Guin, there is a settled quality to the texts: a certainty and trust in the simplicity of her sentences, and the assuredness of her characterisations. They may not have revolutionised the genre, but these three final fantasy works are ultimately amongst the most moving and readable of Le Guin’s oeuvre. A beautiful conclusion to a wonderful career, but not a complacent ending: typically of Le Guin, these are still urgent and fiery texts at their heart. 

Of the three novels, I’ll highlight the concluding one, Powers, which focuses on Gavir, a young man escaping slavery in the city state of Etra. Along with her final novel, Lavinia, this text finds Le Guin delving further back for the inspiration for her setting. In this case, early Roman history provides the rich soil for a novel about how history is written and revolutions are born. This final novel, I would suggest, is the novel for today: a book about re-examining the past whilst urgently facing the future, about migration, postcolonial identity, and a personal exodus in a time of crisis. Pick these books up: you won’t be disappointed! 


Tatterdemalion, by Sylvia V Linsteadt & Rima Staines

Recommendation by Lynn R S Genevieve

Tatterdemalion is a piece of speculative fiction but written in a folk-tale manner. The author Sylvia Linsteadt was inspired by the artwork of Rima Staines, who describes her paintings as ‘Waymarkers to the Otherworlds because I am fascinated by the shamanic process inherent in creating art’. What is specifically different about the writer’s process here is that the illustrations came first; Linsteadt used the pictures Staines had already produced to craft a story – and did so extremely successfully. The title Tatterdemalion is evocative of both the process of piecing together the book from scraps and one of the main characters, the ragamuffin Poppy.

            There is a helpful ‘Time Line’ rather than a standard index setting out the order of events, but conversely, the story is told in a reverse fashion. A series of ‘Constellations’ are interspersed with other named story chapters. This adds to the patchwork effect of the storytelling, marrying up the disparate paintings with what could be a disjointed narrative if it weren’t for the sign posting. It is an unashamedly feminine perspective, the work of two women, involving intuition, dreams and magic.

            I particularly appreciated the style of prose. The mix of an old-world lyricism within a – at first glance – dystopian future is unsettling whilst inviting a familiar warmth of round the fire fairy-tales. There is a deliberate wildness capturing the old Northern European tropes that inhabit much of Staines’ work and placed in (the more familiar to Linsteadt) California. The narrative deliberately sets out to create a future world that has been ‘uncivilised’, recognising the value of the indigenous and the marginal.

            I cannot end before introducing a central character, the strange, wheeled creature that came from a painting, called Lyoobov:

‘He came on perfect wheels of skin and wood and bone; he was a leathery-skinned, ancient, trunked beast, rolling the way no orderly thing, no neat instrument of civilization, should roll.’

            The impossibility of this being adds to the originality and wonder of this book and I appreciated the thread of imagination reflecting reality, a mirroring of themes held in stories, so important to humanity. The symbolism of this is held in a book within a book within a book; Lyoobov holds one, Poppy tells the tale from one, and you hold one in your own hands when you pick up Tatterdemalion.

I would recommend further exploration of Rima Staines’ work which is far ranging; married to the notable poet, Tom Hirons (Sometimes a Wild God), they have collaborated with Terrie Windling, Jay Griffiths, and Martin Shaw, amongst others.


Varjak Paw and The Outlaw Varjak Paw, by S.F. Said

Recommendation by Emma French

For my neglected gem, I chose Varjak Paw by S.F. Said. This was partly because I think it’s a uniquely strange, wonderfully gothic children’s book, with a beautiful and haunting illustration style. I feel it has long gone underappreciated, ever since I first read it, aged 11. But now, reflecting back on it as a fantasy scholar, I also think the book is an excellent example of Todorov’s concept of fantastic hesitation.

This duology of books follows a purebred pedigree cat, Varjak Paw, who must leave the safety of his home when it is threatened, and travel into the city looking for a way to save his family. While exploring the urban landscape, Varjak also travels to a fantastical version of Mesopotamia in his dreams. There, he learns ‘the Way’ from his ancestor Jalal: a series of ancient martial arts techniques for cats (for Mesopotamian blue cats, specifically!) In a feline hero’s journey, Varjak embarks on a quest to learn how to defend himself, facing off against monstrously frightening cars, befriending dogs, and attempting to defeat the strange, ghostlike cat, Sally Bones, who rules the city.

The story opens up many uncertainties where fantastic interpretations can reside. We never know if Varjak is truly speaking to Jalal in his dreams. Nor do we know if the abilities of ‘the Way’ are supernatural, or simply a learned set of martial art skills, but they do seem to affect the world as if with magic. Antagonists like the Gentleman and Sally Bones also dwell in the liminal space between the mundane and the supernatural, seemingly possessing preternatural abilities. As a child, I really enjoyed how so few of these ambiguities were explained away, and now I understand that this contributes to the strange, unsettling and fantastic quality of the story.


“The Woman in Red” and “Unmasked”, by Muriel Campbell Dyar

Recommendation by Georgina Gale

Many think of Victorian fiction as stale, outdated, and often riddled with harmful ideology. However, this is certainly not true of all nineteenth-century literature, and there are some brilliant works which are sadly overlooked despite their quality, originality, and surprisingly pertinence in the twenty-first century. My favourite case in point: Muriel Campbell Dyar’s ‘The Woman in Red’ (1899) and its sequel ‘Unmasked’ (1900), both published in The Black Cat magazine. These two stories are not only excellent works of dark fantasy but, when read together, they also raise important issues concerning men’s attitudes towards women and accountability for their behaviour. Yet, despite Dyar’s talent and the popularity of the first story amongst contemporary readers, the two tales are little known today. Were it not for the British Library’s Tales of the Weird series – set up specifically to recover and share great yet neglected short stories – then I may never have had the pleasure of coming across her work.  

The first of Dyar’s pair, ‘The Woman in Red’, features an enchanting, masked woman who enraptures the men around her after suddenly arriving at Monte Carlo with no name and only an old woman for company. With no clues as to her identity but plentiful rumours about her wealth and beauty, it’s not long before the men begin to speculate about who she might be. However, tragedy ensues after one gentleman succeeds in peering behind the mask. A year after this story’s publication, and after high demand for a sequel that ventured deeper into the Woman in Red’s secret, ‘Unmasked’ was published and proudly advertised at the top of the issue as ‘“The Woman in Red” – Unmasked!’. ‘Unmasked’ is equally well-written and reveals an excellently chilling twist that makes the reader question their previous understanding of the events in the first story, and makes a rather poignant remark on men’s mistreatment of women, one that still resonates to this day. 


The Golem, by Gustav Meyrink 

Recommendation by Mariana Rios Maldonado

Gustav Meyrink’s The Golem (1915) is a story about the fluctuating lines between reality and superstition, reason and madness, and the frail construction of what we call the self. Using Prague’s streets and alleyways, with their history steeped in folklore and magic, Meyrink tells the stories of the forgotten souls of the Jewish ghetto, whose beliefs and suffering share the stage with legendary creatures such as Golems and Doppelgängers. At its core, the text poses the following questions: if you realized that in this world there is a force superior to you, to your strength and imagination, a force that steers your life in mysterious, even mystical ways, what would you do? Would you feel comforted in the knowledge that every aspect of your life has led you to this moment? Or would you cower in fear, paranoia, for there is a chance that this force is not simply indifferent or benign, but indeed antagonistic to human desires and purposes, and that resistance is futile? Beyond the plot of the novel, Meyrink’s narrative has endured a fantastic history of its own: from being the author’s most renowned novel and a celebrated piece of Germanophonic fantastic fiction at the beginning of the 20th century, The Golem was later banned by the National Socialists and burned due to the narrative’s apparently “harmful worldview”. But the text survived, and its words have inspired scholars and writers of the likes of Gershom Scholem and Jorge Luis Borges. Although obscure and in some corners of the world still unknown or forgotten, The Golem remains a seminal text in the history of European fantastic literature.


The Winged Histories, by Sofia Samatar

Recommendation by Matthew Sangster

Sofia Samatar’s first novel, A Stranger in Olondria (2013), deservedly won numerous plaudits, including the World Fantasy Award.  Her second, The Winged Histories, is, in my view, even better.  It’s gorgeously written, deeply human and packs incredible richness into its relatively short span.  One way of describing it would be as the story of a war, but that isn’t really accurate.  Instead, it’s the story of aspects of conflict and its consequences that usually get left out of conventional histories and military epics.  It’s told in the voices of four women – a soldier, a scholar, a singer and socialite – reaching back to their roots before the war, winding around the rebellion itself and exploring some of what happens in the aftermath.  This makes for an allusive and elliptical narrative, but never a needlessly cryptic one.  It’s a book about empathy, and the power of story, and the strength and limits of love.  It reworks many of the pleasures of more traditional fantasies (it includes convincing political manipulations, deep histories, cryptic writings and rich romance), but it does so in ways that make these pleasures new, bringing home how differently such things can hit when we hear of them from diverse and self-aware storytellers, rather than from the avatars of a Manichean conflict.  It’s intense and sad and keening and wondrous.  You should read it as soon as you can.

Hobberdy Dick, by K.M. Briggs

Recommendation by Dimitra Fimi

Katharine Briggs was best known as a folklorist, President of the Folklore Society (1969-1972) and author of many books on folk beliefs about, and literary uses of, fairies. Her work includes key studies on folklore and fairies still very much cited today, including The Anatomy of Puck (1959), The Fairies in Tradition and Literature (1967), the 4-volume Dictionary of British Folk-Tales in the English Language (1970-1971) and A Dictionary of Fairies: Hobgoblins, Brownies, Bogies, and Other Supernatural Creatures (1976), among many others. Hobberdy Dick is only one of only two novels for children she ever wrote, and is – for me – a perfect example of a neglected children’s fantasy that really does demand more attention.

The titular Hobberdy Dick is a hob, or hobgoblin, or brownie, a fairy creature tied to a domestic space, usually benevolent if treated well, though playing minor pranks (especially when disrespected), isn’t beyond such a being’s sphere of activities. Dick belongs to a house which is in transition at the very opening of the novel. Our setting is a country house in 1652, just after the English Civil War and the establishment of Oliver Cromwell’s Puritan regime. As the novel begins, the old, royalist family, fallen on hard times, is leaving, and a new, Puritan family are moving in. We have, therefore, a moment of tension between the well-to-do family’s Puritan attitude towards the supernatural (seen as unholy superstitions) and the (still very much living) folklore beliefs of their servants and workers, who know (as does the reader) that fairy creatures, witches, and, yes, hobs too, exist, and should be treated cautiously. The fact that the story is told from Hobberdy Dick’s point of view establishes the supernatural as true, and reveals an entire parallel world of spirits, ghosts, and witchcraft.

What makes this novel special is its combination of historical fiction (well-researched), Briggs’ extensive knowledge of folklore traditions (used very effectively to advance the plot), and, ultimately, the point of view of a fairy being, who plots and schemes to bring about the best result possible for its beloved home, and the human beings he favours. There’s a bit of an unexpected twist at the end, and a very moving conclusion, but I’ll let you discover this for yourselves. I think this little novel is a perfect example of rich folklore scholarship explored via creative practice, something I would love to see more of.

A Tale of Two Lindsays: In Search of Starkness Observatory

Kristine Larsen, Central Connecticut State University

The term “astronomical observatory” usually brings to mind an image of a gleaming white or silver hemispherical dome, or a vision of the Hubble Space Telescope, hurtling around the earth at 30,000 km per hour at an altitude of more than 500 km above the surface of our planet. But in centuries past, the basic architecture of the astronomical observatory was far more utilitarian, merely constructed to raise the observer above the local landscape. For example, Cheomseongdae in South Korea is a 7th century ten-meter-high bottle-shaped tower made of granite blocks (Castro Tirado 3).

Figure 1: Cheomseongdae Observatory [Public domain]
Figure 2. Exterior of the Rundetårn [Public domain].

The Rundetårn (Round Tower) Observatory in Copenhagen was built by Danish king Christian IV in 1642, a helical internal ramp not only leading to an observation platform 40 meters above the ground, but reportedly offering amusement to Peter the Great as he frequently rode his horse up to the top (Castro Tirado 6; Cajori 372). Hans Christian Andersen included numerous references to the Round Tower in his writings, for example as a setting in the 1857 novel To Be or Not To Be (At være eller ikke være) (“Hans Christian Andersen”).

Figure 3. Interior tamp of the Rundetårn [Jorge Láscar, CC-BY-2.0]

In H.G. Wells’ 1898 novel The War of the Worlds, the narrator recounts viewing Mars through a telescope in a “black and silent” fictional domed observatory in the English village of Ottershaw, describing the “shadowed lantern throwing a feeble glow upon the floor in the corner, the steady ticking of the clockwork of the telescope, the little slit in the roof” (Wells 11). George MacDonald’s 1864 short story “The Castle” includes an “observatory on a lofty tower,” part of the eponymous castle built on “the top of a high cliff” (n.p.). This latter architecture is echoed in David Lindsay’s 1920 novel A Voyage to Arcturus. The fictional “famous Starkness Observatory” where “Curious discoveries are made … from time to time” is said to be located on “the north-east coast of Scotland” (Lindsay 14). The characters Maskull and Nightspore arrived at the observatory after walking seven miles from the fictional Haillar Station, along a road “very wild and lonely, [that] ran for the greater part of the way near the edge of rather lofty cliffs, within sight of the North Sea” (Lindsay 17). The observatory complex, which looked as if it had been deserted for six months or more, is described as a “self-contained little community” and composed of “three buildings: a small, stone-built dwelling house [including a library], a low workshop, and, about two hundred yards farther north, a square tower of granite masonry, seventy feet in height” (Lindsay 17).

The eponymous departure for Arcturus is made from a platform on the top of the observatory tower. Lindsay’s choice of design is understandable, as it is certainly easier to launch a “torpedo of crystal” (Lindsay 27) from the flat roof of a tower than the narrow slit of a round dome. But the description of this abandoned Scottish observatory brings to mind the troubled history of real Scottish facilities, those in Edinburgh.  In 1768 optician Thomas Short (1711-1788) inherited a telescope made for the Danish King upon his telescope-maker brother James’ death. Thomas brought the instrument back to Edinburgh and after first setting it up on the roof of Heriot’s Hospital, petitioned the Town Council to lease him land on Calton Hill for the purpose of building an observatory that could be used by University of Edinburgh students (Brück, “The Story” 5). The stone structure was begun in 1776 but not completed until 1792, four years after Short’s death. While it is not built on the coast, and is composed of a single structure (unlike Starkness Observatory), it is made of stone, has a flat roof, and hugs a cliff-side.

Unfortunately, no funds had been set aside to purchase research-quality instruments, and the so-called Gothic Observatory languished. In 1811, nine years before the founding of the Royal Astronomical Society in London, a group of private citizens founded the Astronomical Institution of Edinburgh, and convinced the Town Council to lease them the Gothic Tower and adjoining land. The original structure (which became known as the Old Observatory) was slated to be used as a public observatory, while a true scientific observatory would be built nearby (Brück, “The Story” 7).

Famed Scottish engineer William Playfair’s unorthodox design for the new observatory was a “cruciform Roman Doric structure with six pillars in front of each of its strictly equal sides and with a prominent dome for a telescope at its centre” (Brück, “The Story” 8). While the observatory was begun in 1818 and not completed until 1825, a 1822 visit by King George IV led the facility to be “styled The Royal Observatory of King George the Fourth,” elevating it in name to a similar level as the Royal Observatory at Greenwich (Brück, “The Story” 10). Unfortunately the years were not kind to the new Royal Observatory, as financial support waned. The second Scottish Astronomer Royal, Charles Piazzi Smyth, announced his retirement in 1888, and a royal commission on the Scottish Universities issued a series of devastating recommendations, including abolishing the designations of Royal Observatory and Astronomer Royal for this facility (Brück, “Lord Crawford’s” 126).

Figure 6. Playfair’s Observatory [Andrew Shiva/Wikipedia CC BY-SA 4.0]
Figure 7. 1878 caricature of James Lindsay [Public domain].

All seemed lost for Edinburgh astronomy, but fate had other plans. James Ludovic Lindsay (1847-1913) twenty-sixth earl of Crawford and ninth earl of Balcarres, had long been trying to garner support for the Scottish Royal Observatory. A gifted amateur astronomer, in 1872 he moved to the mansion estate his grandfather had purchased in Dunecht, near Aberdeen, and built a world-class astronomical facility, including a 15-inch aperture refractor, in the U.K. second only to the Royal Greenwich Observatory. He was elected a Fellow of the Royal Society in 1878 and president of the Royal Astronomical Society in 1878 and 1879 (Gingerich 872).

Dunecht is certainly farther north than Edinburgh, but while it is on the coast it is not in sight of the North Sea. Lindsay’s observatory did include a number of separate buildings, including some with cylindrical domes and single-story structures housing solar instruments and a photographic laboratory (Brück, “Lord Crawford’s” 102). While there was also a library and a stone-built astronomer’s house, which had an observing platform on the roof, there was no separate stone tower (Brück, “Lord Crawford’s” 99).  

Lindsay’s astronomical instruments were admittedly the envy of his colleagues, but his library was even more impressive. The so-called Crawford Collection is considered “one of the finest collections of astronomical books in the world, and especially rich in ancient and rare books, … altogether there may well be as many as 11,ooo books and pamphlets representing the individual contributions of well over 4,ooo authors in at least sixteen different languages” (Forbes 459). Upon the death of his father in 1880, the new Lord Crawford gave up his astronomical duties, leaving the day-to-day operation to his main assistant Ralph Copeland (1837-1905). When he later inherited his uncle’s title, he decided to sell Dunecht and move his observatory to Balcarres House in Southeast Fife, closer to the coast.

It was during this time (1888) that Piazzi Smyth resigned as astronomy professor at the University of Edinburgh and Scottish Astronomer Royal, leaving the future of Edinburgh astronomy hanging by a thread. Lindsay approached the government and offered all his astronomical equipment and his legendary library as “a gift to the nation, subject to the condition that the observatory should be rebuilt upon a suitable site and maintained in a proper manner” (“James Ludovic Lindsay” 272). The offer was accepted, and in 1889 Copeland was given the titles of Regius Professor of Practical Astronomy at the University of Edinburgh and Scottish Astronomer Royal (Brück, “Lord Crawford’s” 127). A committee was established to locate a more suitable site, away from the lights and smoke of the city, leading to the selection of Blackford Hill, a public park on the southern edge of Edinburgh. (Brück, “The Story” 53). As in the case of Starkness Observatory, there was no railway up to Blackford Hill, but a temporary track was built in 1892 branching from Blackford railway station in order to facilitate the movement of building supplies to the site (Brück, “The Story” 55). The main building is end capped by two revolving cylindrical domes “38 and 22 feet in diameter at the east and west ends of the building which were to cover the two principal telescopes of the observatory, the 15-inch refractor and a 24-inch reflector” (Brück, “The Story” 55). In between was a flat-roofed section housing the library and a platform for portable instruments. The facility was completed in 1895, far faster than the previous iterations of the Edinburgh observatories. With the Royal Observatory safely moved to Blackford Hill, the Calton Hill facilities became the property of the city council, and the Playfair facility was open to the public as the “City Observatory” for many decades.

Figure 8. The two revolving domes of the Blackford Hill Observatory [Magnus Hagdorm, CC-BY-SA-2.0]

While there is not a one-to-one correspondence between Lindsay’s description of Starkness Observatory and any one of the Edinburgh Observatories, there are tantalizing parallels to each. More importantly, having been born in 1876, David Lindsay could have witnessed the drama concerning the Royal Edinburgh Observatory in real time as a young man, having spent part of his youth in Jedburgh, Scotland (near the border with England) with father’s relatives (Ewing, “Biography”). While I have seen no evidence to suggest that David Lindsay was closely related to James Lindsay, the similarity in name may have attracted the author to the astronomer’s life story. It is also interesting that David’s older brother, Alexander (1869-1915) used the pseudonym Alexander Crawford to write serialized novels and short stories between 1911-15. As Murray Ewing notes, “the name Crawford has a long association with that of Lindsay, since a Sir David Lindsay (c.1360–1407) was made 1st Earl of Crawford in 1398” (Ewing, “Alexander ‘Crawford’ Lindsay”).

Today the observatories of Edinburgh have come back to life. While the COVID-19 pandemic has necessitated the closing of the Royal Observatory’s visitor’s center, scientific work continues at the UK Astronomy Technology Centre (UK ATC) and the University of Edinburgh’s Institute for Astronomy (IfA), both housed at the observatory. In 2018 the Collective Gallery took on responsibility for the Calton Hill complex, turning the City Observatory into a public celebration of contemporary art. In 2020 it was announced that the long-neglected Gothic Tower was being refurbished as apartments for visiting artists, special events, and vacations (Ferguson). This ultimate marriage of exploration, science, and the arts is certainly worthy of the heritage of Lindsay’s novel, and its Starkness Observatory. I wish them many successful voyages to ‘Art-cturus’ – and beyond.

References:

Brück, Hermann A. (1992) “Lord Crawford’s Observatory at Dun Echt 1872-1892.” Vistas in Astronomy 35: 81-138.

Brück, Hermann A. (1983) The Story of Astronomy in Edinburgh. Edinburgh: Edinburgh University Press.

Cajori, Florian (1928) “Four Old Astronomical Observatory Buildings.” Science 26(4):372-6.

Castro Tirado, Miguel A. (2019) “Astronomical Observatories: From the Prehistory to the XVIII Century.” Revista Mexicana de Astronomía Y Astrofísica 51: 1-8.

Ewing, Murray (2021) “Alexander ‘Crawford’ Lindsay.” The Violet Apple https://www.violetapple.org.uk/notes/alexandercrawford.php

Ewing, Murray (2021) “Biography.” The Violet Apple https://www.violetapple.org.uk/life/life.php

Ferguson, Brian (2020) “Gothic Landmark Built for 18th Century Astronomers in Edinburgh to Become Artists’ Retreat on Calton Hill.” The Scotsman https://www.scotsman.com/whats-on/arts-and-entertainment/gothic-landmark-built-18th-century-astronomers-edinburgh-become-artists-retreat-calton-hill-2922771

Forbes, Eric G. (1973) “Collections II: The Crawford Collection of Books and Manuscripts on the History of Astronomy, Mathematics, Etc., at the Royal Observatory, Edinburgh.” The British Journal for the History of Science 6(4): 459-61.

Gingerich, Owen (2004) “Lindsay, James Ludovic.” Oxford Dictionary of National Biography. Oxford: Oxford University Press, 872-3.

 “Hans Christian Andersen and the Round Tower” (n.d.) Rundetaarn https://www.rundetaarn.dk/en/article/hans-christian-andersen-and-the-round-tower

“James Ludovic Lindsay.” Monthly Notices of the Royal Astronomical Society 74: 271-3.

Lindsay, David (2007) A Voyage to Arcturus. Radford: Wilder Publications.

MacDonald, George (2016) “The Portent and Other Stories.” Project Gutenberg https://www.gutenberg.org/files/8913/8913-h/8913-h.htm

Wells, H.G. (2008) The War of the Worlds. Waiheke Island: The Floating Press

Images:

(1) https://commons.wikimedia.org/wiki/File:Cheomseongdae_Observatory_gyeongju.jpg Public domain

(2) https://commons.wikimedia.org/wiki/File:Denmark._Copenhagen_317_Rundetaarn.jpg Public domain

(3) https://commons.wikimedia.org/wiki/File:Rundetaarn_-_Round_Tower_(37867038602).jpg Jorge Láscar CC-BY-2.0

(4) https://commons.wikimedia.org/wiki/File:Calton_Hill_Gothic_Tower_1792.jpg Public domain

(5) https://commons.wikimedia.org/wiki/File:Calton_Hill_Old_Observatory_2010.JPG Public domain

(6) https://commons.wikimedia.org/wiki/File:Scotland-2016-Edinburgh-City_Observatory.jpg Andrew Shiva / Wikipedia / CC BY-SA 4.0

(7) https://commons.wikimedia.org/wiki/File:Lord_Lindsay_-_Earl_of_Crawford.jpg Public domain

(8) https://commons.wikimedia.org/wiki/File:Royal_Observatory,_Edinburgh,_Scotland-10Nov2010_(1).jpg Magnus Hagdorn CC-BY-SA-2.0

Mapping the Impossible: Journal for Fantasy Research

by Oliver Langmead

Mapping the Impossible is a brand new open-access student journal publishing peer-reviewed research into fantasy and the fantastic. The editorial board and reviewers are composed of current students and recent graduates from institutions across the world, and we are so pleased to be opening for submissions this month. If you’d like to get involved, we are currently looking for reviewers and we would love to hear from you.

We currently have two issues lined up. Our first issue, to be published in October 2021, will be a special issue for papers submitted from this year’s GIFCon. Our second issue, to be published in March 2022, will be a general issue. We operate with a rolling submissions window, and if you’re interested in submitting to us, we would love to see your paper no matter when it’s ready! Check out our submissions page for the details and guidelines.

Mapping the Impossible has been developed specifically with early-career research into fantasy and the fantastic in mind. We exclusively publish papers by current students and recent graduates, and we define “fantasy” very broadly. Our aim is to highlight the brilliant work being done by undergraduates, postgraduates and student researchers looking into fantasy, and give them a new avenue to publication.

We are affiliated with and supported by the University of Glasgow’s Centre for Fantasy and the Fantastic along with the annual fantasy research conference GIFCon, and are generously hosted by the University of Glasgow. It’s wonderful to be a part of such a vibrant community of fantasts, and we strongly encourage checking out the Centre, GIFCon, and the University of Glasgow’s Masters in Fantasy if the research we’re publishing inspires you.

On a personal note – putting together this journal, along with my colleagues Katarina O’Dette and Emma French, has been a real work of love, and we have a lot of people to thank for helping us get it off the ground. In the first instance, we have to highlight the wonderful work being done over at our sister publication, Press Start, who are publishing early career research in Game Studies and were the inspiration for Mapping the Impossible. The Press Start team have provided us with brilliant support in setting up, and without Matt Barr it’s likely we would have never got off the ground. Everyone at the Centre for Fantasy has been so enthusiastic and helpful, and their guidance has helped us work out the fine details of what you see today. And a special thanks must go to my brilliant sister, Lois Langmead, who was generous enough to donate some really wonderful illustrations to the site.

Celebrating the Centenary of A Voyage to Arcturus – Report and Video Recording

Many thanks to everyone who attended our event to celebrate the centenary of David Lindsay’s A Voyage to Arcturus on 19th November. We are pleased to share the opening remarks by our panelists Douglas A. Anderson and Nina Allan, who have both kindly made them available in their respective blogs:

Douglas A. Anderson – Arcturus centenary opening remarks

Nina Allan – Arcturus centenary opening remarks

We are also delighted to share a report on our event by English and Scottish Literature Honours student (and President of the University’s Scottish Literature Society) Domenico Di Rosa (who tweets at https://twitter.com/_domenico98).


A Voyage to Arcturus: David Lindsay’s legacy across a century

By Domenico Di Rosa

On the occasion of the 100th year since the first publication of Lindsay’s A Voyage to Arcturus, the Centre For Fantasy and the Fantastic at the University of Glasgow held a commemoration and discussion of this science fiction novel in partnership with the Being Human festival, the UK’s only national celebration of the humanities (beinghumanfestival.org). Delving into several philosophical and spiritual interrogations, the novel follows Maskull’s interstellar journey from an observatory situated in Scotland to an unknown world across space, where the protagonist creates an extensively comprehensive imaginary planet.

The event’s host, Dr Dimitra Fimi, started the discussion with an introductory presentation of the novel’s several editions, remarking how, although the book’s initial publication in 1920 was unsuccessful in capturing the readers’ attention, Lindsay still managed to emerge as a tremendous influence to renowned authors such as J. R. R. Tolkien, C. S. Lewis and Philip Pullman.

American scholar Douglas A. Anderson, who has worked first-hand with Lindsay’s materials, offered a brief account of the writer’s life as well as some aspects about the origins and inspirations behind A Voyage to Arcturus. It was particularly the imaginative powers of Lindsay’s worldbuilding that influenced C. S. Lewis’s Space Trilogy, as well as the novel’s treatment of philosophy and religion which pushed Tolkien to read it ‘with avidity’. Ultimately, Anderson pins down the novel’s leitmotiv, namely that ‘Our visible primary world is a sham, and the real spiritual world, occasionally visible or recognised, lies underneath the sham’. It is arguably the universality of such search for answers to convoluted existential questions around spirituality which allowed Lindsay’s novel to gradually become more recognised towards the late twentieth-century. Moreover, in conjunction with the flourishing of science-fiction literature, A Voyage to Arcturus also starts to be acknowledged as a classic of Scottish fantasy and, in many ways, as a precursor of many science-fiction trends.

The second panellist, Robert Davis, Professor of Religious and Cultural Education at Glasgow University, focused his discussion around the spiritual and philosophical dimensions of the novel. In particular, Gnosticism seems to have had a relevant influence on Lindsay’s writing, even though the only references to it until 1945 were found in some citations of works written by the early Church. A Voyage to Arcturus might be considered as a ‘gnostic romance’ as Davis depicts gnostic theology as ‘confused, fragmentary, sometimes impenetrable’. Overall a revision of Judeo-Christian religious orthodoxy, Gnosticism depicts the God of the Old Testament as a demonic impostor whose disastrous work of creation is deliberately malevolent. The book is imprinted with these notions that were, similarly, perennial themes in the work of Schopenhauer and Nietzsche, whom Lindsay knew well. Evident is, for Davis, the link with Philip Pullman, author of His Dark Materials, a ‘deeply antichristian work’ that follows the lines of Milton, Shelley and Blake in its gnostic rebellion against authority.

The final panellist, award-winning British author Nina Allan, centred her discussion around Lindsay’s novel in contemporary science fiction. She notes some of the aspects that link Arcturus to her novel The Rift (2017), particularly the ‘poetic synchronicity’ between the two stories and the ambiguity or lack of closure around the narrated events which makes it a frustrating yet rewarding experience for the reader. She also mentions those elements that relate Lindsay’s work to current waves of SF writing as well as those aspects which make it distant from it. On the one hand, A Voyage to Arcturus may be one of the first science-fiction voyages in interspace, highly imaginative in its description of alien landscapes that seem almost ‘incandescent’, which could have been shockingly outlandish for the readers of the time. On the other hand, the novel takes inspiration from older influences such as Stevenson and Verne, and takes its philosophical underpinnings from universal questions such as ‘What makes human existence meaningful?’ and ‘How do we bear the existential nihilism of our world where death and suffering are all around?’. Ultimately, Allan suggests the novel is about a transcendent experience that invites us to connect with the universe, thereby setting our spirit free and exhibiting the best side of ourselves.

Overall, the event reached its purpose in remembering the legacy of A Voyage to Arcturus and in determining David Lindsay as one of the forefathers of Scottish fantasy. Tracing a quest for knowledge and higher learning while providing an unparalleled vision of imaginary worlds, Lindsay’s novel certainly proves to be worthy of further investigation.

If you missed this event, our YouTube recording is available here: