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Notes Chapter 1. Malebolge, or the Ordnance of Genre (pages 3–17) 1. The article is no longer available on The Spook’s website, but remains online on the website of horror writer David J. Schow under the title ‘‘Symposium on the Nature of Genre and Pleasure in the 21st Century’’ at esymposium.html (accessed January 2, 2009). 2. See, for example, Gordon S. Haight, ed., Selections from George Eliot’s Letters (New Haven, Conn.: Yale University Press, 1985); or Rohan Maitzen, ‘‘ ‘The Soul of Art’: Understanding Victorian Ethical Criticism,’’ ESC: English Studies in Canada 31, nos. 2–3 (June/September 2005). Available online at .php/ESC/article/viewFile/1335/894 (accessed January 2, 2009). Harold Bloom’s critical anthology Bloom’s Classical Critical Views: Jane Austen (New York: Chelsea House, 2007) even reprints ‘‘The Progress of Fiction as an Art’’ as being by George Eliot. 3. Quoted in Lilian R. Furst, Romanticism in Perspective (New York: Humanities Press, 1970), 332. 4. George MacDonald, ‘‘The Fantastic Imagination,’’ in Gifts of the Child Christ: Fairy Tales and Stories for the Childlike, ed. Glenn Edward Sadler (1893; reprint, Grand Rapids, Mich.: Eerdmans, 1973); G. K. Chesterton, ‘‘The Ethics of Elfland,’’ in Orthodoxy (1908; online at ); E. M. Forster, ‘‘Fantasy,’’ in Aspects of the Novel (1927; reprint, New York: Harvest, 1956); C. S. Lewis, An Experiment in Criticism (Cambridge: Cambridge University Press, 1965); J. R. R. Tolkien, ‘‘On FairyStories ,’’ in A Tolkien Reader (New York: Ballantine, 1966); Ursula K. Le Guin, ‘‘The Child and the Shadow,’’ in The Language of the Night: Essays on Fantasy and Science Fiction (New York: HarperCollins, 1989). 5. Pinchas Noy, ‘‘A Revision of the Psychoanalytic Theory of the Primary Process,’’ International Journal of Psycho-Analysis 50 (1969): 155–78. 216 Notes Chapter 2. Evaporating Genres (pages 18–53) 1. Kenneth C. Davis, Two-Bit Culture: The Paperbacking of America (Boston: Houghton Mi∆in, 1984), 166. 2. Donald A. Wollheim, ‘‘The Science-Fiction Novel,’’ New York Times, August 28, 1949. Online at DDA10A94D0405B8988F1D3&scp=34&sq=%22science+fiction&st=p (accessed April 22, 2008). 3. Villiers Gerson, ‘‘Spacemen’s Realm,’’ New York Times, January 13, 1952. Online at F68585F9&scp=203&sq=%22science+fiction&st=p (accessed April 22, 2008). 4. The situation in England was somewhat di√erent in a purely literary sense, less so in terms of book markets. To be sure, a substantial tradition existed of post-Wells ‘‘scientific romances,’’ ably documented by Brian Stableford in The Scientific Romance in England, 1890–1950 (London: Fourth Estate, 1985). But as Stableford notes, this tradition never really cohered as a popular market (only a handful of titles made their way into the Penguin line that dominated British paperbacks until the postwar years) and essentially disappeared as a separate tradition when Americanized science fiction began to appear in substantial numbers. Nor were British readers immune to the attractions of the American pulps: British fan societies existed on the model of the Americans, at least one British pulp (Tales of Wonder) began publishing in 1937, and more than one British reader from that era remembers the excitement of finding cheap copies of American pulps, which apparently had been imported after being used as ship ballast during the Lend-Lease years. 5. The term ‘‘supergenre’’ was employed by Eric S. Rabkin in The Fantastic in Literature (Princeton, N.J.: Princeton University Press, 1976) and, in a somewhat broader sense, by R. D. Mullen in ‘‘Books in Review: Supernatural, Pseudonatural, and Sociocultural Fantasy,’’ Science-Fiction Studies 16 (1978): 291–98. 6. In the horror field, an argument could be made that similar canon-defining anthologies include Dorothy L. Sayers’ three volumes of Great Short Stories of Detection, Mystery and Horror (1929–1934; retitled as The Omnibus of Crime series in the United States, and with somewhat di√erent contents) and Herbert Wise and Phyllis Fraser’s Great Tales of Terror and the Supernatural (1944). The Sayers anthologies, with their substantial content of supernatural fiction in the ‘‘Mystery and Horror’’ sections, were almost certainly among the first respectable twentieth-century anthologies in England to identify horror as a distinct literary tradition, while the Wise and Fraser omnibus shared with Healy and McComas’s Adventures in Time and Space the distinction of being reprinted by Random House’s Modern Library, which meant that the...


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