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NOTES
Howard (Cleveland and London: The Press of Case Western Reserve University,
1973); Gary Wolfe, ‘Symbolic Fantasy’, Genre (1975), pp. 194–209;
Colin N. Manlove, Modern Fantasy: Five Studies (Cambridge: Cambridge
University Press, 1975); W.R. Irwin, The Game of the Impossible: A Rhetoric
of Fantasy (Urbana: University of Illinois Press, 1976); Eric S. Rabkin,
The Fantastic in Literature (Princeton: Princeton University Press, 1976);
Stephen Prickett, Victorian Fantasy (Bloomington and London: Indiana
University Press, 1979).
16. Manlove, Modern Fantasy, p. 260.
17. In 1979, the First International Conference on the Fantastic in Literature
and Film was organized (an event that has since been renamed the International
Conference on the Fantastic in the Arts and that is held every
year), and the same year saw the publication of the following reference
guides to fantasy literature: Roger C. Schlobin (ed.), The Literature of
Fantasy: A Comprehensive, Annotated Bibliography of Modern Fantasy
Fiction (New York: Garland, 1979); Marshall B. Tymn, Kenneth J. Zahorski,
and Robert H. Boyer (eds), Fantasy Literature: A Core Collection and Reference
Guide (New York: R.R. Bowker, 1979). In the early 1980s the following
publications appeared: B. Attebery, The Fantasy Tradition in American
Literature: From Irving to Le Guin (Bloomington, Indiana University Press,
1980); Roger C. Schlobin (ed.), The Aesthetics of Fantasy Literature and
Art (Notre Dame: University of Notre Dame Press/Brighton, Harvester,
1982); John H. Timmerman, Other Worlds: The Fantasy Genre (Bowling
Green OH: Bowling Green University Popular Press, 1983); Ann Swinfen,
In Defence of Fantasy: A Study of the Genre in English and American
Literature since 1945 (London: Routledge & Kegan Paul, 1984). Collectively,
these studies established that Tolkien was by no means single-handedly
responsible for the development of fantasy writing, identifying a number of
other writers who also produced works of fantasy in the 1940s and 1950s,
including James Blish, Ray Bradbury, C.S. Lewis, Mervyn Peake, Fletcher
Pratt, L. Sprague de Camp and Poul Anderson, many of whom had begun
their careers writing for the pulp magazines. Writers working in the 1960s
and 1970s such as Peter Beagle, Susan Cooper, Stephen R. Donaldson,
Alan Garner, Ursula Le Guin, Patricia McKillip, Michael Moorcock, Andre
Norton, and Roger Zelazny were also identified as important influences
upon the consolidation of fantasy as a genre in its own right.
18. Kathryn Hume, ‘Postmodernism in Popular Literary Fantasy’, in C.W.
Sullivan III (ed.), The Dark Fantastic: Selected Essays from the Ninth
International Conference on the Fantastic in the Arts (Westport CT: Greenwood
Press, 1997), p. 181. This attitude is further exemplified in Armitt’s
dismissal of popular genre fantasy as ‘consolationist wish-fulfilment’.
Lucie Armitt, Theorising the Fantastic (London and New York: Arnold,
177