Once upon a time all literature was fantasy, set in a mythical past when magic existed, animals talked, and the gods took an active hand in earthly affairs. As the mythical past was displaced in Western estimation by the historical past and novelists became increasingly preoccupied with the present, fantasy was temporarily marginalized until the late 20th century, when it enjoyed a spectacular resurgence in every stratum of the literary marketplace. Stableford provides an invaluable guide to this sequence of events and to the current state of the field. The chronology tracks the evolution of fantasy from the origins of literature to the 21st century. The introduction explains the nature of the impulses creating and shaping fantasy literature, the problems of its definition and the reasons for its changing historical fortunes. The dictionary includes cross-referenced entries on more than 700 authors, ranging across the entire historical spectrum, while more than 200 other entries describe the fantasy subgenres, key images in fantasy literature, technical terms used in fantasy criticism, and the intimately convoluted relationship between literary fantasies, scholarly fantasies, and lifestyle fantasies. The book concludes with an extensive bibliography that ranges from general textbooks and specialized accounts of the history and scholarship of fantasy literature, through bibliographies and accounts of the fantasy literature of different nations, to individual author studies and useful websites.

Fantasy is a genre in motion, gradually expanding its reach and historical sources to embrace a global identity Historical Dictionary of Fantasy Literature, Second Edition is a snapshot of the genre in this moment, identifying new themes and sources that are emerging to inspire, enhance and invigorate the published works of fantasy writers.

A novel that explores the effects of myth, religion, and legend on a small American town.

"This Historical Dictionary of Fantasy Literature provides an invaluable guide to the current state of the field. The chronology tracks fantasy's evolution from the origins of literature until the 21st century. The introduction explains the nature of the impulse to create and shape fantasy literature, the problems in defining what it is, and the reasons for its changing historical fortunes. The dictionary includes more than 700 entries on authors, both contemporary and historical, and more than 200 entries on fantasy subgenres, key images in fantasy literature, technical terms used in fantasy criticism, and the intimately convoluted relationship between literary fantasies, scholarly fantasies, and lifestyle fantasies.

By placing Charlotte Perkins Gilman in the company of her contemporaries, this collection seeks to correct misunderstandings of the feminist writer and lecturer as an isolated radical. Gilman's highly public and combative stances as a critic and social activist brought her into contact and conflict with many of the major thinkers and writers of the period. Gilman wrote on subjects as wide ranging as birth control, eugenics, race, women's rights and suffrage, psychology, Marxism, and literary aesthetics. Her many contributions to social, intellectual, and literary life at the turn of the 20th century raised the bar for future discourse, but at great personal and professional cost. -- From publisher's description.

The men she recruited to run her Amazon empire of drugs and death called her the White Angel. The ultrasecret US agency known as the Committee called her the most dangerous woman in the world. The blonde had skin of peaches and cream, cornflower-blue eyes, and legs that went all the way to heaven. She looked like an angel, but no man or woman ever killed more ruthlessly—or enjoyed it more. Killing her was Sam Borne's next assignment. To succeed he'd have to use every fighting skill he learned as a commando in Vietnam ... and as a ninja assassin. But even his superb training might not be enough to save his life when he is face-to-face with a woman so beautiful that he wants her love just as much as he wants her dead.