Filmer argues that, in secular society, the psychological need to hope is met in the literature of fantasy. She illustrates her thesis using the works of J.R.R. Tolkien, C.S. Lewis, Peter Beagle, Susan Cooper, Madeleine L'Engle, George Orwell, Russell Hoban, James Thurber, Kurt Vonnegut, Jr., Alan Garner, Ursula LeGuin, and Patricia Wrightson. Paper edition (unseen), $13.95. Annotation copyrighted by Book News, Inc., Portland, OR

Twentieth-Century Fantasists is a collection of essays which examine the way in which fantasy literature functions as cultural and social criticism. Essays on Tolkien, Le Guin, Angela Carter, H.G. Wells and C.S. Lewis are included: and also works by William Burroughs, Ford Madox Ford, and Salman Rushdie are discussed. The book surveys the social and cultural changes of the twentieth century as reflected in the works of fantasy writers.

A comprehensive study of children's fantasy literature across the English-speaking world, from the sixteenth century to the present.

This book examines how contemporary fantasy literature offers critical insights into western society and culture by drawing on the ancient myths of Wales. These books emphasise the need to have a set of social and personal values in order to be free from a sense of dislocation and alienation in a highly technologised society and in order to satisfy the sense of 'hiraeth' or longing for a place where one truly belongs.

Three recent and commercially successful series of novels employ and adapt the resources of popular fantasy fiction to create visions of religious identity: J.K. Rowling's Harry Potter books, Phillip Pullman's Dark Materials and Tim LaHaye and Jerry Jenkins' Left Behind series. The act of creating fantasy counter-worlds naturally involves all three stories in the creation of what Mike Gray terms "transfigurations of transcendence": hopeful albeit paradoxical encodings of the ambiguous, non-observable reality whose primary locus in modern society is the societally extra-systemic human individual. Popular fantasy fiction turns out to involve acts of world-creation that are inherently religious and inherently paradoxical.A substantive examination shows that all three are involved in more or less intentional re-narrations of traditional Christian beliefs and narratives. The »atheist« His Dark Materials series does not deny but re-imagines the Christian visions of selfhood; the »traditionalist« Left Behind series does not simply replicate but modifies its own declared values; the apparent secularity of the Harry Potter series is shaped by its creative reception of Christian patterns and narratives. While the stories' visions of selfhood clearly clash, the basic paradoxes involved in their struggle to articulate transcendence expose significant parallels and a productive conversation with the Christian tradition.It is not simply that popular fantasy fiction is theologically relevant – the Christian Heilsgeschichte, too, proves to be highly relevant in popular culture. However, while far from obsolescent, models of religious identity in contemporary society require criticism and creativity – and, as evinced most powerfully in the Harry Potter stories, a flair for constructive engagement with paradox.

This is the first introduction to the whole field of modern fantasy literature in the English-speaking world.

Fantasy literature inhabits the realms of the orthodox and heterodox, the divine and demonic simultaneously, making it uniquely positioned to imaginatively re-envision Christian theology from a position of difference. Having an affinity for the monstrous and the 'other', and a preoccupation with desires and forms of embodiment that subvert dominant understandings of reality, fantasy texts hold hitherto unexplored potential for articulating queer and feminist religious perspectives. Focusing primarily on fantastic literature of the mid- to late twentieth century, this book examines how Christian theology in the genre is dismantled, re-imagined and transformed from the margins of gender and sexuality. Aligning fantasy with Derrida's theories of deconstruction, Taylor Driggers explores how the genre can re-figure God as the 'other' excluded and erased from theology. Through careful readings of C.S. Lewis's Till We Have Faces, Angela Carter's The Passion of New Eve, and Ursula K. Le Guin's The Left Hand of Darkness and the Earthsea novels, Driggers contends that fantasy can challenge cis-normative, heterosexual, and patriarchal theology. Also engaging with the theories of Hélène Cixous, Luce Irigaray, Marcella Althaus-Reid, and Linn Marie Tonstad, this book demonstrates that whilst fantasy cannot save Christianity from itself, nor rehabilitate it for marginalised subjects, it confronts theology with its silenced others in a way that bypasses institutional debates on inclusion and leadership, asking how theology might be imagined otherwise.