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 creation of the Enlightenment, and the recognition that excitement and wonder can be found in imagining impossible things. From the ghost stories of the Gothic to the zombies and vampires of twenty-first-century popular literature, from Mrs Radcliffe to Ms Rowling, the fantastic has been popular with readers. Since Tolkien and his many imitators, however, it has become a major publishing phenomenon. In this volume, critics and authors of fantasy look at its history since the Enlightenment, introduce readers to some of the different codes for the reading and understanding of fantasy, and examine some of the many varieties and subgenres of fantasy; from magical realism at the more literary end of the genre, to paranormal romance at the more popular end. The book is edited by the same pair who produced The Cambridge Companion to Science Fiction (winner of a Hugo Award in 2005).

'The Ember Blade is hands down the best fantasy novel I've ever read' Grimdark Magazine Empires rise, civilisations fall and one culture comes to subsume another. It's the way of the world . . . sometimes ways of life are improved, sometimes they are not. But the progression of change is huge and - usually - unstoppable. In this story, the Ossian way of life is fading and the Dachen way is taking its place and Aren is comfortable with that. Even when his parents are accused of treason he supports the establishment and maintains there's been some mistake . . . which is all it takes to get himself and his best friend arrested . . . Thrown into a prison mine they plan their escape - only to be overtaken by events when they're rescued, and promptly find themselves in the middle of an ambush. By the time they've escaped, they're unavoidably linked to Garric - their unwelcome saviour - and his quest to overturn to Dachen way of life. If they leave Garric now, they'll be arrested or killed by their pursuers. If they turn him in, Garric will kill them. If they stay with him, they'll be abetting a murderous quest they don't believe in. There are no good options - but Aren will still have to choose a path . . . Designed to return to classic fantasy adventures and values, from a modern perspective, this is a fast-moving coming-of-age trilogy featuring a strong cast of diverse characters, brilliant set-pieces and a strong character and plot driven story.