Fantasy Fridays

The Devouring Gray
The Devouring Gray

A new William Blake exhibition is coming to Tate Britain this fall.

The Game of Thrones tapestry in the Ulster Museum.

Three young adult fantasy authors, Christine Lynn Herman, Sarah Maria Griffin and Adrienne Young, join forces in Nottingham... and again in Norwich.

The British Museum's manga exhibition wraps up in a month.

MCM ComicCon Manchester is this weekend.

Joe Abercrombie goes on tour this fall for A Little Hatred - tickets on sale now/soon, including this shindig at Foyles London.


World Fantasy Awards - 2019 Shortlist

Lifetime Achievement

  • Hayao Miyazaki
  • Jack Zipes


  • In the Night Wood by Dale Bailey (John Joseph Adams/Houghton Mifflin Harcourt)
  • The Mere Wife by Maria Dahvana Headley (MCD/Farrar, Straus & Giroux)
  • The Poppy War by R. F. Kuang (Harper Voyager)
  • Witchmark by C. L. Polk (
  • Trail of Lightning by Rebecca Roanhorse (Saga Press)


  • The Only Harmless Great Thing by Brooke Bolander (
  • The Black God’s Drums by P. Djèlí Clark (
  • The Tea Master and the Detective by Aliette de Bodard  (Subterranean Press)
  • “The Privilege of the Happy Ending” by Kij Johnson (Clarkesworld, Aug. 2018)
  • Beneath the Sugar Sky by Seanan McGuire (

Short Fiction

  • “The Ten Things She Said While Dying: An Annotation” by Adam-Troy Castro (Nightmare Magazine, July 2019)
  • “A Witch’s Guide to Escape: A Practical Compendium of Portal Fantasies” by Alix E. Harrow (Apex Magazine, February 2018)
  • “Ten Deals with the Indigo Snake” by Mel Kassel (Lightspeed, October 2018)
  • “The Court Magician” by Sarah Pinsker (Lightspeed, January 2018)
  • “Like a River Loves the Sky” by Emma Törzs  (Uncanny Magazine, March-April 2018)


  • Sword and Sonnet, edited by Aidan Doyle, Rachael K. Jones, and E. Catherine Tobler (Ate Bit Bear)
  • The Book of Magic, edited by Gardner Dozois (Bantam Books US/HarperVoyager UK)
  • Best New Horror #28, edited by Stephen Jones (Drugstore Indian Press UK)
  • Robots vs. Fairies, edited by Dominik Parisien and Navah Wolfe (Saga Press)
  • Worlds Seen in Passing: Ten Years of Short Fiction, edited by Irene Gallo (


  • The Tangled Lands, by Paolo Bacigalupi and Tobias S. Buckell (Saga Press/Head of Zeus UK)
  • Still So Strange, by Amanda Downum (ChiZine Publications)
  • An Agent of Utopia: New & Selected Stories, by Andy Duncan (Small Beer Press)
  • How Long ’til Black Future Month? by N. K. Jemisin (Orbit)
  • Phantom Limbs, by Margo Lanagan (PS Publishing)


  • Rovina Cai
  • Galen Dara
  • Jeffrey Alan Love
  • Shaun Tan
  • Charles Vess

Special Award - Professional

  • C. C. Finlay, for F&SF editing
  • Irene Gallo, for Art Direction at Tor Books and
  • Huw Lewis-Jones for The Writer’s Map: An Atlas of Imaginary Lands (University of Chicago Press)
  • Catherine McIlwaine for Tolkien: Maker of Middle-earth exhibition (The Bodleian Libraries at the University of Oxford)
  • Julian Yap, Molly Barton, Jeff Li, and James Stuart for Serial Box

Special Award - Non-Professional

  • Mike Allen, for Mythic Delirium
  • Scott H. Andrews, for Beneath Ceaseless Skies: Literary Adventure Fantasy
  • Lynne M. Thomas and Michael Damian Thomas, for Uncanny Magazine
  • E. Catherine Tobler, for Shimmer Magazine
  • Terri Windling, for Myth & Moor

More here

British Fantasy Awards - 2019 Shortlist

More details here.

Best Fantasy Novel (Robert Holdstock Award)

  • The Bitter Twins, by Jen Williams (Headline)
  • Empire of Sand, by Tasha Suri (Orbit)
  • Foundryside, by Robert Jackson Bennett (Jo Fletcher Books)
  • The Green Man’s Heir, by Juliet E McKenna (Wizard’s Tower Press)
  • The Loosening Skin, by Aliya Whiteley (Unsung Stories)
  • Priest of Bones, by Peter McLean (Jo Fletcher Books)

Best Horror Novel (August Derleth Award)

  • The Cabin at the End of the World, by Paul Tremblay (Titan Books)
  • Little Eve, by Catriona Ward (W&N)
  • The Way of the Worm, by Ramsey Campbell (PS Publishing)
  • Wolf’s Hill, by Simon Bestwick (Snowbooks)

Best Newcomer (Sydney J Bounds Award)

  • Tomi Adeyemi, for The Children of Blood and Bone (Macmillan Children’s Books)
  • Cameron Johnston, for The Traitor God (Angry Robot)
  • RF Kuang, for The Poppy War (HarperVoyager)
  • Tasha Suri, for Empire of Sand (Orbit)
  • Marian Womack, for Lost Objects (Luna Press Publishing)
  • Micah Yongo, for Lost Gods (Angry Robot)

Best Novella 

  • Binti: The Night Masquerade, by Nnedi Okorafor (
  • Breakwater, by Simon Bestwick (Tor Books)
  • The Land of Somewhere Safe, by Hal Duncan (NewCon Press)
  • The Last Temptation of Dr Valentine, by John Llewellyn Probert (Black Shuck Books)
  • The Only Harmless Great Thing, by Brooke Bolander (
  • The Tea Master and the Detective, by Aliette de Bodard (Subterranean Press)

Best Short Fiction 

  • Down Where Sound Comes Blunt, by GV Anderson (F&SF March/April 2018)
  • Her Blood the Apples, Her Bones the Trees, by Georgina Bruce (The Silent Garden: A Journal of Esoteric Fabulism)
  • In the Gallery of Silent Screams, by Carole Johnstone & Chris Kelso (Black Static #65)
  • A Son of the Sea, by Priya Sharma (All the Fabulous Beasts)
  • Telling Stories, by Ruth EJ Booth (The Dark #43)
  • Thumbsucker, by Robert Shearman (New Fears 2

Best Anthology

  • The Devil and the Deep: Horror Stories of the Sea, ed. Ellen Datlow (Night Shade Books)
  • Humanagerie, ed. Sarah Doyle & Allen Ashley (Eibonvale Press)
  • New Fears 2, ed. Mark Morris (Titan Books)
  • This Dreaming Isle, ed. Dan Coxon (Unsung Stories)
  • Year’s Best Weird Fiction, Vol. 5, ed. Robert Shearman & Michael Kelly (Undertow Publications)

Best Collection

  • All the Fabulous Beasts, by Priya Sharma (Undertow Publications)
  • The Future is Blue, by Catherynne M Valente (Subterranean Press)
  • How Long ‘til Black Future Month?, by NK Jemisin (Orbit)
  • Lost Objects, by Marian Womack (Luna Press Publishing)
  • Octoberland, by Thana Niveau (PS Publishing)
  • Resonance & Revolt, by Rosanne Rabinowitz (Eibonvale Press)

Best Non-Fiction

  • The Evolution of African Fantasy and Science Fiction, ed. Francesca T Barbini (Luna Press Publishing)
  • The Full Lid, by Alasdair Stuart (
  • Ginger Nuts of Horror (
  • Les Vampires, by Tim Major (PS Publishing)
  • Noises and Sparks, by Ruth EJ Booth (Shoreline of Infinity) 

Best Independent Press

  • Fox Spirit Books
  • Luna Press Publishing
  • NewCon Press
  • Unsung Stories 

Best Magazine / Periodical

  • Black Static
  • Gingernuts of Horror
  • Interzone
  • Shoreline of Infinity
  • Uncanny Magazine 

Best Audio

Best Comic / Graphic Novel

  • 100 Demon Dialogues, by Lucy Bellwood (Toonhound Studios)
  • B.P.R.D. Hell on Earth, Vol. 1, by Mike Mignola, John Arcudi, Guy Davis, Tyler Crook & Dave Stewart (Dark Horse)
  • Hellboy: The Complete Short Stories, Vol. 1, by Mike Mignola and others (Dark Horse)
  • The Prisoner, by Robert S Malan & John Cockshaw (Luna Press Publishing)
  • Saga #49-54, by Brian K Vaughan & Fiona Staples (Image Comics)
  • Widdershins, Vol. 7, by Kate Ashwin

Best Artist

  • Vince Haig
  • David Rix
  • Daniele Serra
  • Sophie E Tallis

Best Film / Television Production

  • Annihilation, Alex Garland
  • Avengers: Infinity War, Christopher Markus & Stephen McFeely 
  • Black Panther, Ryan Coogler & Joe Robert Cole
  • The Haunting of Hill House, Mike Flanagan
  • Inside No. 9, series 4, Steve Pemberton & Reece Shearsmith
  • Spider-Man: Into the Spider-Verse, Phil Lord & Rodney Rothman

"Peter Pan" (1904) by J.M. Barrie

Peter Pan
Peter Pan

In “Peter Pan,” J.M. Barrie merged two realms of expertise. One was the games of make believe he played with the Llewelyn Davies boys, whose guardian he later became. When an adult is immersed in such role-playing, characters may evolve who endure as archetypes long after the children outgrow them. It was under these conditions that the world-building for “Peter Pan” took place. One's inner critic might balk at having Red Indians, fairies, mermaids, and pirates in the same story, but children lack such inhibitions, switching from one role to the next without breaking stride.

Barrie's other realm of expertise was in writing theater plays. During the rehearsals for “Peter Pan,” Barrie noted, “a depressed man in overalls, carrying a mug of tea or a paint-pot, used often to appear by my side in the shadowy stalls and say to me, 'The gallery boys won't stand it.'” But by this point in his career as a playwright, Barrie had a good idea what his audience could take.

Continue reading ""Peter Pan" (1904) by J.M. Barrie" »

Fantasy Fridays


Tomorrow night, Forbidden Planet are hosting a small bevy of authors for a 'meet and greet'. Next week, they've got a similar legion of young adult authors coming along.

FantasyCon ticket prices increase on 1 August, so pounce quickly if you're intending to join in the fun in Glasgow (October 18).

...and WorldCon - in Dublin this year - inches closes to announcing the full whack of programming. Keep your eyes peeled.

Fascinating interview with Jeanette Winterson on the origins of Frankissstein:

Wounds don’t heal. They scar over, but they are always the place where you can be hurt. It’s not the same as craziness or madness, it is knowing that you’ve got vulnerabilities. You try and work with them. And I think that makes you more receptive to the world and what’s going on.

Tade Thompson scoops this year's Arthur C Clarke Award with Rosewater.

Heads up: Malorie Blackman at the South Bank Centre - coming September.

Warhammer 40K TV show in the works. That'll show 'em what grimdark really is!

The Dark is Rising Sequence (1965 - 1977) by Susan Cooper

The Dark is Rising
The Dark is Rising

I discovered Susan Cooper’s The Dark is Rising Sequence as an adult and immediately loved it. Imagine if one of Blyton’s more adventurous stories tumbled into a cauldron with Garner’s The Weirdstone of Brisingamen and brewed a hybrid offspring. That’s Cooper’s unique voice: at turns cosy and comforting, eerie and vast. Like her golden-eyed Herne, Cooper is a hunter herself, setting traps for the unwary. Enjoying a bit of mild peril on the Cornish riviera, you turn the page and snap – epic fantasy has you in its jaws. Suddenly Cooper’s young heroes are pursuing the Grail itself, unravelling ancient manuscripts, and trying to grasp the fact that they are the only ones who stand in the way of the Dark.

The endless struggle between Light and Dark (read Good and Evil) is the backbone of fantasy. While it would be easy to fall into conventional descriptions of these polar opposites, Cooper’s language is, above all, humanist. Rarely do the creatures of Light and Dark outwardly resemble their nature. The Rider of the Dark is no horned demon, but a man with red hair and blue eyes. Similarly, the Old Ones of the Light come from all nations and walks of life. The one thing that unites Light and Dark is their unflinching dedication to their respective causes no matter who is hurt along the way. This is an important indicator of Cooper’s central argument: that absolute good and absolute evil are inflexible binaries. Neither can inherit the earth. It is why the Drew children, Simon, Jane and Barney, are needed.

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Where to begin with Shirley Jackson?

The Haunting of Hill House

[She's not British, but she is the best. In honour of 'Shirley Jackson Day', we wander across the Atlantic to celebrate one of the true greats.]

Come in! 

‘After you, my dear Alphonse’, as the Jackson story goes. One of my favorites. Mind if I lock the door? Or the draft will push it open. Sit, and let us talk of Shirley Hardie Jackson. Born in the days of radio-soaps and silent movies, she extends her voice past the age of TV and The Bomb. Remember ‘The Bomb'? Sounds like a bad 60's movie. But it chimed a constant note of background anxiety through daily life. A writer like Jackson picked that up, sure as a medium catching spirit-vibes in a horror fantasy.

But you ask, is Jackson a fantasy writer? Good question. Let’s divide fiction’s empire in halves. 'Real world’ narratives where all exists in accord with what we agree is observed. And that step-child dream-land of ghost and shadow: fantasy. Is there a border? Of course. The eye. Fantasy takes place on your side of the eyelid. Reality is out here on our side. Is it always clear where the writer turns the gaze? Easy if you see elves and orcs. But city traffic, phones and rent-bills have their icons within our heads. Consider that stain on the floor. In 'realistic' fiction it is mere chemical memory of blood on old wood. In fantasy it is foreshadowing, giving uneasy recognition. I see a face in the stain, rather like your face.

Have more tea.


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Fantasy Fridays

John Ruskin
The King of the Golden River

A new exhibition at the Wellcome Collection, on the psychology of magic.

And the 'Beasts of London' at the Museum of London.

And a fascinating John Ruskin exhibition in Sheffield.

The Mirror looks at the history and myth of King Arthur.

An encounter with Tolkien.

This year's line-up for the Edinburgh International Book Festival includes 800 events! (And four of them are SF/F!)

...not too late to get your fantasy fix in Dublin for WorldCon though. Or, if you hurry, you can still join us in Bradford this weekend.

Gormenghast by Mervyn Peake (1946-1959)


I am Mervyn Laurence Peake, author of Gormenghast. Ask me anything!

A bit about me. I was born in 1911 in central China. My parent were British missionaries. Alas, their faith did not stick. I was friends with Graham Greene and Dylan Thomas. Missionaries of a very different gospel.

Q: If you were stranded on a desert island, what books would you want with you?

A: "Life is a peninsula", one of my characters says. Ergo death is an island. I'd want the books that life did not allow. The fourth book of my own trilogy: Titus Awake. Never finished. Followed by a gloriously printed (leather bound!) picture book containing my proposed works for a sarcastic exhibition of mock art pieces by Adolf Hitler. The war department turned my proposal down. The fools! Would have been hilarious, in a gruesome way.

Q: You were a successful painter, poet, and playwright. Now remembered for your three Gormenghast novels. Do you consider those books 'fantasy'?

A: If your definition of fantasy requires wizards throwing fire, heroes questing for fairy-queens, then no. But if a vast castle encompassing bizarre peoples and ancient ritual can be considered 'fantastical', for their absurdity, their beauty, their dream-like reality of infinite age and significance... then put Gormenghast on the map between Earthsea and the Shire, just south of Anhk-Morpork.

Q: The Times named you one of the 50 greatest British writers since 1945. What do you cite as your primary influences?

A: I was an artist. I taught life-drawing. Consider that I did illustrations for Alice, for Coleridge, for Stevenson and Grimm. Now consider the strong visual description in Gormenghast, where every stone and trembling ivy-leaf achieves sharp shadow and tone. Conclude that I painted with words using for life-model all that was truly dream-like in fantasy. Not the dragon, but the boy thinking about the dragon. Not the wizard in the tower, but the tower itself. There is nothing quite like Gormenghast in modern fiction. Manners and madmen, old castles and plotting servants: these are common props stored beneath the stage for a thousand fantasy plays. But the tale of Gormenghast is unique.


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BOBF 2019 - Call for Submissions

Mervyn Peake Jabberwock
'The Jabberwock' by Mervyn Peake

The Best of British Fantasy 2019 is now open for submissions.

Please read all the details carefully before sending your work.

The Best of British Fantasy 2019 is scheduled for publication next spring, from NewCon Press. As is the (new) tradition, a 'recommended reading' list will also be published alongside the final selections.

The series also has a companion website at, which will continue to host an ongoing discussion of iconic works of British fantasy, with reviews and reading guides written by authors and fans.

Details on how to submit stories to the anthology and how to contribute to the website are available here.

Finally, please do share this link broadly.

I'm keen to cast a wide net, and have the BoBF series represent the full spectrum of British voices, talents, backgrounds and experiences.