Palgrave Science Fiction and Fantasy: A New Canon

Written not so long after „Tolkien mania“ first gripped the United States in the 1960s, Ursula K. Le Guin's novel A Wizard of Earthsea (1968) has long been recognized as a classic of the fantasy genre, and the series of Earthsea books that followed on it over the next several decades earned its author both considerable sales and critical accolades. This new introduction to the text will closely contextualize the original novel in relation to its heady decade of composition and publication — a momentous time for genre publishing — and also survey the half century and more of scholarship on Earthsea, which has shifted in direction and emphasis many times over the decades, just as surely as Le Guin frequently adjusted her own sails when composing later works set in the fantasy world. Above all, this book positions A Wizard of Earthsea as perhaps an „old text“ that nevertheless belongs in a „new canon,“ a key novel in the author's career and the genre in which it participates, and one that at once looks back to Tolkien and his own antecedents in masculinist early fantasy; looks forward to Le Guin's own continuing feminist and progressive education; and anticipates and indeed helped to shape young adult literature in its contemporary form.

In this comprehensive study of The Stars My Destination, D. Harlan Wilson makes a case for the continued significance of Alfred Bester’s SF masterwork, exploring its distinctive style, influences, intertextuality, affect, and innovation as well as its extensive metafictional properties. In Stars, Bester established himself as a son of the pulp-SF and high-modernist writers that preceded him and a forefather to the New Wave and cyberpunk movements that followed his lead. Wilson’s study depicts Bester as an SF insider as much as an outlier, writing in the spirit of the genre but breaking with the fixation on hard science in favor of psychological interiority, literary experimentation, and adult themes. The book combines close-readings of the novel with broader concerns about contemporary media, technoculture, and the current state of SF itself. In Wilson’s view, SF is a moribund artform, and Stars foresaw the inevitable science fictionalization of our benighted world. With scholarly lucidity and precision, Wilson shows us that Stars pointed the way to what we have (un)become. 

Fantasy author Neil Gaiman’s 1996 novel Neverwhere is not just a marvelous self-contained novel, but a terrifically useful text for introducing students to fantasy as a genre and issues of adaptation. Jeffrey Andrew Weinstock’s briskly written A Critical Companion to Neil Gaiman’s Neverwhere offers an introduction to the work; situates it in relation to the fantasy genre, with attention in particular to the Hero’s Journey, urban fantasy, word play, social critique, and contemporary fantasy trends; and explores it as a case study in transmedial adaptation. The study ends with an interview with Neil Gaiman that addresses the novel and a bibliography of scholarly works on Gaiman.  

The videogame series Mass Effect is a remarkable rarity not only for being an original science-fictional franchise of recent vintage that has risen to such prominent commercial and critical success in popular culture but also for pushing the canonical boundaries of how science fiction as a genre will be experienced and understood in the future. This book analyzes the significance of the game for an understanding of the evolving SF genre and articulates an explanatory framework to limn its landmark reception in videogame history. This book both synthesizes the burgeoning body of scholarship on Mass Effect for a readership unfamiliar with either the game or the critical conversation on its salient importance, while simultaneously, for readers already invested in the science-fiction and videogame scholarship, mounting an extended inquiry as to why Mass Effect has served as such a representative milestone in videogame and genre history. The book should appeal to veteran science-fiction and videogame scholars and students as well as a wide variety of fans, consumers, gamers, and general readers.

This book assesses the work of one of the foundational figures of American fantasy, Peter S. Beagle. Through its focused analysis of  The Last Unicorn,  this study contextualises Beagle’s work in relation to the popularity of the fantasy genre, following its growing success in the aftermath of Tolkien’s  The Lord of the Rings.  In addition, through reference to the film adaptation of  The Last Unicorn  and also Beagle’s other works, this study highlights the author’s longevity and the influence that his metafictional and comedic work has had on contemporary fantasy.