I love fantasy literature, because it's the what-if literature of the human spirit. Magic animates fantasy, and in the real world, magic is difficult to define; it lies somewhere on the border of the unconscious mind, the lore of our grandparents, scientific hypothesis, what the priest tells us, and what we see in social groups other than our own. In recent decades, much fantasy literature has walked away from portrayals of real-world magic, replacing it with synthetic and sterile creations euphemistically called “hard magic.” Hard magic has the form of magic, but lacks the power thereof. These books are all strong inoculations against the scourge of hard magic.
It’s the depths of the Depression, and a mining town in Utah is shut down. Something has awakened underground, and now a monster roams the tunnels. While contentious owners squabble, poor worker families go hungry. Along comes Hiram Woolley. Hiram is a man with mystical abilities derived from the commonsense application of Scots-Irish folk wisdom and German braucher magic. He possesses an arcane Bloodstone that allows him to see a lie the moment it is spoken.
Behind the played-out farms and failed businesses are demons, curses, sorcerers, and unatoned wrongs. Bags of groceries and carpentry won’t be enough this time. The job will take a man who has known sorrow. A man who has known war. A man of wisdom. A man of magic. A cunning man.
Wellman roots the adventures of his hero, Korean War vet John “the Balladeer,” in Appalachian folktale and folk customs. His hero battles strange old evils in the mountains with his faith, his traditional American folk magic (he carried a copy of The Long Lost Friend), and the evil-repelling silver of his guitar strings. Silver John was a major influence on our hero in The Cunning Man, Hiram Woolley.
Drake’s old Nathan is explicitly identified as a “cunning man” throughout these tales. Inspired by Wellman’s Silver John, Old Nathan is a predecessor, an Appalachian wizard in the late 1700s and early 1800s, using real-world folk magic to ward off curses, heal wounds, and otherwise battle evil. Like Silver John and Hiram Woolley, Old Nathan is a war veteran—a veteran of the Revolutionary War. Nathan’s war wounds left him crippled and pulled aside from ordinary life, turning him into the course of becoming a magician.
FIFTH YEARS AFTER THE AMERICAN REVOLUTION, MAGIC IS LOOSE IN THE BACKWOODS
The forces of evil are poised to prey on the folk of the hamlets and hollows: witches, demons, and red-handed men—but first they'll have to overcome Old Nathan the Wizard.
He doesn't claim much for his magical powers, but they're real enough for what they are—and besides, he hasn't forgotten how to use his long flintlock rifle ....
Enter the gritty, realistic world of Old Nathan, a backwoodsman who talks to animals and says he'll face The Devil himself-and who in the end will have to face The…
My list isn't about Americana, it’s a list about real-world magic. Clarke’s Strange and Norell fall apart over the nature of what is proper English magic as that magic is returning to the world. The specific issue on which they split is fairies, who can be a source of great power, but who are also mysterious and unpredictable. This idea has roots in actual historical English magic, and brings us again to the cunning folk, many of whom were said to work with familiar spirits… but when courts of law investigated these familiar spirits, it was never clear whether they were fairies, angels, the spirits of the dead, or something else entirely.
Two magicians shall appear in England. The first shall fear me; the second shall long to behold me The year is 1806. England is beleaguered by the long war with Napoleon, and centuries have passed since practical magicians faded into the nation's past. But scholars of this glorious history discover that one remains: the reclusive Mr Norrell whose displays of magic send a thrill through the country. Proceeding to London, he raises a beautiful woman from the dead and summons an army of ghostly ships to terrify the French. Yet the cautious, fussy Norrell is challenged by the emergence of…
If you know Hellboy only from the movies, you’re seeing a very limited image of the character and his adventures. Hellboy has many roots (pulp sci fi and crimefighter stories, superhero tales, Lovecraft’s mythos), but one of his earliest is in real world magic and folktale. We see this in his encounters with Baba Yaga, Hecate, and others, but also in his battle fairy creatures that are vulnerable to unforged iron.
Since Mike Mignola's Hellboy first hit the stands in 1993, it has become a cultural sensation, racking up a dozen Eisner Awards and inspiring numerous spinoffs, from a novel line, to video games, to feature films. Now, Dark Horse is pleased to present the comics that started it all, collected in deluxe hardcover editions. Sized at 9" by 12", and handsomely bound to match The Art of Hellboy hardcover, each volume contains two full story-arcs - the equivalent of two trade-paperbacks. Each volume of the Hellboy Library Editions also includes extensive supplemental materials, including previously unreleased sketches and designs.
Compared to fantasy novels since, Tolkien’s masterpiece seems to have less flashy magic (it’s light on fireballs and teleportation spells, both of which might have made the trip to Mordor considerably easier). That’s because Tolkien’s magic is, with a light touch, rooted in the magical traditions of the real world. When Gandalf confronts the Balrog, he doesn’t cast a forcefield spell, he reminds the Balrog of their respective esoteric identities (“You cannot pass. I am a servant of the Secret Fire, wielder of the flame of Anor. You cannot pass. The dark fire will not avail you, flame of Udûn. Go back to the Shadow! You cannot pass.”). And when Aragorn tends to the wounded in Gondor, he does so with a long-forgotten herb and a bit of doggerel.
One Ring to rule them all, One Ring to find them, One Ring to bring them all and in the darkness bind them
In ancient times the Rings of Power were crafted by the Elven-smiths, and Sauron, the Dark Lord, forged the One Ring, filling it with his own power so that he could rule all others. But the One Ring was taken from him, and though he sought it throughout Middle-earth, it remained lost to him. After many ages it fell by chance into the hands of the hobbit Bilbo Baggins.
I am a freelance writer from Winnipeg, Manitoba, Canada, specializing in media history and speculative fiction. I have been enchanted by animation since childhood and followed many series avidly through adulthood. My viewing inspired my MA thesis on the history of animation, out of which grew two books on the history and theory of animation on television, America 'Toons In: A History of Television Animation (available from McFarland and Co.) and The Encyclopedia of American Animated Television Shows (available from Rowman and Littlefield). Hopefully, others will follow.
Jefferson Ball, the mightiest female dog in a universe of the same, is, despite her anti-heroic behavior, intent on keeping her legacy as an athlete and adventurer intact. So, when female teenage robot Jody Ryder inadvertently angers her by smashing her high school records, Jefferson is intent on proving her superiority by outmuscling the robot in a not-so-fair fight. Not wanting to seem like a coward, and eager to end her enemy's trash talking, Jody agrees.
However, they have been lured to fight each other by circumstances beyond their control. Which are intent on destroying them if they don't destroy each other in combat first...
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