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Showing 1 - 20 of 20 items
By Bertrand Bergeron. 1996
Une première partie traite de l'utilité ethnographique de la menterie sous le titre "Le pacte narratif ou l'institution de la…
menterie". L'auteur nous présente ensuite le répertoire partiel de quatre conteurs traditionnels du Saguenay-Lac-Saint-Jean, aujourd'hui décédés. [SDMBy David Brin, Lois Mcmaster Bujold, Elizabeth Moon, Mercedes Lackey, Chelsea Quinn Yarbro, Todd Mccaffrey, Michael Whelan. 2013
When Anne McCaffrey passed in November 2011, it was not only those closest to her who mourned her death; legions…
of readers also felt the loss deeply. The pioneering science fiction author behind the Dragonriders of Pern® series crafted intricate stories, enthralling worlds, and strong heroines that profoundly impacted the science fiction community and genre.In Dragonwriter, Anne's son and Pern writer Todd McCaffrey collects memories and stories about the beloved author, along with insights into her writing and legacy, from those who knew her best. Nebula Award-winner Elizabeth Moon relates the lessons she learned from Pern's Lessa (and from Lessa's creator); Hugo Award-winner David Brin recalls Anne's steadfast belief that the world to come will be better than the one before; legendary SFF artist Michael Whelan shares (and tells stories about) never-before-published Pern sketches from his archives; and more.Join Anne's co-writers, fellow science fiction authors, family, and friends in remembering her life, and exploring how her mind and pen shaped not only the Weyrs of Pern, but also the literary landscape as we know it.Contributors include: Angelina Adams David Brin David Gerrold John Goodwin Janis Ian Alec Johnson Georgeanne Kennedy Mercedes Lackey Sharon Lee and Steve Miller Lois McMaster Bujold Elizabeth Moon Charlotte Moore Robert Neilson Jody Lynn Nye and Bill Fawcett Robin Roberts Elizabeth Ann Scarborough Wen Spencer Michael Whelan Richard J. Woods Chelsea Quinn YarbroBy Damon Knight. 1977
Culled from the most imaginative and provocative minds of the pas thirty years, these pieces demonstrate the vitality and diversity,…
the excitement and commitment of the writers who helped make science fiction what it is today.By Robert Silverberg. 2010
Presenting acclaimed essays from one of contemporary science fiction's most imaginative wordsmiths, this collection shows that Robert Silverberg's nonfiction is…
as witty and original as his fiction and full of acute observations and matter-of-fact insights. Whether he is discussing science fiction, history, cultural effects, science, or writing, Silverberg is always exploring new territories. As in his fiction, no cultural icon escapes his scrutiny, including fellow writers such as Robert Heinlein, Arthur C. Clarke, H. P. Lovecraft, and Isaac Asimov. Delightfully wicked commentaries on the concepts of thoughtcrimes, space exploration, the ancient Antikythera Computer, and the universal translator in science fiction fill these essays, many of which were originally published as columns in Asimov Science Fiction magazine.By Lawrence Watt-Evans. 2013
Over the years, in a variety of venues, Lawrence Watt-Evans has turned his sharp, analytical, and slightly crazed mind to…
everything from weaponized poetry to why the Enterprise doesn't have seatbelts, and everyone from Jane Austen to Buffy Summers. Collected for the first time are twenty-three of these essays, discussing icons of comic books, television, novels, movies, and much more!By Orson Scott Card, Neal Shusterman, Mary Robinette Kowal, Janis Ian, Aaron Johnston, Eric James Stone. 2013
Experience the thrill of reading Ender's Game all over againGo deeper into the complexities of Orson Scott Card's classic novel…
with science fiction and fantasy writers, YA authors, military strategists, including: Ender prequel series coauthor Aaron Johnston on Ender and the evolution of the child hero. Burn Notice creator Matt Nix on Ender's Game as a guide to life. Hugo award-winning writer Mary Robinette Kowal on how Ender's Game gets away with breaking all the (literary) rules. Retired US Air Force Colonel Tom Ruby on what the military could learn from Ender about leadership. Bestselling YA author Neal Shusterman on the ambivalence toward survival that lies at the heart of Ender's story. Plus pieces by Hilari Bel, John Brown, Mette Ivie Harrison, Janis Ian, Alethea Kontis, David Lubar and Alison S. Myers, John F. Schmitt, Ken Scholes, and Eric James Stone. Also includes never-before-seen content from Orson Scott Card on the writing and evolution of the events in Ender's Game, from the design of Battle School to the mindset of the pilots who sacrificed themselves in humanity's fight against the formics. Hugo and Nebula Awards winner.By Kate Bernheimer. 2015
"All great novels are great fairy tales," wrote Vladimir Nabokov many years ago, and Fairy Tale Review continues to believe…
that all great literary works owe everything to fairy tales. In this issue you will find work represented that draws from the spectacular, old tradition of fairy tales in brilliant new ways. An increased understanding of the precise and incredible fairy-tale techniques, so wonderfully elucidated by the scholar Max Luthi, but expanded, in the aesthetic of Fairy Tale Review, to contemporary literature across the styles and genres, may help resolve the unfortunate schisms that sometimes arise between so-called mainstream and avant-garde writers and critics. In this issue you will find work across so many such borders; some of the writing refers to specific fairy tales, but much of it simply feels like a fairy tale; and how it feels like a fairy tale is through language, through form. Please spread the word that fairy tales are the newest and oldest aesthetic; and they give our lives fearful, beautiful shape. Form is fairy tale, fairy tale is form.By Kate Bernheimer. 2017
The Translucent Issue is a break from tradition. In some ways, colors are an easier, more obvious entry point into…
the world of fairy tales. It is not transparent, and thus never explicit on the page—the Brothers Grimm rarely editorialized—but then again psychology is rarely explicit. It is a partial view, one that permits shape and light, but not clarity, not exactness; it is a half-truth, one that includes what is as often as it includes what could be; it is the fantasy of wish, and the dubious luxury of pretense. Fairy-tale psychology is not clarified through the use of interiority or analysis, but by situation, circumstance. It is illuminated by what is seen and, just as importantly, what is not.By Kate Bernheimer. 2015
Mauve is a new word with old roots. The color's earlier incarnations--Tyrian purple (given for the shade of Roman emperors'…
cloaks) and aniline purple--were abandoned when, to increase the popularity of Perkin's dye, its sellers named the color after a French flower called the mallow. When we consult the dictionary, it tells us that the mallow is a herbaceous plant with hairy stems and pink or purple flowers. Its fruit comes shaped in wedges and so it is nicknamed the cheese plant. Mallows are grown as ornamentals, and mallows are grown as edibles. Some are for looking at, others are for eating. We want this issue to be both--a mallow, a marsh, a cake that defies old proverbs. Gaze at it. Eat it too. Consume, ravage, devour it. Why, go ahead and try it on, walk around in it as long as you like. Either way, we promise you'll look ravishing.By Kate Bernheimer. 2015
The Aquamarine Issue is the fifth anniversary issue of Fairy Tale Review, and is appropriately its most oceanic, its most…
aesthetically diverse, issue to date. Despite this diversity the fairy tale pulse or "feel" is present in each piece in The Aquamarine Issue. What also contains this issue and holds it within the salt palace of tiny sea horses is how the narratives and poems, taken together in here, can be seen to contribute not only to the very important living body of contemporary fairy tales--so nascent and now--but also to the conversation about what constitutes "a fairy tale," that monumental type of art.By Kate Bernheimer. 2015
Fairy Tale Review is an annual literary publication dedicated to publishing new fairy-tale fiction, nonfiction, and poetry. It seeks to…
expand the conversation about fairy tales among practitioners, scholars, and general readers. Contents reflect a diverse spectrum of literary artists working with fairy tales in many languages and styles. In the Emerald Issue, new stories, poems, essays, and artwork is inspired by the themes of "emeralds" and "Oz". In Frank L. Baum's introduction to The Wonderful Wizard of Oz, the author indicates that his story "aspires to being a modernized fairy tale" in opposition to the "historical" stories with all their "horrible and blood-curling incident".By Kate Bernheimer. 2015
"At an early age, children are weaned on the marvelous, and later on they fail to retain a sufficient virginity…
of mind to enjoy fairy tales," Andre Breton wrote in 1924. "There are fairy tales to be written for adults," he continued. "Fairy tales almost blue." Violet flowers are often described as "almost-blue," which is how this color was chosen. This issue of Fairy Tale Review focuses on fairy tales for adults.By Kate Bernheimer. 2015
Brown is the color of the wolf, of the harvest-ravaged farm, of thatched roofs, of cinnamon cake, of autumn, of…
snuff, of wooden boxes (bridal chests, watch cases, humidors, coffins). If ever there was a color more suited to earthly existence, it's the color of earth itself. And earthly existence is at the very heart of fairy tales, despite all the unearthly circumstances depicted.By Kate Bernheimer. 2015
The sheer volume of responses to the first issue of Fairy Tale Review shows that fairy tales continue to be…
one of the most viable art forms. In fairy tales, all things are interdependent, mysteriously and insanely entwined. They contain a deeply ecological world. The Green Issue is devoted to new fairy tales, with a special consideration for nature. The unbridled individualism at work in the literary forms most dominant today devalues the natural world in relation to the human. In fairy tales, the human world and the animal world are collapsed. The collapse remains open to wonder and change. In this way, fairy tales provide the possibility for narratives to shine a different sort of terrible light on the natural world. This world is transparent, imperiled, abstract, and new. In this world, clarity and wonder go hand and hand.By Kate Bernheimer. 2016
Ochre is the color of our earliest stories. It is the color we chose when we wanted to make paintings…
on the walls of caves, in places that never did learn the name of sunlight. By the grace of small fires we etched in ochre; we coughed at the smoke in a confined area but also the absurdity of things we would later call warmth and light and home. Ochre was the color that permeated our lives, slipped into our fingernails, found its way onto all our clothes, our bedspreads, and the skins of lovers. There is evidence of ochre in caves dating back twenty centuries BC: horses and bison and traces of human hands. The places we have touched, tried to remember. Our tongues made middens of ochre even when we couldn’t see. If fairy tales are a language, as Kate Bernheimer argues, then...ochre is the color in which that language must be written.By Kate Bernheimer. 2015
This issue is themed around yellow: the color of my skin, my namesake, the color used to describe four billion…
plus Asians, and this doesn't even account for the diasporic population. Yellow, the color of diseased skin and diseased people. Yellow, the color of aging. All these denigrations contained in one color, none of which actually resemble the color itself. Because yellow is bright. It is electric. It inspires. And the works in this issue are as effulgent as yellow itself, but lurking--as yellow always lurks--is something sinister and bold, the color forcing itself up and out, revealing, transforming. Yellow yields metamorphosis.By Kate Bernheimer. 2015
The Blue Issue is the inaugural issue of Fairy Tale Review. Swiss scholar Max Luthi wrote about fairy tales as…
literary examples of abstract art. The strange quality that Luthi identifies as "firm form" is sparse, flat and depthless as it is wild, weightless and bright. The writing selected for the debut issue of Fairy Tale Review reflects this quality in a multitude of ways. The work in here is not beholden to any particular school of writing. Rather, each contribution uniquely dovetails with the aesthetics and motifs of fairy tales.By Kate Bernheimer. 2015
When we speak of grey as a location, placing a thing into a grey area, the color represents territory where…
the definite becomes lost. Grey lets us know that the truth is not always clear; even the most well-known paths can turn strange when a low grey cloud of fog rolls in. Grey is an act of subtraction, the loss of sun, joy, and color. Regrets are the natural property of grey hairs, said Dickens. Since grey is a symbol for the loss of youth, it seems a fitting issue for a theme about youth who are lost. Getting lost is one of the most widely used narrative vehicles of all time. Once characters become lost, they can stumble upon anything--it's a light-speed bullet train between credibility and suspension of disbelief. Falling down a rabbit hole or stepping off the trail in a labyrinthine wood can transport a character to another world entirely in a manner of seconds. When a protagonist starts to get lost, something exciting is about to happen.By Damien Broderick. 2001
The dark magic of the far future... Science is there in the background: the Age of Man is over, much…
like the Age of Great Reptiles... Brian W. Aldiss Deep time: the ultimate frontier, tomorrow's most romantic landscape. Our sun is a vast, sullen wheel hanging at the horizon. Beings walk the dying world in its red light, but few are human. Robots return from the edges of the galaxy to mourn their lost ancestors. Mages weave plots, their science so advanced it is indistinguishable from magic. In the vastness of eternity, Earth is but a star. Only science fantasy knows the paths into this wondrous realm. A remarkable blend of myth, science and pure dark imagination, science fantasy is a genre still little known to science fiction enthusiasts or critics. Here, for the first time, many of its key tales are gathered, together with new essays that illuminate their strange power--and provide a treasury of superb, unusual entertainment. Damien Broderick is Australia's premier critic and anthologist of science fiction, and an award-winning novelist. He is Senior Fellow, Department of English and Cultural Studies, University of Melbourne. Contributors Brian W. Aldiss Poul Anderson Michael Andre-Driussi Stephen Baxter Elizabeth Billinger Russell Blackford Claire Brialey Damien Broderick John Brunner C. J. Cherryh Arthur C. Clarke John Clute Bruce Gillespie Stanislaw Lem Rosaleen Love Walter Minkel Yvonne Rousseau Anders Sandberg Robert Silverberg Brian Stableford Olaf Stapledon Alice Turner Jack Vance Paul Voermans A. E. van Vogt Jo Walton Robert Moore Williams Gene Wolfe George Zebrowski Pamela ZolineBy Kate Zambreno. 2019
Best Book of 2019: Nylon, Domino, Bustle, Book Riot, Buzzfeed, Vol. 1 BrooklynA new work equal parts observational micro-fiction and…
cultural criticism reflecting on the dailiness of life as a woman and writer, on fame and failure, aging and art, from the acclaimed author of Heroines, Green Girl, and O Fallen Angel.In the first half of Kate Zambreno’s astoundingly original collection Screen Tests, the narrator regales us with incisive and witty swatches from a life lived inside a brilliant mind, meditating on aging and vanity, fame and failure, writing and writers, along with portraits of everyone from Susan Sontag to Amal Clooney, Maurice Blanchot to Louise Brooks. The series of essays that follow, on figures central to Zambreno’s thinking, including Kathy Acker, David Wojnarowicz, and Barbara Loden, are manifestoes about art, that ingeniously intersect and chime with the stories that came before them."If Thomas Bernhard's and Fleur Jaeggy's work had a charming, slightly misanthropic baby—with Diane Arbus as nanny—it would be Screen Tests. Kate Zambreno turns her precise and meditative pen toward a series of short fictions that are anything but small. The result is a very funny, utterly original look at cultural figures and tropes and what it means to be a human looking at humans.”—Amber Sparks“In Screen Tests, a voice who both is and is not the author picks up a thread and follows it wherever it leads, leaping from one thread to another without quite letting go, creating a delicate and ephemeral and wonderful portrait of how a particular mind functions. Call them stories (after Lydia Davis), reports (after Gerald Murnane), or screen tests (inventing a new genre altogether like Antoine Volodine). These are marvelously fugitive pieces, carefully composed while giving the impression of being effortless, with a quite lovely Calvino-esque lightness, that are a joy to try to keep up with.”—Brian Evenson