“Best of” Lists: The Greatest, the Essential and Personal Favorites

So, TIME Magazine is the latest publication to release its list of “The Best Fantasy Novels of All Time.” The magazine even went further than Forbes and known fan sites (and critics) and had a panel consisting of leading fantasy authors to form, to vote, and to finalize their “selections.” While this list is impressive with selections ranging across centuries, age groups and cultures, you are left wondering whether or not this list is more of the panel’s “favorites” and/or “suggestions” than the “best of all time.” Now, I’m NOT insulting the panel! In fact, this panel did an excellent job with including books that were released within the last decade by P.O.C. authors; not to mention, some of the books on the list are meant for readers “of a certain age” (children and young adult), but can be read and enjoyed by fans and readers of all ages. So, why are so many fantasy fans upset with this list? And, why do I feel that this list is still lacking some other great books? This is my opinion, but I’m impressed and perplexed by this list, and other ones from recent years. 

            What do I mean by this? First and foremost, it seems that some of the same titles and/or authors do appear on all of these lists (i.e. Forbes, Unbound Worlds, etc.). This is a good thing because it means certain books have the same level of merit across fans, readers, authors and critics. However, certain titles end up on certain lists which makes you wonder how they made that list. And then, there are titles (and even certain subgenres and formats) that are omitted from those lists, which leaves you wondering whether or not those titles were considered (or read) by those on the panel. Once this realization is made, these lists become nothing more than a “how many have you read?” list.

            Then, there is another question: is this supposed to be a list of “essential” reads? In this case, the answer is NO. There are lists of “essential fantasy books ‘every fan’ should read” and lists of recommendations. Note the difference between the former and the latter. The former is a list of books fans “should have” read, almost like assigned school readings. The latter is a list of books you may or may not enjoy, but should consider reading anyway. And, that’s the issue surrounding all of these lists. When you look over all of these lists and note which books continue to make them, you wonder whether or not those books are “essential” to the genre. When you read the history of the genre (and, there are several books on them, some of which I own and I have read), many of those books played a huge role in formulating the fantasy genre. Yet, fantasy, like imagination, is not a “fixed” concept. Eventually, readers decide to write “new” fantasy stories that allow for new worlds to be presented and for new fans to emerge. In fact, one of the things I like about TIME Magazine’s list is that 63 of the books were published and released within the last 30 years. That’s right, the list is in chronological order, so you can see how much the genre has changed and expanded during the last 3 decades. It’s an interesting homage to how quickly the genre has expanded. Then again, some titles are left off the list.

            As a bookblogger, I read and I review books encouraging other readers to read them. There are so many books to read. And, while I don’t always get to finish reading certain books when I want to, and I read faster than I write, I take the time to mention all of the positives and the negatives within a book review. Meanwhile, I read reviews and I watch videos about books by other bookbloggers and Booktubers so I can learn whether or not books on my list should be read sooner rather than later, and whether or not we have the same thoughts for the same books. At the same time, these reviews are recommendations for other fans and readers. I don’t expect readers to enjoy the same books I do, and I’m not insisting that they should. This doesn’t mean I don’t look into books other fans and readers suggest, it’s how I ended up reading certain books no matter its genre. 

            Some of those books were not mentioned in TIME Magazine’s list. No graphic novels and no novellas or short stories were on the list. And, the grimdark and the witches subgenres were omitted. I’m not sure if any of those titles made the initial list, but it does make me wonder if we’re starting to limit what consists of “good” fantasy books. Yes, a few translated books made it on to TIME Magazine’s list, but I’m going to say that some works written by either Australian or indie authors should have been considered as well. Are we slowly becoming like Tom Shippey and Robert Silverberg (which is sort of scary)? So, are all books within the fantasy genre being considered? Should we be reading more of what is available BEFORE compiling such a list?

            Obviously, one cannot read all of the books within a genre, but all titles and all formats should be considered for a “best of all time” list. Yes, some titles will always end up on the list, but what about the other books? Think about your favorite books. Now, think about your favorite fantasy books. If we were to compare our lists, then we would expect to have some similar and some different books. In fact, my list is always changing. Some books will always be appealing to me, and others will fall off of that list. Who is to say that within the next 5-10 years this list will be exactly the same? If fantasy continues to expand as a genre, then I hope the list does alter, continuously, overtime. 

            In 2018, V.E. Schwab delivered the 6th annual J.R.R. Tolkien Lecture on Fantasy Literature. Her lecture titled—“In Search of Doors”—she mentioned (and, I’m paraphrasing here) that just because one author made you a reader doesn’t mean that book should become “required reading.” Everyone has that one book which made them a reader; but, they’ve read more than one book, right? V.E. Schwab discusses what led her to write the stories she’s written, too; and, it’s simple. She was sick of reading the same sort of fantasy story over and over again. And, that’s what makes TIME Magazine’s list stand out from previous ones. Several of these stories move away from familiar fantasy tropes and are still amazing and well-written stories, which should be read. However, if any of those books don’t capture your attention enough to want to read them, then don’t feel obligated to do so. 

            I’m not going to nit-pick the genre or this list because I don’t have the time to start all of the never-ending debates that would come from it. Also, I still haven’t read all of the books on this list! For now, like the rest of the fandom, I’ll consider what should be included or excluded from the “best fantasy books of all time” list. I’ll keep reading the books as they are released, and I will offer my critical thoughts on each book. And, hopefully, whoever does the next list considers including me on the panel. I believe I could shake things up. Which books should you read next? Well, tell me the sort of story you enjoy and I will give you a suggestion or two (or three)!

Adult Fantasy: Is There Such a Thing?

Video games, graphic novels and comic books and manga, and fantasy literature continue to share the same criticism from those who are neither fans nor creators: they are for children and/or they have no place in a classroom or in an academic setting. The fact that such notions continue to be made is a disconcerting atrocity; and yet, hip-hop continues to gain recognition and acclaim for its role in the music industry and in the rest of society. Pop culture is what it is, popular culture, but there is a difference between an ephemeral fad and a transcendent impact. All of these genres of various entertainment have succeeded in being true art forms, although there are some who continue to ignore the value of these works and what they mean to the fandom and the creators.  

            In the weekend edition of The Wall Street Journal for July 18-19, 2020, there was a review in the Books section of The Nine Realms tetralogy by Sarah Kozloff. I read and reviewed all of the books in the series—both on my blog and for Fantasy-Faction—and, they are worth reading. However, the author of the review had more things to say other than praise for the book series. 

            During that same weekend, I learned of the review due to all of the retweets about what the author said about the series in relation to his personal feelings about the fantasy genre. I noticed that several authors, bookbloggers, and readers were angry by what was written in the review. Even one of the authors stated they were going to cancel their upcoming interview they had with The Wall Street Journal. Then, I saw who wrote the article. It took some time, but I found myself as annoyed as everyone else eventually. And, I’m still annoyed.

            Tom Shippey, the world-renowned Tolkien scholar, should be ashamed of himself. Writers, creators and fans of fantasy and other genres in speculative fiction have minimal expectations of The Wall Street Journal publishing anything with an open mind else besides economics. Yet, Tom Shippey presented a negative nostalgia of the fantasy genre, also known as stagnation. After everything Shippey has said about Tolkien taking fantasy to new heights—even though that wasn’t Tolkien’s intent—while writing the sort of tales he wanted to read himself, Shippey’s statement about The Nine Realms is an insult to Tolkien’s legacy—including all of the authors that were influenced by Tolkien—but an insult to Sarah Kozloff in which Shippey seemed to use in order to publicize his viewpoints about the genre. As a fan of The Nine Realms, the author deserves more praise than from someone who has been searching for Tolkien. Not only stating that “fantasy has grown up,” but also calling Tor a “sci-fi publisher” tells me that the quest for “adult fantasy” has managed to overlook Robert Jordan, Robin Hobb and Brandon Sanderson amongst numerous other authors as contributors to the genre. 

            The problem with Tom Shippey’s statements regarding fantasy is that after spending years discussing Tolkien, he neglects to recognize all of the fantasy works that came after Tolkien. Not to mention, Shippey made it sound like the genre has not made ANY progress since the publication of The Silmarillion in 1977. His beliefs on the genre demonstrate how other people—those in the out-group—continue to view fantasy as “kid’s stuff,” but to have a Tolkien scholar categorize which fantasy work is “adult fantasy” because that story reflects Tolkien’s “fantasy,” which Shippey spent his entire career hanging on to instead of admitting that the genre has continued to expand, to evolve, and to go beyond everyone else’s expectations. To say that Shippey is “missing out” on what “adult” fantasy has become would be a huge understatement. 

            Although fantasy continues to evolve and to be read by fans ubiquitously, the genre continues to receive harsh criticism, especially when compared to both horror and science fiction. Fantasy has gained more recognition because of the success of movies, television and video games, but to have the genre get identified based on age group adds another layer of prejudice to a genre whose progress remains unrecognized. People are willing to watch it and/or to play it, but reading fantasy remains to be an issue that needs to be addressed constantly. So, this all goes back to literature and answering the age-old question: Who reads this?

            Fantasy, or “myths for adults,” has been around since the beginning of humanity, going back to oral tradition. Even now, myths, legends and other folklore continue to entertain us through all styles and formats. Fairy tales are told and watched, movies allow actors and actresses to become those characters, graphic novels and manga and comics present non-stop illustrations, and video games give players an immersive experience. How is wanting to explore another world different from space travel and/or escaping from a haunted domain? Is it because space travel have become a reality? Is it because we all know what it feels like to experience fear no matter where an individual is? Maybe the issue with fantasy is that it remains open to interpretation. Maybe your personal fantasy world doesn’t match mine. Maybe, you wish to attend Camp Half-Blood over the Convent of Sweet Mercy. Or, you wish to go further and create your own fantasy world and share it with others who share your imagination and curiosity, like Tolkien did then, and what N.K. Jemisin, Neil Gaiman and M.L. Wang continue to do now. 

            As for the concept of “adult,” “children’s,” and “YA” fantasy, we should refer to J.R.R. Tolkien and some of his critical essays. Tolkien was a professor of Anglo-Saxon literature at Oxford University—alongside C.S. Lewis—whose edition of Beowulf and Sir Gawain and the Green Knight are still considered to be some of the “preferred” translations by (some) scholars. Maybe if Shippey recalled Tolkien’s professional works as much as his creative works, then maybe he would have remembered one essay of his in particular. 

            J.R.R. Tolkien wrote On Fairy Stories, and in the essay, he states, “the association of children and fairy-stories is an accident of our domestic history,” and “only some children, and some adults, have any special taste for them…it is a taste, too…one that does not decrease but increases with age, if it is innate.” In other words, if children do not show any interest in fairy tales, then they are not interested in them at all. If an individual is interested in those stories as a child, then do not assume that they will outgrow that interest as an adult. Hence, this is why Doctor Who and James Bond have been around for over 50 years! And before you quote that infamous line from 1 Corinthians 13, remember Tolkien was a devout Catholic who created his own fantasy world and inspired millions! Yet, similar to comics, superheroes, animation and fairy tales, fantasy continues to be criticized as being “too silly for adults” and labelled for children. 

            Yes, Disney altered our perspectives of how fairy tales are told, but the studio continues to water (most of) them down. Only the young readers with enough curiosity and imagination will search for the older (and the more violent and the more tragic) variants collected by the Grimm Brothers, those written by Hans Christian Andersen, and others. Nowadays, those children can read Harry Potter and Alanna of Trebond alongside the books written by Rick Riordan and Holly Black as adolescents. Afterwards, as adults, they can read the stories written by Naomi Novik, Katherine Arden and Neil Gaiman. Then, they can (and will) read all of the “adult fantasy” that is not based on folklore directly. As for the maturity content found within (most) adult fantasy, let me put it this way: Shakespeare is required reading in many secondary schools, and many of the plays that are read and/or performed tend to be from the “tragedies” catalog, not the “histories” or the “comedies.” And yes, I just brought up Shakespeare in an essay about Tolkien! Deal with it!

            Tom Shippey is one of the most informed Tolkien scholars, but his knowledge and his interests are limited to Tolkien. The Wall Street Journal tries and fails, constantly, to present insight into other topics besides economics. The newspaper has more than enough resources to gather authors and scholars of the fantasy genre, but wish to limit themselves by delivering something that reflects American society from the 1960s. Jack Zipes and Elizabeth Tucker are prime examples of scholars of folklore and children’s stories. If you want to discuss how much video games have evolved, then read what Frans Mäyrä, Nick Yee, Mia Consalvo, and other game studies scholars have to say and what they have researched. As for scholars of fantasy literature, you can start with Edward James, Farah Mendlesohn and Nnedi Okorafor.

            Ironically, this essay was written and posted during Worldcon 2020, which presents the Hugo Awards to authors in recognition of their achievements in science fiction or fantasy works for (mostly) adult readers and are chosen by its (adult) members. As I await the announcement of the winners, I’ll be reading N.K. Jemisin, Seanan McGuire, S.A. Chakraborty, John Gwynne and other authors of “adult fantasy.” If either Tom Shippey or The Wall Street Journal are interested, then I can offer a galaxy of books for you to choose from; and, you will find them all to be magical and extraordinary. 

            The peculiar quality of the “joy” in successful Fantasy can thus be explained as a sudden glimpse of the underlying reality or truth. It is not only a “consolation” for the sorrow of this world, but a satisfaction, and an answer to that question, “Is it true?” The answer to this question that I gave at first was (quite rightly), “If you have built your little world well, yes: it is true in that world.”

—J.R.R. Tolkien, On Fairy Stories, Epilogue

Review of Season One of “His Dark Materials”

Season one of His Dark Materials, based on The Northern Lights/The Golden Compass by Philip Pullman has completed its run on the BBC and on HBO, and they didn’t alter the ending! Overall, season one was a great adaptation to the books and some of the “fillers” worked well for the narrative that was presented to the audience. Readers got to enjoy scenes that were denied to them from the 2007 movie and viewers were able to grasp the demeanor of all of the characters thanks to both the actors’ portrayals of the characters and the “fillers” which were added for additional context. 

            It should be mentioned that the TV mini-series was a better adaptation than the movie, but this is due to the fact that neither the studios, nor the test audience (these are based on rumors, which have circulated over and over again) interfered with the editing of the series. The order of the events presented matched the way they occurred in the books, the “true” ending of season one ended the way it does in the books, and the revelations of what was happening to the missing children weren’t glossed over. Yes, the movie did get a lot of things right, and those were repeated in the series, but the TV series is more in tandem with the books.

            The issues I have with the series so far should be mentioned as well. First, is the aging up of some of the younger characters. Lyra, Roger, and Billy were all close to the age of the characters they portrayed (between 10 and 12 years-old), but Will Parry was aged up to 15 years-old (he’s around 12-13 years-old when readers first meet him). I want to say this was because of the age of the actor who is portraying Will, but it’s difficult to determine whether or not this is the case. Yes, there have been some cases in which the age of the character(s) have been altered due to the actors that play them, but there have been even more examples of when it’s happened because the studio(s) believe it’ll make the narrative “more believable.” If it’s the former, then I have no complaint; but if it’s the latter, then they should stop making it so obvious. 

            Next, were the ways the proximity of daemons were presented to the viewers. While in the books, it is unclear what the actual distance a human can be “away” from their daemon, it is clear that the proximity has to be very close in order for human and daemon to maintain their bond and their lives. However, there are moments when the proximity is unclear and that is due to the way some of daemons are presented. Sometimes they are far enough for the individual not to experience pain, and then they are so far away that you wonder whether or not they could be similar to a witch’s daemon. I hope the network and the studio corrects this misconception for season two because it became very confusing between each episode. 

            Last, was the way Dust is presented throughout the season. The mystery of Dust was portrayed better than the knowledge of it. The explanation provided in the season finale is straight from the books, but the “danger” of someone outside of Jordan College and the Magisterium having knowledge of what Dust is—which, was presented better in the movie—wasn’t demonstrated in the series the way it should have been, in my opinion. Then again, Dust is supposed to be remain a mystery throughout the series until the end. 

            Besides the casting and the special effects, there were several things that I enjoyed about season one from the titles of the episodes—based on chapters in the books—to the way the parental figures were portrayed in the series. Presenting both Mrs. Coulter and Mrs. Parry as “damaged” individuals who try to balance their demeanor with their desire to be mothers to their children was presented extremely well. The issue of succession and power amongst the panserbjørne and the Magisterium—which, are both essential to the plot of the story—were presented (with the details given throughout the books) with the hypocrisy immensely. And, the motives of Lord Asriel and his reasons for doing everything he does comes back full circle. Lord Asriel is what keeps the narrative moving along and the series makes sure that the viewers do not forget it. Yet, it was Ruth Wilson’s portrayal of Mrs. Coulter that grasped the viewers’ attention the most. 

            Overall, season one of His Dark Materials was the adaptation fans of the books waited for patiently, and the wait was worth it. All of the details that were omitted from the 2007 movie were included, the pacing matched the books and were appropriate for a TV mini-series, and the inclusion of source material from other books in the Philip Pullman’s universe—both The Book of Dust and The Subtle Knife—enriched the narrative more than expected and it worked well for the audience, both readers and viewers. Season two was announced by the BBC (with HBO promising to continue showing the series in the U.S.), which is great because this news is what book fans have been waiting for the most! The adaptation of The Subtle Knife will not only continue Lyra’s story, but also continue the narrative from the multiple cliffhangers this time around. Yes, the books should be read, but knowing that the mini-series will continue makes book fans as excited as the viewers more than anyone else can imagine! 

If you want the reviews of each episode, then you can click on each of the episode titles below:

S1, Ep.1: Lyra’s Jordan

S1, Ep. 2: The Idea of North

S1, Ep. 3: The Spies

S1, Ep. 4: Armour

S1, Ep. 5: The Lost Boy

S1, Ep. 6: The Daemon-Cages

S1, Ep. 7: The Fight to the Death

S1, Ep. 8: Betrayal

My Rating: 8.5 out of 10! 

TV Episode Review: “His Dark Materials: Armour”

This is the episode everyone has been waiting for! Armour is the episode in which, the audience is introduced to Lee Scoresby—played by Lin-Manuel Miranda—and Iorek Byrnison—voiced by Joe Tandberg. These characters are not only essential to the story because of the roles they’ll play in the future, but also because they explain more about the existence of daemons for more clarity. Viewers of the 2007 movie will see these characters portrayed differently; and, readers will rejoice at this faithfulness to the books. 

            Lyra Belaqua and the Gyptians arrive North at a port in order to stock up on supplies for the journey and to contact the Witches—including one named Serafina Pekkala—to ask for their alliance in getting the children back from the Gobblers. These are the scenes in which the other characters, and the audience, witness how Lyra uses and reads the alethiometer. Lyra’s abilities to read the alethiometer and the truth of her parentage has started to catch the attention of Mrs. Coulter, the Gyptians, the Witches’ Council, and the Magisterium. The audience will recall that the Master of Jordan College discovered something about Lyra, and he was trying his best to keep her safe to the extent (and the extremes) of his status. 

            Meanwhile, Mrs. Coulter continues to demonstrate her cunningness and her abilities as a power player within the Magisterium. She knows her previous actions went against their instructions and the law, but Mrs. Coulter manages to evade them because she’s already a few steps ahead of the Magisterium. She has made an alliance with the King of the Armoured Bears—yes, I’m using the British English spelling for this review—and they have someone both she, and the Magisterium, want.   

            Once again, these scenes are straight from the books with the exception of the bar fights. That scene was meant to present the demeanor and the skills Lee Scoresby has and what that means for the Gyptians as they continue their journey further North. Iorek Byrnison is presented to us as Armoured Bears are supposed to be; he’s a strong and fearless fighter, and he isn’t afraid to let everyone know. The Gyptians have the alliance of the Witches and Lyra manages to gain the alliance of both of these fighters for the rescue mission. The rescue party has assembled, and they are off to save the missing children. 

            Just like other media adaptations in recent years, we’ve seen actors transcend from one popular media series to another. So far, we’ve seen Narnia, X-Men, and Game of Thrones. This episode has a character from the Harry Potter movies. Do you know who it is? Did you recognize that individual in the role they were playing?  

My Rating: 10 out of 10

Why You Need to Read: “The Ten Thousand Doors of January”

The Ten Thousand Doors of January

By: Alix E. Harrow

Published: September 10, 2019

Genre: Fantasy, Historical Fiction, Coming-of-Age

            I almost didn’t notice the Door at all. All Doors are like that, half-shadowed and sideways until someone looks at them in just the right way, (1, The Blue Door). 

            Portal fantasies are one of the many subgenres in fantasy fiction, going back to the emergence of the genre. Popular portal fantasies include: C.S. Lewis’ The Chronicles of Narnia, L. Frank Baum’s Oz series, Philip Pullman’s His Dark Materials, and—more recently—the Wayward Children series by Seanan McGuire and Shades of Magic by V.E. Schwab. Academic scholar Farah Mendlesohn defines portal fantasy as, “a fantastic world entered through a portal,” (xix). Note how the definition does NOT state that it has to be “our” world. Alix E. Harrow, author of The Ten Thousand Doors of January and recent Hugo Award recipient for Best Short Story—“A Witch’s Guide to Escape: A Practical Compendium of Portal Fantasies”—reminds readers that portal fantasies can lead from one world to our world (planet: Earth, galaxy: Milky Way).  

            January Scaller is our protagonist. She tells her story of growing up in Vermont at the start of the twentieth century. January is the ward of Mr. William Cornelius Locke, a billionaire and an archaeologist. Her mother is deceased and her father, Julian Scaller, is a scholar who is employed by Mr. Locke to search for and to collect artifacts for him. Throughout her childhood, she’s kept under Mr. Locke’s watchful eye with only her childhood friend, Samuel Zappia; her father’s appointed guardian for her, Jane Irimu; and, her dog, Sindbad. January doesn’t know much of what is happening around her, until the day before her 17th birthday when she finds a leather-bound book titled: The Ten Thousand Doors. That book introduces January (and readers) to Adelaide Lee Larson—a woman born during the Reconstruction Era—and, to Yule Ian Scholar—a man from the City of Nin in the year 6908, who is the author of the book January finds—and their encounters with Doors and each other. Both Adelaide and Yule Ian have different experiences surrounding Doors, and January—who shares the same curiosity as them—learns more about these other worlds through them. However, this book reveals the truth of her father’s “work” as well as Mr. Locke’s “intentions” for her. From there, January discovers and uses this information to break away from her guardians and to repair the damage that’s been stricken to her loved ones. January’s coming-of-age story stands out more than other ones I’ve read recently; and, I couldn’t stop learning along with her. 

            The plot in the novel surrounds January Scaller’s unique upbringing. Because her father travels around the world while working for Mr. Locke, January was always left behind. And yet, January had tutors and would travel to places around the world with Mr. Locke; not to mention, Mr. Locke disapproved of January’s companions. It’s as if Mr. Locke is afraid to have January out of his sight. Throughout her childhood, January is Mr. Locke’s “good girl,” but longs for her father’s affections. This comes to an end when 3 events happen around and on January’s 17th birthday: her father disappears, she finds The Ten Thousand Doors, and she learns of Mr. Locke’s plans for her life. From there, January must find a way to escape her guardians and discover the truth surrounding Doors and her father’s connection to them. There are 2 subplots in this novel. First, is the story of Adelaide and Yule Ian and their discoveries about Doors and other worlds. Second, is the way January, Samuel, and Jane survive in a society that is dominated by wealthy, Caucasian males who do all they can to control other people. The subplots are intertwined with the plot, and everything comes together, slowly; yet, the pace of the development fits the story the author is telling. 

            The narrative in The Ten Thousand Doors of January consist of 3 different points-of-view: January Scaller, Adelaide Lee Larson, and Yule Ian Scholar. The entire novel—except for the Epilogue—is told in flashback. January’s narrative is told in the past tense in stream-of-consciousness, Adelaide’s narrative is written as a biography, and Yule Ian’s narrative is written as a journal. The sequence of these narratives takes some getting used to but, readers will be able to follow along after the first few chapters. Readers are led to believe that all of the narrators are reliable because the story is told from their P.O.V.s. 

            The way Alix E. Harrow tells her story is a combination of “tradition” with allusion alongside history. In the “tradition” of portal fantasy, “‘the journey’ serves to divorce the protagonists from the world,” (Mendlesohn 7). In other words, the protagonist must separate themselves from their “home” world and travel to another world. In this novel, several worlds are mentioned and traveled to, but there is a strong hint (the title) that there are a lot more. In terms of allusion, the names January and Sindbad, Locke and Scholar are not given by accident. These names serve as epithets to the story being told. The mood is oppression and the tone is escapism. In the midst of the novel is the setting. January turns 17 in 1911. During this time, racism, sexism, and imperialism were practiced throughout the world. January, Julian, Samuel, and Jane are victims of these societal practices. The author uses our history to explain why some individuals would desire either to leave, or to travel to our world. If someone who was suffering under the societal hierarchy was given a chance to live elsewhere, then who is to say that they shouldn’t take the opportunity? The author wants readers to question the existence of other worlds. 

            This novel will appeal to fans of fantasy, especially portal fantasies. The Ten Thousand Doors of January is a reminder that adults can travel to other worlds as well as children. This is a standalone novel, so there is a chance that it could fall behind in the popularity of similar books that are in a series. Yet, because this novel explains the concept of other worlds in existence (not just one), I believe this novel will be read and enjoyed by many readers. Plus, the author just won a Hugo, so I doubt this book will ever fade from popularity. 

            The Ten Thousand Doors of January is a beautiful debut novel about other worlds, love, and sacrifice. It does take a while for the story to pick up, but once it does, readers will learn about other and new worlds that never crossed their minds. The protagonist grows from a suppressed and isolated individual to a world trotter makes for a believable, yet traumatic, bildungsroman story. Alix E. Harrow is an author with more worlds to present to readers, and I can’t wait to learn about all ten thousand of them!

My Rating: Enjoy It (4.5 out of 5)!

This is because Alix E. Harrow said I had “neat” handwriting.

                                                            List of Works Cited

Mendlesohn, Farah. Rhetorics of Fantasy. Middletown, CT, Wesleyan University Press, 2008.

A Look Into: America’s Top 10 Books Based on “The Great American Read”

Tonight, Tuesday, October 23, 2018, PBS will announce, based on votes, which book is “America’s Best-Loved Book.” The series and the vote were announced last spring, and the last few weeks have given viewers and readers a brief in-depth look into each book. The 100 books were categorized based on theme, not genre, which makes it for a more relevant look into the books. Now, PBS has reached the end of the series, viewers have reached the end of voting, and American readers will know which book was selected as “America’s Best-Loved Book.”

Twelve days ago, the Top 10 Books, based on voting were announced. Here they are, not listed by vote rank:

Charlotte’s Web by E.B. White                       Gone with the Wind by Margaret Mitchell         The Chronicles of Narnia by C.S. Lewis        Jane Eyre by Charlotte Brontë                         Harry Potter (series) by J.K. Rowling           Little Women by Louisa May Alcott                    The Lord of the Rings by J.R.R. Tolkien        Pride and Prejudice by Jane Austen       Outlander (series) by Diana Gabaldon        To Kill a Mockingbird by Harper Lee

Take a look at the way I listed PBS’ Top 10 Books. Have you noticed anything? The column to the left has a list of books that can be categorized under the “fantasy” genre; and, the column to the right has a list of books that can be categorized as “historical” fiction. What does this say about America’s taste in literature? What does it say about the notions surrounding fantasy literature?

First, the historical fiction books; two novels take place (before,) during (and after) the American Civil War, two novels are about society in England during the 1800s, and one novel is about segregation in the United States during The Great Depression. All of these novels give readers insight into the social dissonance occurring during certain moments in human history. People have either read one or more of these books for school, or saw the film adaptation at some point in the lives. Their stories are familiar by all, and well loved by readers.

Now, for the fantasy books, all of which have at least one media adaptation whether or not it’s movie or television. Lewis, Tolkien and Rowling are from Britain, and E.B. White—not to be confused with T.H. White, author of The Once and Future King—and Diana Gabaldon are from the United States. Each of these fantasy novels (and series) falls under different subgenres. Charlotte’s Web and The Chronicles of Narnia are for children and have talking animals, which comes from Aesop’s Fables; Harry Potter is a bildungsroman series that follows Harry Potter and his friends and schoolmates as they learn about magic and prepare to fight against the evil wizard, Lord Voldemort; and, The Lord of the Rings and Outlander are fantasy novels that make up a larger compendium of books set in the world the characters reside in, Middle-earth and 18th Century Scotland, respectively.

It’s interesting how fantasy fiction is beloved enough to keep the genre growing and going. Fantasy and fairy stories are not only for children—read Tolkien’s essay, On Fairy Stories—but also they are not enjoyed by all children. Children who grew up reading fantasy and fairy tales grow up and write stories of the same genre as adults. And, some of those stories are for adult readers. The author determines the audience whom his/her/their story is read; and yet, two of the fantasy books in the Top 10 are fantasy stories for adults. The Lord of the Rings takes place in a fantasy world, and in Outlander, the protagonist time travels to the past by means of supernatural elements.

Fantasy has been an established literary genre since the publication of both The Chronicles of Narnia (1950) and The Lord of the Rings (1954). Lewis and Tolkien are recognized as being two of the authors who helped solidify the genre. Lewis Carroll and L. Frank Baum wrote Alice’s Adventures in Wonderland (1865) and Through the Looking Glass (1871), and The Wonderful Wizard of Oz (1900) and its sequels, respectively, which were a few of the early fantasy books in which the fantasy genre emerged. All of the mentioned books were popular enough for media adaptations, and those films brought more attention to the books. Harry Potter brought fantasy to a towering level that no one saw coming. Fantasy literature is an established, recognized, and read genre. Hence, the books that made it into “The Great American Read” Top 10 List.

Do I believe any of the fantasy novels in the Top 10 will be chosen as “America’s Best-Loved Book”? No, I do not, but not due to the reason you may or may not believe. While I am an enthusiastic reader of the fantasy (and other speculative fiction) genre, I—like everyone else—had to read certain books as a student in grade school and in college. And, I enjoyed reading some of those books for my English classes. I was able to relate to the characters and comprehend the social issues mentioned throughout each novel. Some of the themes found in those novels still resonate in today’s society. I’m not saying that that isn’t the case with the fantasy books in the Top 10, but one novel calls out “America” to me whenever I think about the title. And, that book is To Kill a Mockingbird by Harper Lee.

First published in 1960, during the American Civil Rights Movement, To Kill a Mockingbird follows Scout and her family who are living in Alabama during The Great Depression. This coming-of-age novel illustrates the loss of innocence Scout and her brother, Jem, experience when their father, Atticus—a lawyer, defends a disabled black man accused of raping a white woman. This Pulitzer Prize winning novel has been said to be a literary response to the murder of Emmett Till, a 14 year-old boy from Chicago who was brutally lynched after being accused of whistling at a white woman while visiting relatives in Mississippi on August 28, 1955. Emmett Till’s murder sparked outrage nationwide, and was the event that would eventually lead to the start Civil Rights Movement.

Over 60 years later, To Kill a Mockingbird remains on school reading lists and is listed as an “American Classic.” Personally, I believe this novel has just as many life lessons and memorable characters such as Aslan from Narnia, Gandalf from Middle-earth, Professor Dumbledore from Hogwarts, and Charlotte from Zuckerman’s Farm. As someone who grew up during the publication of the Harry Potter books while old enough to read To Kill a Mockingbird, I found the former books to be enjoyable and the latter book to be more thought provoking as I continue living in a changing United States.

Harper Lee does not shy away from the issues of race and class in her novel. In addition, she was not afraid of including the harsh reality of life that her child characters had to witness and to endure. To Kill a Mockingbird continues to teach readers of all ages that judging people based on their traits and not their appearances or their living situation is essential to being a good person. Yes, there are people who harm the innocent and get away with it, but treating people the way they deserve to be treated—with respect—goes a long way.

PBS’ “The Great American Read” allowed denizens in the U.S. to review what many people read and enjoy. The great thing about the special was that all genres of literature were considered. Furthermore, the special gave insight into which books, many which remain on school reading lists, are and remain popular by readers and non-readers alike.

Choose: A Movie Based on a Book or Your Religious Beliefs

With The Hobbit movie trilogy ending and with one more The Hunger Games movie left to be released, the public awaits the other movies within the same genre (Book to Film): Insurgent, Fifty Shades of Grey, Child 44, etc. (I will discuss comic books and their media adaptations in another post). While movies based on books are nothing new (i.e. The Exorcist, The Godfather, The Silence of the Lambs), we have been seeing more of them since the turn of the century. Harry Potter, The Lord of the Rings/The Hobbit, Twilight (it makes me cringe to mention that one) are some of the franchises that were the most successful and saw all of the books in the series adapted into movies.

Children’s books are always popular for media adaptations. And, the same can be said bestselling novels. Fans and audiences of both books and movies are always curious as to how the movie will look and how true to the book the movie will be. This is the main issue people often see in media adaptations, but it is NOT the only one. Recently, there have been complaints as to why there have been series in which there is only one movie, and then the rest of the books in the series do not receive the same translation.

Now, with franchises that have had more than one movie adaptation, audiences are wondering whether or not the movies will ever be completed. The Chronicles of Narnia saw three out of their seven books get translated into movies (The Lion, the Witch, and the Wardrobe; Prince Caspian; The Voyage of the Dawn Treader). However, the actors were also signed to doing an adaptation of The Silver Chair; and, as we figured out, the movie never got made.

Ironically, the situation surrounding The Chronicles of Narnia was not just about public and studio interest, but also about the religious overtones found within the remaining novels. The Magician’s Nephew, The Horse and His Boy, and The Last Battle all contain allegories and allusions to Christianity. C.S. Lewis, the author of the series, also included some mockery of the Islamic faith in those same novels. Many of us who have read those books as children and/or adolescents did not even notice the insult within the pages. However, as adults you tend to look at what is written into children’s books more intensely. I will admit that it was a pastor I know who pointed out to me what was really taking place in the pages of those books. He is a fan of C.S. Lewis, but he said that those insults should not have been placed in a children’s book. Given the fact that there is still a religious war within the Middle East, one can quickly understand why filming those books into movies would be an issue.

On the opposite end, there was the planned movie trilogy based on Phillip Pullman’s His Dark Material trilogy. The Golden Compass/The Northern Lights was a success in North America and Europe, but due to the anti-Christian themes found within the books, the movie was met with several protests. While Phillip Pullman is an atheist, the trilogy is a retelling of the classic work Paradise Lost. Plus, the author is a professor at Oxford University—just like C.S. Lewis was—so there are more allusions within the text that readers might have missed during the first reading.

For instance, “dæmons” are not based on present day society’s belief of “demons.” The former comes from Greek and Roman mythology. They were invisible beings assigned to every individual—masculine for men and feminine for women—who acted as guides for the duration of that person’s life. These dæmons sound more like angels, consciences, etc., not the “evil demons” we have transcribed them to be in modern society. I believe Phillip Pullman used these ancient deities within his novels to point out how much Christian mythology twisted other mythologies to where we forget the actual origins of them. To be honest, I am a little surprise that Rick Riordan did not mention dæmons in his Percy Jackson and the Olympians and The Heroes of Olympus series. Those books were perfect to include such a reference.

This is the scenario that Hollywood has had to deal with, adapting books into films regardless of the backlash they might get due to religious institutions. His Dark Materials halted the series after one movie because too many people called the first movie “anti-Christian” while The Chronicles of Narnia films was halted because people feared that the Muslim community would be offended by them. Other movies have poked fun at religion regardless of the protests and the backlash from society (i.e. the Catholic Church with The DaVinci Code). South Park has mocked all religions for several years (18 seasons), but the creators saw protests when both Islam and Scientology (Isaac Hayes, who voiced “Chef,” quit the show afterwards) were parodied.

Throughout history, many challenged religion with “new” knowledge and these people were either threatened or executed (i.e. Galileo, Sir Isaac Newton, etc.). However, it seems that the bigger concern within the religious powerhouses are how they are portrayed in within society, and it appears that the “new” threat is coming from children’s books. While some of the religious themes will most likely be glanced over by younger readers, it is the adults that make something as trivial as messages within a book to be a big deal. The Harry Potter series, while not religious, was met with several protests throughout the world because the books were about a school of witchcraft. Ironically, all seven books were adapted into eight movies, and those novels contain more lessons on morals and ethics than other modern children’s books. The Chronicles of Narnia and His Dark Materials also contain choices involving morals and ethics, but remain somewhat controversial as well. When you think about it, there is not really that much of a difference amongst these children’s literary series.

Current events within society have allowed us to witness what happens when there is no balance between literacy and religion. Boko Harem and Al-Qaida are doing everything they can to limit knowledge within their communities (especially amongst women). However, we cannot want every popular book to become adapted into a movie. At the same time, we cannot protest against every movie and/or book with influences to religion due to fear that a mob might be opposed to what is written in the text.

My question is: how many of these “protestors” take the time to read the book? Many people go by what they “hear” about the book instead of reading it. Also, it is known that media adaptations are not always similar to the book! Yes, Harry Potter and The DaVinci Code are books that go against organized religion. However, they are also great stories with interesting information. And yet, I did NOT see any petitions for the continuation of The Chronicles of Narnia movies! Protests work both ways!

To me, it looks as if we must choose between literature and their adaptations and our religious beliefs. No decision needs to be made because not many people want to do one or the other. Movies are straightforward, you either want to see them or not. Religion on the other hand, contains more layers. There are the devout, the spiritual, the ones who take part in it a few times a year, etc. Those who are leaders of these foundations assume the worst before they see what happens. Thus, everyone suffers because of it.

To prove my point further, the novel The Satanic Verses is (supposedly) an excellent work of literature (I just started reading it). However, the amount of backlash the book received upon its publication (1988) and the number of death threats its author, Salman Rushdie, received makes the book sound too dangerous to read. And yet, the book has been read and translated into languages all over the world. Unfortunately, no one has tried to make a media adaptation of the book because everyone is afraid of protests from the Muslim community. Has it ever occurred to you that some of them might have read the book and want the same thing as the other fans/readers?

We should not have to choose between the two because both of them have more in common than we know. Both The Bible miniseries and The Red Tent were successful adaptations based on religious texts. However, we also got Exodus, the visually acclaimed, but historically inaccurate adaptation of the story of Moses (Egypt has refused to show the movie for obvious reasons). There should not be a choice because everyone—even if they are in the same religious community—has a different way of interpreting a work of literature. As long as it is done appropriately, no one should have to choose. Plus, the author almost always includes a personal belief within the pages of their book.