Speculative Fiction Books that Kept My Interest in the Genre

Please note the title of this post refers to books! I will write a separate list containing movies, TV shows and video games related to speculative fiction sometime in the future. And, expect that list to consist of “originals,” not just media adaptations of books. Also, these are NOT my favorite speculative fiction books of all-time! I’m not even sure I can make a list without changing it every year; hence why I do an annual list.

            Everyone has a favorite genre of literature (and films, video games, etc.), but has it occurred to you why and how that came to be? Did someone introduce you to the genre? Was it an author’s book—or, several of them—that hooked your passion for the genre? Was it a pop culture moment? In other words, do you remember the moment—or, the story—that got you into your favorite genre(s)? This question can be asked of any format or medium, but I thought about which books got me into speculative fiction and how it influenced my love and my appreciation for the genre. It did take some time to think back on what I’ve read since I was a kid, but I realized that some of the books released in the past decade have been just as influential as the ones I’ve read growing up.

            I’ve managed to compile a list of 10 books/series that influenced my love for the speculative fiction genre. Please know that I listed the books in the chronological order I read them regardless of the book’s publication date. The reasons for this is obvious. I hope you read and enjoy them as much as I did. 

  1. Animorphs by K.A. Applegate

I’m a 90s kid, and there were several book series for kids—The Babysitter’s Club, Goosebumps, etc.—but, I remember when the debut book in this series was released. I was 10 years-old, still in elementary school, and intrigued by the book’s cover: a boy changing from human to animal (a lizard). The story was about a group of friends who are given powers to change into animals by a dying alien in order to fight an invasion against a race of hostile aliens. This sci-fi series was the first book series in which I had to learn how to wait patiently for a book to be written and released when I wanted to devour the next one immediately. At the same time, this series introduced me to the blending of both the science fiction and the paranormal genres. Even though I didn’t know what paranormal was at the time, I knew this was different from other alien media I consumed with an explanation of D.N.A., permanent consequences, and the difficulties in balancing family, school, and saving the world. Animorphs was my first obsessive book series. 

2. Haroun and the Sea of Stories by Salman Rushdie

I’m in 9th grade and one of many students who participated in an optional reading course through our English class. Two of my best friends participated in this course with me. However, the three of us chose different books to read during the second quarter. I can’t remember what one friend chose, but my other friend was upset with us for not selecting The Once and Future King by T.H. White. Why? Well, the description of Haroun and the Sea of Stories by Salman Rushdie was more intriguing to me: a boy whose father loses the source of his stories, and he’s a storyteller. The boy, Haroun, goes on a journey to find out what happened to the “source” of the stories. The story is a twist on fairy tale tropes and fantastical elements with rounded characters and lots of humor. It wasn’t until I was reading The House of the Spirits by Isabel Allende (in 12th grade) that I learned about magic realism and Salman Rushdie’s contribution to the genre. Haroun and the Sea of Stories is one of my favorite books I read for (grade) school. And, before you ask, no I haven’t read The Once and Future King in its entirety, yet. 

3. His Dark Materials by Philip Pullman

I’m going to say something controversial: Harry Potter is not my favorite (fantasy) series of my childhood. Don’t get me wrong! I love that series and what it’s done for the speculative fiction genre, children’s and YA literature, the popularity of fantasy, and the reading and the writing communities. Yet, there was another series that came out at the same time and introduced me to the blending of fantasy, science and religion. I read The Golden Compass by Philip Pullman after reading Harry Potter and the Sorcerer’s Stone by J.K. Rowling, and I found myself enjoying Lyra’s story more than Harry’s. I want to say it’s because the flawed characters were more believable, the aspects of science and philosophy in a fantasy worked with the plot, and the idea of “other worlds” was intriguing to me. I hadn’t read C.S. Lewis’ or Madeline L’Engle’s series yet, so Philip Pullman was my introduction to portal fantasy, and I’ve been obsessed with them since reading His Dark Materials trilogy. I’ve read The Book of Dust already, and I’m looking forward to reading the rest of the companion trilogy to His Dark Materials; and, I’m excited for Season 2 of the television series, too! 

4. The Modern Faerie Tale Trilogy by Holly Black

I still remember reading Holly Black’s debut novel, Tithe. The story is an urban fantasy about how a teenaged girl realizes she’s been interacting with faeries since she was a child, and what that means for her and her family and her friends. Yes, I read one of Laurell K. Hamilton’s books—her debut novel, Nightseer—so I had a fair idea of what to expect from fae fantasy, but urban fantasy blends the original variants of fae stories with mundane society; and, the fae are NOT nice beings. Fae are not what they are according to Disney movies. They don’t “play fair” and are usually in it for themselves. It makes for an interesting story combining folklore and modernity. I would meet Holly Black at the BookExpo I attended that year, which was my first one; and, I met Cassandra Clare there, too! I read and enjoyed the rest of the trilogy, and Holly Black’s other books, especially The Air of the Folk trilogy. This series was my gateway to reading other books in that genre, especially ones by Seanan McGuire, Ilona Andrews and Amelia Hutchins. 

5. The Twelve Kingdoms by Fuyumi Ono

Yes, there is a fantasy series by the same name by Jeffe Kennedy, but the name of the series is where the similarities end. The 90s saw an expansion of anime series: Pokémon, Gundam Wing, Sailor Moon, etc. Manga and books were being translated and imported to the U.S. The Twelve Kingdoms: Sea of Shadow was translated and released after I graduated from college, and I was introduced to Asian inspired dark fantasy. The story follows Yoko Nakajima, a high schooler who lives a mundane, yet lonely life. To make matters worse, she stands out due to her red hair—she is the biological daughter of Japanese parents. One day, Yoko is abducted at her school, transported to another world, abandoned and left to fend for herself in a new world. This series introduced me to a fantasy world in which the “traveler” is not welcomed as a “hero” and survival is based on realistic situations. The theme of xenophobia in fantasy is presented in a way that will make you think about what could happen in other fantasy worlds, especially when—SPOILER ALERT—the protagonist chooses to remain in that world instead of returning home, and how and why such a choice is made. So, if there are any fans of Seanan McGuire’s Wayward Children series, then you’ll love this series, too. 

6. Monstress by Marjorie Liu, illustrated by Sana Takeda

Growing up, I read comics, graphic novels and manga, and many of them were recommended by friends and relatives. In fact, that’s how I learned about Neil Gaiman’s Sandman series. However, for several years, I didn’t read as many graphic novels as I wanted. I didn’t lose interest, but at the same time, I didn’t know what to read. I did take a course about graphic novels in college, but I took another one when I was in grad school—where I read Watchmen—and learned about the format and its growing influence, especially for the memoir and biography genre. At the same time, two of my friends and classmates introduced me to recent bestsellers and new releases. Not only did I begin to read Joe Hill’s Locke & Key series and Saga by Brian K. Vaughn, but a new series with an eye-catching cover intrigued me: a woman standing in front of a brass door with a matching mechanical arm. Monstress by Marjorie Liu and illustrated by Sana Takeda is a dark fantasy in which a young woman searches into her mother’s research and her lost memories as she deals with demons both real and inner. The artwork will engross you into the world both the author and the artist present. While describing the series as a “visual fantasy” isn’t 100% accurate, it is a way to get speculative fiction fans into reading this graphic novel series. 

7. The Broken Earth Trilogy by N.K. Jemisin

What can I say about this trilogy that hasn’t been said by everyone else who has read it, including myself? This Hugo Award winning series—yes, it swept the Hugos for Best Novel in consecutive years—is a gateway into the future of the speculative fiction genre and the type of stories that can be told withing the genre. N.K. Jemisin not only writes a brilliant science fantasy series, but also incorporates the atrocious practices humanity continues to perform, which forces readers to consider the realities of human society and its future. For me, this series introduced me to modern speculative fiction and the new set of expectations that it brought to the entire community! Jemisin’s contemporaries: Nnedi Okorafor, Tade Thompson, Jesmyn Ward, Tochi Onyebuchi, P. Djèlí Clark, Marlon James, Rivers Solomon, etc.—all have taken familiar tropes of the genre and presented readers with new methods of telling and writing these stories. If you haven’t done so already, then go and read this amazing trilogy!

8. Winternight Trilogy by Katherine Arden

This is not the first folklore retelling I’ve read, but it’s one of the most beautiful written ones I’ve come across; and, it brings a new appreciation for the season of winter. This series follows Vasya as she grows from child to adolescent to adult in a patriarchal society during a transition where “old traditions” are fading and being replaced with a “new” religion. Vasya fights to maintain the old traditions while Russian society undergoes several changes. Folklore is the cultural and the societal traditions that are passed along from generation to generation through a web of communication; and, history plays a role in folklore as well. Katherine Arden presents a balance amongst folklore, history and fantasy in this trilogy. This series will remind speculative fiction fans of the beauty within the genre and how it can remain from beginning to end. 

9. Vita Nostra by Marina and Sergey Dyachenko

While this is the first book in The Metamorphosis series—it’s the only one translated into English so far—it’s a great and mind-blowing introduction into the metaphysical genre. Not to mention, it takes the trope of the “magic school” and provides a more realistic, yet twisted story of what could occur at such a place. This story will make you think of Alan Moore and your concept of reality. In addition, you’ll start to think of these “magic schools” as drafts instead of opportunities. Other genres in speculative fiction has readers asking questions about the world around them, but metaphysical fiction has readers question the reality of their existence. The difference is it seems that a limited population experiences the metaphysical compared to fantasy, science fiction, paranormal, magic realism, etc. This series and genre will make you question everything!

10. The Gutter Prayer by Gareth Hanrahan

Although I’ve heard enough about Joe Abercrombie, Peter McLean, John Gwynne, and Anna Smith Spark enough to buy their books, it was Gareth Hanrahan’s debut novel, The Gutter Prayer, which introduced me to the grimdark subgenre. Yes, I’m a reader and a fan of A Song of Ice and Fire series by George R.R. Martin, but to me that series is more of a historical low-fantasy series rather than straight grimdark (I could be wrong about that). This book introduced me to characters who are all “gray” with “reasonable” motivations who strive towards those goals as their lives and the world fall to pieces. As grim, dark and sad as the characters and their stories are, it continues with the knowledge that life goes one no matter how many people die and are resurrected and die again. This book and its contemporaries represent the harsh side of a fantasy world that reflect ours. 

So, there is my list of speculative fiction books that kept my interest in the genre since childhood. While my list of all-time favorite speculative fiction books continue to change over and over, this list of books influenced my love and my appreciation of this genre of literature. And, from my perspective, I appreciate the influence and the bridging from one book or series to another with a similar genre structure. Which books got you into this genre? Have you read any or all of my picks or any books by the authors mentioned in this post? Comment below or send me a link to your online response. 

The Disclosure Behind the 2020 Hugo Awards

A lot can happen in a week. Politics and COVID-19 aside, it seems like “everyone” wants to return to a time when “things were the way they used to be.” Out of all of the prejudices that’s been going around, it seems that ageism continues to be accepted widely due to the notion that “the new will replace the old.” Unfortunately, it seems that “the old” keeps finding ways to hold out for a bit longer, which is equivalent to years. Not only have Americans been forced to admit the issues surrounding race, sex, sexual orientation, religion, ethnicity, sexuality and domestic violence, but also delve into several generational gaps and the beliefs that come from a particular age group. “Trumpeters” aside, it seems that many older White men have nothing better to do than to whine about how modern society is uprooting “the morals and the structure of ‘their youth’.” Yes, because White men have had it so bad, they get to complain about what they no longer have as opposed to other groups of people who are still denied the basic rights and privileges they continue to take for granted. And, it seems that the microcosms are reflecting the macrocosm as certain in-groups continue to find ways to make themselves exclusive as they express their desires to omit other groups of people and to keep them from participating alongside them. In recent years, we all witnessed this happening more and more in Hollywood and film, and in the video game industry. Not to mention, it’s happening within the literary community and the fandom are familiar with the ongoings within speculative fiction.

            One week after Tom Shippey’s comments about fantasy novels in The Wall Street Journal, the 2020 Hugo Awards was livestreamed during Worldcon, which would have been held in New Zealand if it wasn’t for the global pandemic. The good news was, many fans were able to watch the Award Ceremony; the bad news was, those same fans were reminded that those who write speculative fiction are not as open-minded as their stories make them out to be. More people were able to witness the blatant sexism and racism that is whispered about in the publishing industry. Obnoxious doesn’t even begin to describe the behavior of those grown men. 

            First, let me address George R.R. Martin’s mispronunciation of the names of several of the nominees and the presenters. As someone who has worked within education for over a decade, yes there were times when I mispronounced A LOT of names; and, I’m not limiting that list of names to “minority” ones. One, there are some European names a lot of people cannot pronounce. Two, your name maybe unusual and/or hard to say for someone else. Three, names do not always equate to your concept of gender (think of unisex names). So, why were so many people upset with GRRM? It was because many of the nominees saw the name butchering as unprofessional, which it was. Some authors are friends with each other, and they all often attend the same events (I’m assuming here), so it is understandable when after a while the mispronunciation comes off as rude. I understand how those authors felt, and it did ruin the Hugo Award experience for several people, especially the nominees (and the winners). Then again, there are several authors—whose works I’m a fan of—whose names and book titles I cannot pronounce to save my life (audiobooks have been a huge help). I know GRRM issued an apology, but that is neither for myself nor for the fandom to accept because it is for the authors and the creators who were nominated to decide. Whether or not they want to accept it is NOT up to us, it is their choice.

            There was another thing GRRM mentioned that night that has me upset, and it was his statement regarding all of the Finalists for the “Best Novel” category being women. Maybe he was trying to be funny when he said, “maybe we’ll see some men nominated next year,” but the context of that statement—especially after Robert Silverberg’s rant about John W. Campbell’s “legacy”—remains to be open to interpretation. 

            Robert Silverberg is an award-winning author of over 1,000 sci-fi and fantasy stories, some of which won the Hugo, the Nebula, and the Locus Awards. In addition, he was the Toastmaster of several Hugo Award Ceremonies throughout the years. Silverberg’s publishing career started in 1954 and he retired around the early 1990s. As he mentioned in his rant—which was prerecorded—he is a fan (and I want to say a friend) of John W. Campbell’s stories—he is considered to be “the father of modern science fiction”—which he wrote and published during the 1930s, and he talked about the sort of “person” Campbell was when he met up with other authors, including those who were influenced by him. In fact, Silverberg was so defensive of his “idol” that he decided to insult the author who “insulted” Campbell after winning the award that was renamed once it was rediscovered that he was a bigot. Did anyone else notice how many viewers “left” once it became obvious what Silverberg was saying a loud? No one is denying the contribution Campbell made to science fiction, but the truth of the matter remains in tandem with his legacy, which is that Campbell was a racist and a sexist. Like many other (fantasy) readers of my generation, I enjoyed and I’ve been influenced by the Harry Potter series. However, J.K. Rowling has some disturbing views about transgenders (which, she has voiced more than once). Neither the fantasy community nor the fandom—myself included—cannot deny the contribution Harry Potter has had. Yet, while we are able to separate the art from its creator, we must know when to say, “that’s not right.” 

            Let’s face it, everything is changing whether or not we want them to change. I grew up during the 1990s during a time when the Internet was becoming communal tool. Yes, I have my moments of nostalgia, but I don’t wish for things to revert backwards! There are a lot of things that must change and there are some things that we all look forward to happening. Halting progress or returning to the past brings about chaotic results, something we are all witnessing firsthand on a global scale!

            Now, I’m going to sound like the English teacher/instructor I used to be: did you all even bother to read (or, to watch or to play) any of the works that were nominated for the Hugo Awards?! I was under the impression that members of the World Science Fiction Society (WSFS) got to vote for the Hugo Award nominees and winners. Don’t get me wrong, it is NOT easy to attempt to read ALL of the books that get nominated for awards (my Shortlist Award Reading Challenge is a challenge), but to act as though these works aren’t worth reading because it didn’t suit your “preferences” or “expectations” of the genre? Or, were you worried that you wouldn’t be as familiar with the context of works written and created by females, BIPOC/BAME, and/or LGBTQIA+ individuals as you are with those of yourself and your peers?! No one is denying that the authors of the past (and the present) contributed to the genre, but there shouldn’t be a “shared model” for a genre that is dependent on the imaginations and the creativity of each individual. No genre is supposed to remain the same overtime. This is because stagnation kills progress of any kind! If science fiction, fantasy, horror and all the other genres, and the subgenres, within speculative fiction have changed over the course of the last century, then why should it remain constant in order for the genre to befit YOUR preferences? As John Scalzi mentioned on his blog, “’The canon’ didn’t just somehow ‘happen.’ It is a result of choices…” The genre was different before I was born, it has branched out and evolved since my childhood, and it will go beyond our expectations and imaginations with posterity. However, we get to decide on what we read based on what is available, which is A LOT!

            Here is my first of many proposals (hopefully). There are books about the history of fantasy, the encyclopedia of literature, the companion to science fiction, etc. In literature and in poetry, there are “schools” and “literary movements” and “periods” that categorizes the evolution of that “form” of literature based on the era in addition to literary form and genre. We are all familiar with the general history, the definitions, the genres and the subgenres of speculative fiction. However, if the influences and the changes of the genre are going to keep getting mentioned by the “elder” generation, then we should at least consider compiling “schools” and “periods” of the genre so that there is more comprehension than saying, “this author was a contributor of this subgenre due to the works which reflected the genre,” or “this author’s stories cemented this movement within the genre, etc.” For example, one of the most familiar eras of fantasy are “The Inklings.” When that group is mentioned, many know it refers to J.R.R. Tolkien, C.S. Lewis, Charles Williams and other Oxford professors of literature who were also fans of folklore, and wrote stories based on those tales. We need more groups and/or eras like that so that there is recognized clarity within the community. Is this similar to canonization? Yes. However, if time frames and eras are going to keep being brought up, then we can find ways to make it all easy to understand.

            This could be the opportunity the genre needs in order to progress further. I’m not saying that this will resolve any of the issues that have been and continue to be brought up within the speculative fiction community, but it with academic scholars, numerous awards, and an ever-growing fandom, we should consider a plan and/or a project that will involve everyone; especially, if we want the genre to continue to be taken seriously without all of the attention focusing on “elder White heterosexual males” who won’t stop bringing up the past. Think about it because the Hugo Awards are a celebration of the best of the (current) year, and not just the past. All of the groups within this in-group should start working together more in order to include all who participate in the speculative fiction community. For that to happen, we have to acknowledge (and perhaps learn) of all of the eras and the communities within the genre. 

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

Speculative Fiction: A Label for the Growing Spectrum of the Genres: Fantasy, Science Fiction & Horror

*My 100th Blog Post!*

For the past year in which I have devoted more time to working on my blog, I have gained a larger audience—followers, readers and other supporters—than I thought possible. Remember, even the most successful bloggers and vloggers start out as “small channels” and are thankful for those who support them. I feel the same way. Knowing that you all have taken the time to read, to comment, to subscribe/follow, and to share my content is a great feeling. I’m extremely grateful for all of you, and it’s because of you all I know what I’m doing is being appreciated by the macrocosm. 

            One of several topics I’ve been discussing with other fans, readers, bloggers and vloggers is the concept of genre and the limitations its definition bestows upon it. The notion that genres can and should be placed within “fixed” classifications is similar to the concept that gender is binary—which, it isn’t! Over the last 100 years, the genres have become more ubiquitous and more successful due to books written by L. Frank Baum, J.R.R. Tolkien, C.S. Lewis, T.H. White, J.K. Rowling, Frank Herbert, Arthur C. Clarke, Octavia Butler, Samuel R. Delany, Ursula K. LeGuin, Shirley Jackson, Isabel Allende, Haruki Murakami, Alan Moore, Stephen King, Anne Rice, etc. And, due to movies such as: The Invasion of the Body Snatchers, E.T., the Extraterrestrial, Star Wars, Star Trek, Pan’s Labyrinth, Akira, etc. Toward the end of the 20th century, other formats of literature and visual entertainment such as comics, graphic novels, manga, video games and music were becoming more popular and expansive. Imports from around the world—i.e. Japan, India, Spain, etc.—have presented popular works of these genres to fans as well. 

            Before the 2000s—I want to say around the 1970s—an emergence of works were presented and released to the public. Besides the Harry Potter Phenomenon and The Lord of the Rings movies, there was Buffy, the Vampire Slayer, The Matrix, and the continued book releases by Stephen King, Anne Rice and Robert Jordan. In addition, video games were growing in popularity and in addition to Mario, Sonic and Zelda there were Final Fantasy, Resident Evil and Shin Megami Tensei. Even those who weren’t reading the books, watching the TV shows or movies, or playing the video games were exposed to fantasy, science fiction and horror. Yet, why did some people prefer Harry Potter over The Lord of the Rings? What was it about Laurell K. Hamilton’s books that had some readers prefer her books over Anne Rice’s? What is it about Shin Megami Tensei, which has several spinoffs—including Persona—that has more of a cult fan base that players find appealing? 

            What I’m getting at is: how would you describe a book like The Northern Lights/The Golden Compass, the Dragon Quest video game series (besides Japanese role-playing games, or JRPGs), or even the Batman comics? Yes, one is a Young Adult novel, one is a JRPG, and the last is a superhero comic book series; but, aren’t there other genres to classify these works besides their marketing ones? Philip Pullman’s His Dark Materials Trilogy is a blend of fantasy, science (fiction), religion and philosophy—what did you expect from an Oxford professor? Dragon Quest is a JRPG with elements from the fantasy and adventure genres. Batman—one of the oldest and greatest superhero series of all-time—is a gritty and dark story about a traumatized man who uses his wealth and his wits to go up against the most dangerous criminals in his city. Nowadays, we would consider Batman to be a psychological thriller superhero series with elements of grimdark. Then again, with the recent success of the TV shows Game of Thrones and The Walking Dead, there were many non-readers and fans who said things like, “I don’t like fantasy, but I love Game of Thrones,” or “I don’t like zombies, but The Walking Dead is a great show,” etc. Yes, those shows were media adaptations, which are examples of fantasy and dystopia books that “divert” from “traditional” or “familiar” tropes. However, there are fans of those tropes who are not interested in neither the TV show nor the books. So, why are those the exceptions? They are NOT!

            Speculative fiction is a term that is being used more and more in order to describe literature and media that fall under the “traditional” genres of science fiction, fantasy, horror and comics. According to Marek Oziewicz, speculative fiction, “includes fantasy, science fiction, and horror, but also their derivatives, hybrids, and cognate genres like the gothic, dystopia, weird fiction, post-apocalyptic fiction, ghost stories, superhero tales, alternate history, steampunk, slipstream, magic realism, fractured fairy tales and more,” (3). In other words, speculative fiction includes: urban fantasy, mythological fantasy, zombies, paranormal, space operas, metaphysical, silkpunk, occult, military, historical, romance, etc., etc. Any and all of the genres and subgenres makeup this term.

            So why do some people—authors, writers, readers, critics, academics, fans—use this term? It’s because there are times when a medium either has more than two genres associated within it or displays aspects of speculative fiction that doesn’t fall under any of the “fixed” genres. For example, the Super Mario Bros. franchise is a video game series classified under both “action/adventure” and “platformer,” but could it be categorized in the fantasy genre due to the levels being in an imaginary world, or could it fall under horror or paranormal due to the ghosts and the skeletons, or even science fiction, especially in the context of the Super Mario Galaxy games? In this case, the term speculative fiction would fit best for this gaming franchise. I should mention that I’m not the one who should be recategorizing video games. Then again, this is proof that the term speculative fiction is becoming both recognizable and interchangeable. 

            Speculative fiction seems to become the more acceptable them to use when explaining works and forms of non-mimetic fiction without listing all of the many subgenres associated with it. Recent examples include The Broken Earth Trilogy by N.K. Jemisin and Gods of Jade and Shadow by Silvia Moreno-Garcia. The first has been categorized under fantasy, science fiction, dystopian literature and magic realism (the last one was on Amazon); and, the second has been categorized under fantasy, mythology, magic realism and historical fiction. Which is easier: listing all of those genres and subgenres in a description, or saying speculative fiction containing elements of certain genres and subgenres such as: a story about the end of the world and Mayan Gods during the Jazz Age? While speculative fiction is an umbrella term, many of us have been using it as a shortcut to explain a collection of books, films and video games. 

            Another factor surrounding speculative fiction concerns education and academia. How many of you remember reading Edgar Allan Poe and/or Turn of the Screw by Henry James in school and in college? How many of you remember reading The House of the Spirits, One Hundred Years of Solitude, or Haroun and the Sea of Stories in school or in college? And, how many of you remember reading one of the many dystopian books: Lord of the Flies, A Handmaiden’s Tale, 1984, Fahrenheit 451, The Giver, Brave New World, etc., in school and in college? Now, how many fantasy, fairy tales, and myths and legends were assigned to you after primary/elementary school? Keep in mind, there are courses and electives about these genres in college, but not everyone gets to take those classes (I was lucky enough to do so). Without going into too much detail, I’ve had disputes about fantasy literature with a few academic professors. Some of them believe that fantasy has no place in higher education except for in Children’s and Adolescent Literature (i.e. teaching, library science). However, scholars are responsible for some of the most recognized works in fantasy. Lewis Carroll, J.R.R. Tolkien, C.S. Lewis and Philip Pullman were Oxford professors. In addition, there are academic scholars who study and write books and articles about fantasy, science fiction and horror such as: Edward James, Farah Mendlesohn, John Grant, Nnedi Okorafor, John Clute, Jack Zipes and Tzvetan Todorov. This history and the study of these genres are just as essential as reading the fiction. I hate to say it, but speculative fiction seems to be the “safer” and the “more acceptable” term to use when it comes to discussing these genres. 

            So, why do I use the term speculative fiction? My simplest answer is because it signifies all of the genres I enjoy to read, to watch, to write and to game the most. Saying speculative fiction instead of the longlist of genres and subgenres is the easiest and the quickest way to describe certain works of media. If a book can be categorized in more than one genre or subgenre, then why not save the breakdown for a discussion with others in a fandom, or with authors and publishers? Most important, using the term speculative fiction does not limit the story of any medium to one genre. It allows a fan of a metaphysical book to say that “there’s elements of fantasy in this story,” or “the religion in this book is based on the myths and the history of this ancient civilization.” Speculative fiction is a term that allows an audience to observe the broader spectrum of a medium with similar beginnings and interconnecting styles of storytelling. However, there will continue to be moments where a book is categorized as “hard sci-fi,” a video game is of the “horror” genre, and Disney continues to fracture fairy tales. This is the new Golden Age of Speculative Fiction so we might as well enjoy everything that is presented to us while opening the doors for an open interpretation. 

            Thank you for reading my post(s), following my blog and my social media pages! Here’s to many more posts in the future and to several open discussions! Please like and comment here or on my other posts; and, be sure to check out the following references about our favorite genre(s). 

                                                                        References

James, Edward and Farah Mendlesohn, editors. The Cambridge Companion to Fantasy. Cambridge University Press, 2012.  

James, Edward and Farah Mendlesohn, editors. The Cambridge Companion to Science Fiction. Cambridge University Press, 2003. 

Martin, Philip. A Guide to Fantasy Literature: Thoughts on Stories of Wonder & Enchantment. Crickhollow Books, 2009.

Oziewicz, Marek. “Speculative Fiction.” Oxford Research Encyclopedia of Literature, March 2017, p.1-22. doi: 10.1093/acrefore/9780190201098.013.78

Stableford, Brian. The A to Z of Fantasy Literature. The Scarecrow Press, Inc., 2009.  

My Theory on George R.R. Martin’s Writing “Plan” for A Song of Ice and Fire

What do you believe is going on with George R.R. Martin’s writing process?

Like many other fans and readers of A Song of Ice and Fire series, we have been waiting for a very long time for Winds of Winter. A Dance with Dragons was published in 2011, a few weeks after the first season of Game of Thrones ended. Now, the eighth and final season is being filmed, and there is still no word on the progress of Winds of Winter. The last rumor that many fans believed was that several preview chapters were pulled from the Internet for editing. Now, with the television adaptation diverging beyond the books, the only thing many of us are hoping for is that the books will continue its own narrative, and not reiterate what was changed for television too much.

Now, while I’m sure Reddit and Tower of the Hand have several theories and ideas about when Winds of Winter is going to be announced/published, and whether or not there will be three more books instead of two, this is my theory based on what other authors have said and done in similar scenarios, and G.R.R.M.’s writing style. However, I’m not familiar with all of those theories. I hear some of them when I participate in live chats on YouTube. And, for the record, I have made a similar theory/prediction in the past. I was one of a few who brought up and defended the theory surrounding the potential release date for the novel, Harry Potter and the Deathly Hallows, on 07/07/2007. As some of us may or may not remember, J.K. Rowling herself had to reject that theory.

While it has been over seven years since the fifth book in the A Song of Ice and Fire series was published, fans continue to enjoy the TV show, novellas, graphic novel adaptations, and fan chats surrounding the series. However, we remain curious as to when Winds of Winter will be released. I don’t believe there will be an additional book in the series. I believe we will get two very long novels to end it. I don’t believe George R.R. Martin will “pull a Robert Jordan (R.I.P.).” There is a children’s fantasy author and folklorist by the name of Alan Garner who released the final book in the Weirdstone trilogy, Boneland, 49 years after the release of the second novel! I doubt we’ll have to wait that long!

My theory might not be original, and many of you might want to disprove this idea immediately, but hear me out. I believe George R.R. Martin is writing both Winds of Winter and A Dream of Spring, consecutively. In other words, G.R.R.M. is writing both books as one long narrative. Remember the “split” that was A Feast for Crows and A Dance with Dragons? Maybe, G.R.R.M. is writing nonstop and without considering an “end” of one novel and a “start” of the other novel. This method of writing could prevent a longer wait period between the two novels. Also, George would not be the first author to write a long epic as “one piece.” For example, J.R.R. Tolkien wrote The Lord of the Rings as a single text. The novel was split because of the paper shortage at the end of World War II.

Why would I come up with a theory such as this? It is because of what George said about the end of his series, the “final showdown” will start in Winds of Winter and carry over into A Dream of Spring. Too much will be occurring for it to be saved for the last book. Not that I’m trying to guess the potential ending in Winds of Winter, but I believe it’s safe to say that the climax happened in A Dance with Dragons, and the falling action will be taking place starting from Winds of Winter until the “resolution” at the end of A Dream of Spring. We, as readers, might get so caught up with the action within Winds of Winter that we won’t even realize that we’ve reached the end of the novel until the end of the novel. We can only wait.

So, what does my theory about G.R.R.M.’s writing process have to do with the last two books in the series? I believe that if George is writing both novels consecutively, then there is a chance that the wait period between Winds of Winter and A Dream of Spring will be short(er). That being said, George also said that there would be three more novellas in the Dunk and Egg series. Many of us readers know that there are hints and ties between these two series. I’m not saying that we will get all of these stories within consecutive years, but I doubt that we will have to wait five years or more in between the two novels. Maybe we’ll get an announcement after the final season of Game of Thrones premieres or ends? We can only wait.

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.

Why I Enjoy…the Harry Potter Series

           In honor of Harry Potter’s 34th birthday, I wish to discuss my experiences with this very popular fictional character. Like many readers, I grew up with the Harry Potter series and I even recall the first time I saw the books in a bookstore. It was the late 1990s and the first two books were available for anyone to purchase and to read. I was still reading the Animorphs series, and while I was curious enough to read the blurb on what the first book was about, I was unsure whether or not I would enjoy this series. No, I did NOT get the book that day, but keep in mind, I just started my adolescent years and I still wanted to read The Babysitter’s Club and Goosebumps.

            After my junior year in high school, Harry Potter caught my attention again when someone recommended the books to my younger sibling. By then, Harry Potter and the Prisoner of Azkaban was published and the plot of that book caught my attention. Keep in mind, I was still unsure if I should read the novels or not. However, one of my childhood best friends—I am still friends with this person—explained to me both the plot and the subplot of the series, and that it was more than the traditional stories of witches and wizards we read as younger children. Then, I asked if I had to read the books in order (most children’s series do not have to be read sequentially) because I wanted to read the third book first. My friend told me that I had to read them in order because of the references made to the previous books in the current ones. My friend understood my eagerness to read Prisoner of Azkaban—my friend enjoyed that one the best as I did—but warned me against skipping Sorcerer’s Stone and Chamber of Secrets. I had my secondary exams that year (both college and high school), so I had to read them during summer vacation.

            The books were not just about the protagonist’s identity and school life, but learning about what to do with yourself when faced with a decision. Harry, Ron, and Hermione make decisions in which they can get killed, or expelled, but they do so because they believe them to be the best choices at the time. Most of the time, they are the better decisions: going after the teacher who is trying to steal the Stone, going into the Dark Forest to gather information, making the decision on who to trust based on what everyone else believes or what you alone know. Plus, these books read more like mystery novels rather than fantasy because readers were not sure what the “big secret” was and/or who the “betrayer” is within the magical world. Keep in mind that these people did not have to be tied with the main plot of Lord Voldemort in order to go against Harry and Albus Dumbledore. Remember how Harry gets treated by everyone at Hogwarts when it is believed that he was the “Heir of Slytherin” and when the Triwizard Tournament begins? And, Harry gets shunned by the entire community when he attempts to warn the other witches and wizards about Voldemort’s return. Let’s face it, just about everyone was ignored by their classmates and friends at school for something we did or did not do. It was then up to us, as an individual, either to stick with that one decision, or to change our views to reflect what everyone else (wanted to) believe.

            The Harry Potter series allowed readers to grow up with the characters as well. As the characters grow from children to adolescents, we see the changes they go through because we were currently going through those phases ourselves. Indeed, J.K. Rowling went further and included a little of everything a student could go through while growing up, and not just with the main characters. We learn that Hagrid’s mother left him when he was very young and his father died while he was at Hogwarts, Severus Snape’s parents divorced when he was a kid, and Neville Longbottom is raised by his grandmother because his parents are hospitalized (in the mental ward). Then there is the issue of balancing school and homework with after school activities. Hermione helps Harry and Ron with their studies and she has to learn to balance her own school schedule (one can only take so many classes). Friendships and romance begin to merge as they decide whether or not you want to date one of your best friends or a classmate. Then, we witness the losses that occur during the school year. Classmates and relatives die during the school year due to accidents and/or murder. 

            This brings me to the end of my senior year in high school. After I finished the last of my exams (they were in May), I picked up Harry Potter and the Goblet of Fire, and almost dropped the book after reading the first chapter. Even now, I cannot think of any children’s and/or teenaged fiction I’ve read—except for the ones where the tragedy occurred before the beginning of the novel—where someone, anyone, dies that quickly into the novel. Then, there are the other two deaths; yes, there are two more, read the book again! I think it is safe to say that the surprising, and somewhat expected, deaths in Harry Potter prepared me for when I started reading A Song of Ice and Fire series. And, numerous characters get killed off in that series too! Once, I completed that novel, I was floored by everything that had taken place, and I was already checking the internet for when ‘Book 5’ was to be released (thank you mugglenet!).

            Between book release parties and the midnight showings of the movies, Harry Potter introduced another level of fandom to the world, and this time it was for children and adults. These events gave me something to look forward to with my friends and my relatives (my mother is a fan too!). In addition, it introduced me to popular culture on a larger scale, especially the merchandising (DO NOT EAT THE VOMIT FLAVOR JELLYBEAN!!!). My father is a huge James Bond fan and I thought it was always weird how he would get excited for the next movie and watch the movie marathons on T.V. like it was no big deal. Ironically, he did not understand anything about Harry Potter and for a time believed them to be ‘silly kids’ books.’

            By the time Harry Potter and the Order of the Phoenix and Harry Potter and the Half-Blood Prince were published and released, I came up with my theories as to who was going to die and what the latter part of the titles were referenced to (one of my college buddies correctly guessed the identity of the “Half-Blood Prince”). And, by the time Deathly Hallows was released in 2007, Harry Potter was fixated into everyone’s minds everywhere. Those ten days of celebrating Harry Potter—between the fifth movie and the seventh book—had everyone, everywhere anticipating their releases. Not that everyone was interested in reading the books and watching the movies, but people knew that it was a pretty big deal.

            The main reason I enjoy Harry Potter as much as I do is because one, it made reading thicker books cool. Since the series was extremely popular, no one cared that the later books were over 600 pages long. In fact, I remember classmates and coworkers asking if the series were worth reading. Another reason is because unlike The Chronicles of Narnia and A Wrinkle in Time Quartet, you were not sure whether or not your favorite characters, including the protagonist, were going to survive to the end. In most children’s novels, even if they were in danger, you knew that the characters were not going to die. Last reason is because the “Harry Potter Universe” was supposed to take place within the actual ‘Muggle World;’ thus, elements of the real world must be written into the fictional series. It made that magic world more realistic and on the same level within human society.

           J.K. Rowling wrote a fantasy series for children and adolescences that included adult themes which served as an emergence into adulthood because the child characters grew up as the story continued. So, the aspects of growing up and seeing the world for what it really is like, and learning how to control magic within the boundaries of our world, the real world, makes this series on equivalence with the real world. Some muggles know about the existence of magic and they have different reactions to this knowledge, some like it and others do not like it. And, what happens when both worlds collide? This we saw in Half-Blood Prince. Except for maybe Philip Pullman’s His Dark Materials Trilogy, I am not sure as to what other children’s/adolescent fantasy series reflects our reality that well.

            So in honor of both Harry Potter and J.K. Rowling, I want to wish them ‘Happy Birthday.’ And, to J.K. Rowling, thank you very much for sharing both your story and your creativity with the rest of the world. I will continue to read all of you works (except maybe Causal Vacancy) and watching all of the Harry Potter movie marathons.