Andrew Greig

“The dominant literary mode of the twentieth century has been the fantastic. This may appear a surprising claim, which would not have seemed even remotely
conceivable at the start of the century and which is bound to encounter fierce resistance even now. However, when the time comes to look back at the century, it seems very likely that future literary historians, detached from the squabbles of our present, will see as its most representative and distinctive works books like J.R.R. Tolkien’s The Lord of the Rings, and also George Orwell’s Nineteen Eighty-Four and Animal Farm, William Golding’s Lord of the Flies and The Inheritors, Kurt Vonnegut’s Slaughterhouse-Five and Cat’s Cradle, Ursula Le Guin’s The Left Hand of Darkness and The Dispossessed, Thomas Pynchon’s The Crying of Lot-49 and Gravity’s Rainbow. The list could readily be extended, back to the late nineteenth century with H.G. Wells’s The Island of Dr Moreau and The War of the Worlds, and up to writers currently active like Stephen R. Donaldson and George R.R. Martin. It could take in authors as different, not to say opposed, as Kingsley and Martin Amis, Anthony Burgess, Stephen King, Terry Pratchett, Don DeLillo, and Julian Barnes. By the end of the century, even authors deeply committed to the realist novel have often found themselves unable to resist the gravitational pull of the fantastic as a literary mode.

This is not the same, one should note, as fantasy as a literary genre – of the authors listed above, only four besides Tolkien would find their works regularly placed on the ‘fantasy’ shelves of bookshops, and ‘the fantastic’ includes many genres besides fantasy: allegory and parable, fairy-tale, horror and science fiction, modern ghost-story and medieval romance. Nevertheless, the point remains.
Those authors of the twentieth century who have spoken most powerfully to and for their contemporaries have for some reason found it necessary to use the metaphoric mode of fantasy, to write about worlds and creatures which we know do not exist, whether Tolkien’s ‘Middle-earth’, Orwell’s ‘Ingsoc’, the remote islands of Golding and Wells, or the Martians and Tralfa-madorians who burst into peaceful English or American suburbia in Wells and Vonnegut. A ready explanation for this phenomenon is of course that it represents a kind of literary disease, whose sufferers – the millions of readers of fantasy – should be scorned, pitied, or rehabilitated back to correct and proper taste. Commonly the disease is said to be ‘escapism’: readers and writers of fantasy are fleeing from reality. The problem with this is that so many of the originators of the later twentieth-century fantastic mode, including all four of those first mentioned above (Tolkien, Orwell, Golding, Vonnegut) are combat veterans, present at or at least deeply involved in the most traumatically significant events of the century, such as the Battle of the Somme (Tolkien), the bombing of Dresden (Vonnegut), the rise and early victory of fascism (Orwell). Nor can anyone say that they turned their backs on these events. Rather, they had to find some way of communicating and commenting on them. It is strange that this had, for some reason, in so many cases to involve fantasy as well as realism, but that is what has happened.”
― Tom Shippey, J.R.R. Tolkien: Author of the Century

“:...For animals and birds are like people, too, though they do not talk the same or do the same things. Without them the earth would be an unhappy place.”
― Scott O'Dell

“He sank more and more into apathy; little interested him apart from dolls and other children’s toys. He still spoke occasionally, but mainly to produce stock sentences in the style of a brainwashed schoolboy. Franziska made a record of some of them: ‘I translated much’. ‘I lived in a good place called Naumburg’. ‘I swam in the Saale’. ‘I was very fine because I lived in a fine house’. ‘I love Bismarck’. ‘I don’t like Friedrich Nietzsche’. It would be a mercy to think that he experienced at least a kind of vegetative contentment, but this seems not to have been the case. He suffered from his life-long curse of insomnia, and visitors downstairs were often disturbed by groans and howls coming from the upstairs bedroom. Towards the end of Franziska recorded him uttering ‘More light!’ (Goethe’s dying words) and ‘In short, dead!’ suggesting that that is what he wanted to be.”
― Julian Young, Friedrich Nietzsche: A Philosophical Biography

“Agent Black wanted to put Lauren Carmichael in a ten-by-ten prison cell. I had a better idea: a hole out in the desert, three feet wide and six feet deep.”
― Craig Schaefer, The Living End