When Legends was published, in 1998, it seemed not only welcome, but necessary. The empire of literature, it goes without saying, has for at least a century been too broad for any one reader to know it all first-hand in one lifetime. Even in a single field, a single subgenre, it can be hard for a reader to really have a firm grasp of the state of the art (let alone the canon of classics). We all hear names, from time to time, of this writer or that, and make a mental note to catch-up… but how often do most of us follow through? It’s a perennial problem… but it may never have been a more pressing problem than in the epic fantasy genre of the late 1990s.
As I explained
earlier today a few days ago, I just can’t, honestly, make a list of my ten favourite authors. I can make it to three, maybe four, and that’s it. All the other contenders are either people I loved long ago but don’t love anymore, or people I might love in the future but haven’t read enough of yet.
But that got me thinking. If I can’t list my current top ten… how about a historical top ten? In a way, that seems more interesting, since that gives a story about myself, an actual arc. The authors can become more meaningful through a biographical context.
Or maybe I just like talking about myself.
Either way, that’s what I’m doing. Ten authors who would, in roughly chronological order, once have been among my favourite authors at a given time in my life. Except that this is me, and I’m terrible with respecting rules, so actually this is sixteen authors who were once among my favourites. I can’t promise that they would necessarily all have ever been my ‘#1’ author, but they would all have been up there. Here we go…
(oh, and this is just fiction, and just prose. No poetry, plays, non-fiction, or writing for TV or film)
- J.R.R. Tolkien
Tolkien was the first author I read, and the one who set the foundation for everything else in my literary life, and indeed, at least symbolically, the rest of my life too, for good and ill. ‘Favourite’ doesn’t really do it justice. My first book – the first adult book I read for myself – was The Lord of the Rings, and I went on to re-read it at least once a year into my middle teens. I loved The Hobbit too, and later on The Silmarillion, and Unfinished Tales. I have two collections of his poetry. A book I found in Switzerland about his elven languages started me on my hobby of language-creation. (illustration: John Howe’s ‘The Fall of Gondolin’)
- Enid Blyton
I didn’t only ever read Fantasy. And just because I started with Tolkien, that doesn’t mean I skipped childhood entirely. I read, or listened to, or was read, a whole bunch of kid’s books too. Lots of Roald Dahl. And I loved both the E. Nesbitt novels I read. But the one that stands out for me from my earliest years was Enid Blyton. I never read the Famous Five books (although I once had a book/game version of one of them – like a super-CYOA book, with dice and cards and stuff); I resisted attempts to ween me onto the Secret Seven. No, I was, as in all ways, a child who preferred the more recondite alternatives. So I adored her eight ‘Adventure’ novels, about two girls and two boys stranded, having to fend for themselves, in a series of exciting and intimidating locations, generally defeating the sinister plots of some evil adult criminals. My favourite of all was The Valley of Adventure, which seemed like a paradise (despite the whole ‘orphans stranded in war zone hunted by psychotic thieves’ angle). (illustration: no idea)
- C. S. Lewis
Narnia. It never seemed as important and deep as Tolkien, but it was still captivating. My favourite was The Horse and His Boy, which is set almost entirely in Exotic Foreign Parts, and doesn’t mess about with any of this ‘real people from England’ business! (illustration: Stephen Lavis’ cover for ‘The Horse and His Boy’)
- David Eddings
The backbone of my early Fantasy reading, in larger part because of his productivity. I read all five Belgariad novels (so often my parents added extra plastic binding to protect them), and then all five Mallorean novels, and then the Elenium trilogy (which took me about three days), and then the Tamuli, which took longer only because it was the first series I was actually reading while the books were still coming out one by one, an exhilerating thing. I got the last two in that strange hardback-size-but-paper-backs-and-prone-to-fall-apart format they had back then. Finally, I got his Belgareth and Polgara as hardbacks. (illustration: Geoff Taylor’s painting for the cover of ‘Magician’s Gambit’)
- Arthur Ransome
When I was young, I wasn’t just a geek – I was also a nerd. I spent more time reading the Ravenloft fansites or intently studying the complete unified timeline of Abeir-Toril than I did actually reading the books. But in the days before the internet, nerdery was difficult. Perhaps one of the earliest demonstrations of mine was the case of Arthur Ransome. I liked Ransome’s books – they were like a more grown-up Blyton – and I read three or four of them. But for some reason I decided I was going to collect him. He’s the only author I’ve ever collected, though I probably will collect others in my life. But Ransome was the first – and every week I’d check the second-hand bookshops (there were multiple ones nearby in those queer old pre-internet days) (NB the internet did exist, it just didn’t feature much… at this point, its main use was for downloading updates to Encarta. I can still remember the sound-effects for opening pages in Encarta, you know. And Encarta World Atlas! Dear gods, that astonished us. Truly astonished) for any new copies to buy. (illustration: no idea)
- Oscar Wilde
Inherited from my sister. As you may have noticed, my early favourites weren’t exactly famous for their prose style, with the arguable exception of Tolkien. Or, indeed, for their humour. Wilde was suave, polished, and savagely witty. His plays tore apart adult society, while The Ballad of Reading Gaol, De Profundis and the fairy tales had an acheing melancholy about them that appealed to my budding emo side. [I wasn’t emo, because it didn’t exist then, and because I wasn’t into pop culture. But I did listen to Rachmaninov’s The Isle of the Dead on an endless loop in a darkened room and write terrible, melancholy gothic poetry heavily influenced by Wilde] If you ever find me prone to self-pitying martyrdom, blame (amongst other bad influences) Oscar Wilde. (illustration: Jessie King’s “White as the surf it was and like a flower it tossed on the waves”, from her illustrations for ‘House of Pomegranates’)
- David Gemmell
I got Legend from the school library in the last few years of primary school. Well, from the bookshelf of my classroom, anyway. I think the teacher may be to blame – he was a fantasy fan. I used to lend him books to read. Anyway, I qas quickly hooked by Gemmell, whose proto-grimdark violent brutality and thinly-veiled sexuality was exciting for a pre-teen boy. I read at least eight of his Drenai novels (there are diminishing returns!), as well as his post-apocalyptic semi-magical Jerusalem Man Western trilogy, and his The Knights of Dark Reknown. I might not love him the same way now, but I am surprised by how often he seems to be passed over in discussions of the genre – apparently, though, he was much less popular in America than here. (illustration: Mark Harrison’s cover for ‘Wolf in Shadow’)
Asimov may seem like an adult writer – glasses, sideburns, sociological ramifications of technological advances, etc – but he’s actually an ideal writer for kids. Asimov is an ideas man, and kids are all about ideas. Execution, that’s something that adults care about, once they’ve seen all the ideas, but kids want something enthralling, stimulating, challenging. And Asimov was those things. Asimov talks a lot about the nature of humanity, about justice and fairness and good governance, about power in all its forms. And he also talks about aliens and robots and spaceships and hive minds and robots disguised as hive minds disguised as sexy alien women, and civilisations who collapse because they’ve never before seen the night. And Asimov doesn’t speak down to you. Many of his stories have a strong ‘puzzle’ element, the reader invited to work things out for themselves. Asimov expected his audience to have the souls of children and the minds of adults, and that’s a powerful premise for a child. (illustration: Rowena Morrill’s portrait of the great man himself)
- Terry Pratchett
Well, I guess I’ve written a fair amount before about Pratchett. He was one of my first writers, but I guess he wasn’t really central until near the end of primary school, by which time he was probably my number 1 favourite. From Feet of Clay on, I got all his Discworld books (minus those marketed for younger readers, because I was a snob) in hardback as they came out – all the way up to Making Money. The increasing time between installments, combined with their diminishing quality, made me question him later on, until my re-read project rekindled my love for this great author.
Another biographical point: Terry Pratchett made me give up writing. Not for ever, of course. But at some point I “realised” that I couldn’t write the books I wanted to write because Terry Pratchett had already written them. Now you might find this arrogant – assuming that I could have written these books! – and it is, but it’s also symptomatic of Pratchett. I remember Queen Victoria’s comparison of her two great Prime Ministers (I paraphrase): “After talking with Mr Gladstone, I became convinced that he was the most intelligent man in England. But when I talked with Mr Disraeli, I soon became convinced that I was the most intelligent woman in England.” Pratchett at his best is a literary Disraeli (no offence to the real literary Disraeli, who was of course Disraeli himself…) – he makes his readers feel so smart that they could sure have written these books themselves. After all, it all seems so easy! (illustrations: Josh Kirby’s iconic cover for ‘The Colour of Magic’ , and Joe McClaren’s cover for ‘Reaper Man’)
- Margaret Weis and Tracey Hickman
Sometime late in primary school, someone gave me a box of D&D novels. By early in secondary school, I was making some sense of them. Dragonlance was my ‘home’ setting, as it were, and Dragonlance, in its sprawling, slapdash-continuity way, was built around a series of seven novels by Margaret Weiss and Tracey Hickman. I don’t imagine they were great novels, but boy were they great stories, perhaps the apotheosis of the epic fantasy story, and they displayed their world to the full. Later, I found their (mostly) unrelated (or is it?) Deathgate Cycle, a fine and memorable fantasy in its own right. (illustration: Larry Elmore’s cover for the Collector’s Edition of the Dragonlance Chronicles)
- Anne McCaffrey
The ubiquity of its foundational rape fantasies and the disturbing attitudes toward gay men aside, there’s something comfortable and relaxing about the Pern novels. Yes, true, threads of an inimical space fungus fall from the sky and occasionally digests people whole within seconds in an excruciating rain of death, or sometimes merely leave people horribly mutilated and traumatised for life, but apart from that it’s a very safe sort of place, very cosy. People laugh a lot, have unexciting teenage romances (which sometimes even do not necessarily involve fetishised non-consent, except in relatively minor ways… well, using ‘relatively minor’ in a relatively and perhaps unpleasantly charitable way, at least), and have deep and meaningful relationships with their pets (who then essentially compel them into proxy rape via mind control). Lots of loners and marginalised people show the crowds their worth, sometimes by raping them, but it’s all OK because everyone likes each other in the end (except for the people who have to be murdered for the good of the many). It’s a great fantasy world for kids. Sure, it always felt like something written primarily for an audience of teenage girls – the dragons are essentially big glittery mind-rapey ponies – but for a generally insecure boy I was surprisingly unconcerned about that, perhaps because nobody else I knew actually knew what the books were about. Anyway, dragons and romance aside, I loved the way McCaffrey made music central to her culture, and actually wrote about it in a way that only seemed half nonsensical. Masterharper of Pern is the closest thing I know to a biography of a classical composer that also has dragons (and political skullduggery) in it (i.e. the perfect book). (illustrations: Steve Weston’s wonderful dragons for ‘Dragonsdawn’ and ‘Dragondrums’)
- Raymond E. Feist
I was introduced by a friend in early secondary school; for some reason, I began with the Serpentwar books, which are indeed the best and most interesting (with the exception of the co-written Empire trilogy). I guess this felt like a more grownup, down-to-earth, graphically violent realistic version of Eddings or of D&D. It was perhaps more believable, less silly, than a lot of those books, and yet fundamentally it was all structured as a jolly good yarn, easy to read and enjoy. I read forward and back from Serpentwar, and sideways into Empire, although I never read on beyond the dreadful computer game adaptations. (illustration: Geoff Taylor again, his cover for ‘Rise of a Merchant Prince’)
- Elaine Cunningham
A slightly odd one here, because at the time I probably would never have named Cunningham as a favourite author. And yet she’s one of the authors I’ve read the most by. Her Arilyn/Danilo semi-romantic fantasy adventure series was my favourite part of the Forgotten Realms setting, and I followed her over as well to her drow novels (an unsuccesful attempt to combine the flavours of her Harper novels with Salvatore’s drow novels), and the beginning of her Halrua series (I should finish that some day!). The books were very light, but they had violence and romance and a kickass tomboy elf princess, so I read them avidly. Despite my apparent grouchiness and my low level of patience with terrible YA romance plots, I actually have a secret soft spot for a good romance, and Arilyn/Danilo clearly worked for me as a kid – serious and deadly girl, flippant and somewhat girly boy, interracial romance with a hint of the forbidden and various Terrible Obstacles Imposed By A Cruel Fate, etc etc. (illustrations: John Foster’s cover for ‘The Magehound’; Kelly Freas’ cover for ‘The Radiant Dragon’. I’ve never actually read ‘The Radiant Dragon’ , but there’s no way I’m passing up a chance to put some Spelljammer on this page. Spelljammer: the fantasy setting for people who are having a puzzling drug trip. Look, a glowing translucent rainbow dragon! In space! And a mediaeval man with a cape full of pixie dust on the bridge of a sailing ship. And the dragon might be about to eat a planet and also I think its head is on fire. Spelljammer, people!)
- Robert Jordan
Yeah, I’ll admit: I seriously liked Jordan at one point (midway through my teens, I guess). And I think I was quite justified. Sure, the first book wasn’t great. In fact it was obviously bad, and obviously a rip-off. And the second was confusingly similar to the first, and the third was promising but went nowhere. But somewhere between the third and the fifth, I got really hooked.
Part of it, of course, was the shear scale. I’d never read anything this big, this sprawling. Stupid as it may be, I liked the polyamorous (and intercultural) relationship, which I’d never seen before in literature – all these damn love triangles all over the place, it was great to see some people just sit down and say ‘you know what, let’s just make this work’. On a similar note, it was originally both titillating and somewhat liberating to see the hints at lesbian sex, which previously I think I’d only read about as a defining trait of decadent villainnesses (of course, the increasingly ubiquitous casual lesbian dalliances and the author’s growing obsession with theoretically-non-lesbian all-female spanking orgies did before too long turn this mildly sexy freshness into stale, repetitive, rather awkward-feeling fanservice and authorial fantasising… but that was later). And I liked the way Jordan wove in elements of hidden SF into the background of his world – it wasn’t new to me, but it was new enough to be intriguing. And perhaps most of all I liked his willingness to take his villains seriously – the Forsaken seemed at times much more interesting than his protagonists. And yes, they may be shallow, but I appreciated the nods to history and mythology, particularly the heavy Arthurian echoes in the background.
But the really striking thing, which I don’t think he gets enough credit for, was Jordan’s use of mystery. The more you read, the less you seemed to know. I had to keep turning the pages to uncover the secrets. Who killed [spoiler redacted]? Who is Black Ajah and how can you tell? Who is [redacted] hiding as? Is [redacted] secretly Forsaken and what are the subtle clues? There are all these little mysteries to solve, and perhaps Jordan was never all that great at solving them but he was good at setting them up, in a way I hadn’t really encountered in any other work. And that let the length of the series work for it: it gave us time to work ourselves up into fever pitch waiting for the next book when all would(n’t) be revealed. The Wheel of Time was my first sortie into real book fandom, not the nerdy setting fandom I’d looked at before, and it was a vast and captivating world of forums and tributes and parodies and endless speculation. (illustrations: Darrell K. Sweet’s covers for ‘The Eye of the World’ and ‘The Fires of Heaven’)
- Gabriel García Márquez
I said above that Pratchett stopped me writing, or at least discouraged me. Gabriel García Márquez had another go at it – convinced me for a good while that I had to write something totally new and radical and ‘literary’ – but more than that he was the author who killed my love of reading. Which… well, that doesn’t sound too great, does it? But it’s a compliment.
I should be fair. What’s really killed my love of reading – or at least, killed my obsessive infatuation with reading – has been the internet. And discovering films and TV, and maybe, just maybe occasionally, vestiges of a real life perhaps, didn’t help either. But GGM was a big hammer blow.
The thing is, One Hundred Years of Solitude – I was about 16 at the time I think – just destroyed me. It was beautiful, so beautiful, and powerful, and intelligent, and mysterious, and totally new to me, and it made me cry. The ending devastated me… but then for some reason I found myself walking around with my back held straight for a week (I tend to slouch normally, and did so even more as a teenager). It was sublime, and made the world seem different for a while, in an inexpressable way. It made me look at all other books and go “what’s the point?”. I couldn’t write like that, and nor could the other authors I knew of, who suddenly I realised – with perhaps too much enthusiasm, were nothing but pale shadows next to García Márquez.
I never quite recaptured that feeling with any of his other books. Of Love and Other Demons was nice but felt familiar; Chronicle of a Death Foretold was great, but too small. His Collected Stories varied from brilliant to mediocre. And then I tailed off reading him, saving him up for later. But at that point in time, I would certainly have called him one of my favourites. (illustration: not a clue)
- Robin Hobb
GGM helped do me a service. He pushed me to grow up, in reading terms. I was 16, 17, and I was still reading more or less the same stuff as when I was 10. Well, I stopped reading it, because it seemed rubbish by comparison – not stopped as in overnight, but I just lost my enthusiasm. Authors ended series and I never bothered to find others to replace them. I felt I wanted to read more of these wonderful, grown-up, real books… but I couldn’t love them, couldn’t be excited by them. And fantasy was just a genre (I didn’t realise at the time that One Hundred Years of Solitude was also Fantasy).
I’m overstating it; I’m making it more dramatic, more narrative. But there it is. At some point, I borrowed, on holiday, a copy of Assassin’s Apprentice. Now in truth, I started reading that probably before I’d ‘given up on’ Fantasy. So it’s more that as my interest in Fantasy declined, my interest in Hobb remained, and grew as her style grew and deepened. It sparked a brief passion (and a longer-lasting interest) for A Song of Ice and Fire along the way, but it was Hobb who has lasted as my favourite, and who has gradually helped me come back to appreciating the genre. (illustrations: above, Jackie Morris’ painting for the cover of ‘Blood of Dragons’; below, John Howe again with his painting for the cover of ‘Assassin’s Apprentice’)
And you know what I conclude from writing all the above? Fantasy novels used to have really great covers. Sometimes. In the UK, at least. These days, it seems like everything’s “male underwear model glowers at the camera while holding a weapon and having a big cloak”, or even the more direct “AXE!” or “SWORD!” or the like. But paintings like some of the above, even if they often didn’t seem to have anything to do with the events of the book itself, were enchanting. Captivating, even. They promised something – somewhere – wonderful inside the pages of the book. They may have been odd, strange, weird sometimes… but wasn’t that the point? That this wasn’t just the latest Tom Clancey only with swords instead of guns, that this wasn’t a write-up of this or that computer game? That it was going to show you somewhere totally different, totally new? The books may not always have lived up to that, but the covers promised it. I wonder whether I would ever have been as passionate about fantasy – or reading in general – if I’d only had the covers we seem to get today.
Anyway, that’s me. What about you?