In 2002, Philip Martin published The Writer's Guide to Fantasy Literature, containing writing advice from the likes of Peter Beagle, Susan Cooper, Ursula Le Guin, Gregory Maguire, Donna Jo Napoli, Midori Snyder, Jane Yolen, and others. Patricia McKillip also appeared in the volume, in the section on High Fantasy. Her advice for creating magic in fiction is both charming and wise.

"If you put a mage, sorceress, wizard, warlock, witch, or necromancer into fantasy," she wrote, "it's more than likely that, sooner or later, they will want to work some magic. Creating a spell can be as simple or as difficult as you want. You can write, 'Mpyxl made a love potion. Hormel drank it and fell in love." Or you can do research into herb lore and medieval recipes for spells and write: 'Mpyxl stirred five bay leaves, an owl's eye, a parsnip, six of Hormel's fingernails, and some powdered mugwort into some leftover barley soup. Hormel ate it and fell in love.'

"Or you can consider love itself, and how Mpyxl must desire Hormel, how frustrated and rejected she must feel to be obliged to cast a spell over him, what in Hormel generates such overpowering emotions, why he refuses to fall in love with Mpyxl the usual way, and what causes people to fall in love with each other in the first place. Then you will find that Mpyxl herself is under a spell cast by Hormel, and that she must change before his eyes from someone he doesn't want to someone he desires beyond reason.

"The language of such a spell would be far different from fingernails and barley soup. The Magic exists only in the language; the spell exists only in the reader's mind. The words themselves must create something out of nothing. To invent a convincing love potion you must, for a moment, make even the reader fall in love."

The Magic exists only in the language. This is true. But as Pat would have been the first to tell you, the spells cast by words in black ink on the page are powerful enchantments indeed.

For more insights into the magic of language and stories, I recommend the following posts: Briana Saussy on the art of making magic, David Abram on magic and magicians, N. Scott Momaday on the ancient magic of language, Jeanette Winterson on the magic of words, Robert Macfarlane on the magic of names, and Ben Okri on reclaiming the fire and sorcery. (For the full archive of posts that touch upon magic, go here.)

Words: The passage above comes from  The Writers Guide to Fantasy Literature, edited by Philip Martin (The Writer Books, 2002); all rights reserved The quotes tucked into the picture captions (run your cursor over the images to see them) are from Patricia McKillip's novels The Alphabet of Thorn (2004), Od Magic (2005), The Book of Atrix Wolfe (1995), Winter Rose (1996), The Riddlemaster of Hed Trilogy (1979-1983), and Ombria in Shadow (2002).   

Pictures: The photographs were taken on our hill this week. It is faerieland here during the bluebell season, with a piskies' path that runs from the Dartmoor hills to the Catskill Mountains. 

Today I've gathered a selection of quotes on writing by Patricia A. McKillip, capturing the magic of her creative process but also the frustrations and the plain hard graft, and the manner in which she alchemized daily life into mythopoeic fiction. Her work has a rich vein of Romanticism (in the classic sense of that word), so let's start with this delightfully unromantic description of the Writing Life:

"I usually don’t think of 'writing' and 'joy; in the same sentence. Nalo Hopkinson once said something along the lines of 'writing a novel is like wrestling with a mattress.' I thought that was a bull’s eye description of the process.

"A novel is bigger than you are, it’s bulky, it’s hard to grasp, it threatens to fall over on you, it doesn’t go where you want it without shoves, prods, kicks and swearing. The joy might come when you’ve finally got the unwieldy thing where you want it. Or it might come much later, when you finally realize how close actually you came to doing what you set out to do. Most of the time, for me, it comes with the idea -- the wonderful vision in my head, the moment of falling in love with the possibility of what I can create. After that it’s pretty much uphill all the way to the end, when I’m never quite certain I’ve actually gotten there, except that I don’t have anything left to say."

"Bards of Bone Plain was an exhausting book to write. It took a long time and very hard work, over the course of about four years. The original idea for it didn’t involve the kind of mirror imaging I ended up using. The central theme was simply to explore the idea that yes, things fantastical matter: fairy tales matter, symbols matter; they speak to us in very intimate ways, and if we need them they are there. That was the whole point of writing the poem about the 'Three Trials' and all that.‘

"I had envisioned a totally different kind of character, a bleaker character who really deserved the fate that he had. But he wouldn’t come out; I couldn’t make him do it. It’s like Connie Willis says: I can’t do that much darkness. Then I had an idea of moving through three different sections of background: the early one where they built the school, and then the building of the city (which would be kind of medieval), and then the modern city. At one point it stretched into three different books, and I thought, 'Nobody’s going to sit through all this to get to the modern city.' Still, it’s an idea I couldn’t give up easily. It was stubborn.

"The rewrite was deadly. At that point I had no faith in the novel whatsoever, but I was trying to do the rewriting just to make it an inch better than it was. There were so many problems! When I had 80 pages of it done, I handed it to my husband to read and he said, 'This is boring.' He was right; I thought it was boring too, but I wanted a second opinion. So I just started all over again, and finally I had this breakthrough.

"I was reading Martin Amis’s memoir about his relationship with his father, Kingsley Amis, and I thought, 'This is so modern! I want to do something like that.’ I think that’s where the modern plotline came from. Somehow, this poor guy who got skewered by this symbol, this poem -- for not taking it seriously, for not understanding fully, for not understanding how much it could mean to him -- he was punished. And he was the character who sort of wrapped all the details up for me, from the very beginning of the school to the sort of modern period, which lacked the distinct postwar signature of our 1920s and wasn’t quite modern (because then I’d have to deal with computers).

"My alternative timelines came out of desperation! I’d written the early chapter of the 'modern' story first, and then I thought, 'Well, what if I just fill in the gap to the past with this one main character who’s kind of the leitmotif of all the chapters?' (He ties all the other points of view together.) It finally started working at that point. It wasn’t the book that I had envisioned. But it’s the one that came out, and I love various details about it."

“Maybe a lot of the faerie in Atrix Wolf and Winter Rose comes from my move east [from San Franciso to the Catskills in upstate New York]. Instead of being surrounded by the landscapes in California -- vast distances and mountains and everything else – I’m surrounded by these little woods, and they’re definitely ‘fairytale’ woods, especially when you look at them in certain casts of light and can’t quite see what’s in them. That’s where the story begins, when you start wondering about what lies in these woods. Exploring that aspect of faerie is a consequence of living where I live." 

"Winter Rose was an enormously difficult novel, because I was trying to write about obsessive love, but it turned into a love story -- though I was fighting it all the way! I made the mistake of framing it around the 'Tam Lin' story, which of course is a love story. I didn’t realize it quick enough, so I spent the next year making it a love story. Faerieland in there was a very dangerous place to be. The characters there were out of the Wild Hunt, really not very nice people. It’s the wicked queen, who doesn’t really have any motivation, except that she wants to be wicked. One of the reasons I wanted to do the 'Tam Lin' story was that I did want to change the myth a bit. It’s a transformation tale, but it’s always the male who gets transformed. Janet has her child, and that’s her transformation. She’s very brave and courageous, but I wanted to write a story about a woman who had to transform herself, rather than rescue somebody else by his transformation. Instead of having a child, she bears herself in a certain way."

"The idea of faerieland fascinates me because it's one of those things, like mermaids and dragons, that doesn't really exist, but everyone knows about it anyway. Faerieland lies only in the eye of the beholder who is usually a fabricator of fantasy. So what good is it, this enchanted, fickle land which in some tales bodes little good to humans and, in others, is the land of peace and perpetual summer where everyone longs to be? Perhaps it's just a glimpse of our deepest wishes and greatest fears, the farthest boundaries of our imaginations. We go there because we can; we come back because we must. What we see there becomes our tales."

"In a crying need to get out of [the Catskill] mountains for a bit, I registered for a music class offered at Julliard [in New York City] to the community at large. To this day I wonder if Julliard realized that the Catskills were part of its local community. The subject was World Music, which I didn't know much about. It was held every Thursday evening from seven to nine, late September to early December. To get to it, I would drive for an hour and a quarter out of the Catskills, across the Hudson River, to another tiny town called Rhinecliff, which boasted a little train station with two tracks. I would board an Amtrak train there. After an hour and forty minutes, the train would pull into Grand Central Station, and I would step into an entirely different planet. The huge buildings, the noise, the smells, the languages, the music, as varied as the languages, offered at every street corner were mind-boggling, intoxicating. By day, I explored the city; in the evening I sat in a classroom listening to weird instruments, exotic music. Afterwards, I would reverse the journey, moving farther and farther out of the enormous, intense hothouse of civilization until the roads became narrow and solitary, mountains hid the river and the city lights, and I reached the strange point in my drive home where I felt I had somehow traveled so far that I had left the real world, real time behind. I had passed into the realm of Sleepy Hollow, the Otherworld, which was just a little farther than anyone should go. 

"The final class was held in the Indonesian Consulate so that we could learn about the Gamelan. I had also learned, on those Thursday explorations, enough about the subway system to find my way there and back again, which gave me no end of satisfaction. Later, I would put that journey from one tiny world into a huge, complex and noisy world, those details of bar and classroom and my amateur efforts at music, into a fantasy novel: Song for the Basilisk."

"Winter Rose and Songs for the Basilisk have definite springs in real life, and yet for some reason they insist on being fantasy novels, instead of contemporary novels. That’s something even I don’t quite understand. The hardest thing of all is writing a contemporary novel with the power of a fantasy. That’s what I’d really like to do, but I don’t quite know how. Maybe I have to make them fantasies because I have a big imagination, and it won’t shut up."

"I write fantasy because it's there. I have no other excuse for sitting down for several hours a day indulging my imagination. Daydreaming. Thinking up imaginary people, impossible places. Imagination is a golden-eyed monster that never sleeps. It must be fed; it cannot be ignored. Making it tell the same tale over and over again makes it thin and whining; its scales begin to fall of; its fiery breath becomes a trickle of smoke. It is best fed by reality, an odd diet for something nonexistent; there are few details of daily life and its broad range of emotional context that can't be transformed into food for the imagination. It must be visited constantly, or else it begins to emit strange bellows at embarrassing moments; ignoring it only makes it grow larger and noisier. Content, it dreams awake, and spins the fabric of tales. There is nothing really to be done with such imagery except to use it: in writing, in art. Those who fear the imagination condemn it: something childish, they say, something monsterish, misbegotten. Not all of us dream awake. But those of us who do have no choice."

The quotes above come from "An Interview Witb Patricia A. McKillip" by Deborah J. Brannon (A Green Man Review, October 2008); "Patricia A. McKillip: Fairy Tales Matter" (Locus Magazine, January, 2011); "Patricia A. McKillip: Springing Surprises" (Locus Magazine, July, 1996); Firebirds Rising, edited by Sharyn November (Firebird, 2006);  "What Inspires Me," Patricia McKillip's Guest of Honor speech, Wiscon 28, 2004; and The Faces of Fantasy by Patti Perret (Tor Books, 1996). All rights reserved.

The art above is by Warwick Goble (1862-1943), a prolific book artist during Britain's Golden Age of Illustration.

After yesterday's post about Patricia A. McKillip's books, illustrated with the sumptious cover art from the Ace Books editions, let's take a closer look at the artist with whom Patricia's novels have long been paired....

Kinuko Yamabe Craft is widely acknowledged as one of the finest illustrators working today. She has won more than one hundred awards for richly detailed work ranging from fairy tale and folklore subjects to Shakespeare, historical themes, and modern mythic literature. Whether painting Baba Yaga or Turandot, Sleeping Beauty or Romeo and Juliet, she conjures the glow of magic at the heart of the world's great stories.

Kinuko was born and raised in Kamazawa, Japan, where she fell under the spell of art as a child pouring over the books in her maternal grandfather's library. She received a BFA from The Kanazawa Municipal College of Fine and Industrial Art in 1962, and then obtained sponsorship to study at the School of Art Institute in Chicago. She subsequently worked with two commercial art and design studios in Chicago before branching out on her own as a freelance commercial artist. Her work has appeared in The New York Times, The Atlantic Monthly, Newsweek, Time, Playboy, Forbes, Sports Illustrated, National Geographic other major publications, and on book jackets for a range of authors including Isabel Allende, Dorothy Dunnet, Carl Sagan, Eileen Goudge, Antiona Fraser, Barry Lopez, and Stephen King. She's also created illustrations for historical works, Shakespeare, and opera classics. "I'm comfortable creating imagery crossing over many different cultures," she says, but she'll only take an assignment if the subject speaks to her, and allows her room for self-expression. "I choose my jobs by instinct, by my reaction to the theme or manuscript. The writer's sensibility must meet me half way. There must be room for my imagination and heart. I can't just be a hired hand. If something's not right, if I read the story and it's like a blank, then I know that I can't do it."

Kinuko works in a variety of styles, but she's especially drawn to fantasy and folklore themes, which resonate with her own rich imagination and aesthetic sensibilities. In the 1980s, her work began to appear on the covers of adult fantasy novels, where she quickly developed a loyal following for her jewel-toned imagery. Over the next two decades, Kinuko's dreamlike, distinctive paintings graced books by such fine fantasists as C.S. Lewis, Ursula Le Guin, Tanith Lee, Robin McKinley, Sheri Tepper, Guy Gavriel Kay and Ellen Kushner in addition to Patricia McKillip; at the same time, she also created exquisite art for children's picture books including Cinderella, Beauty & the Beast, Sleeping Beauty, The Twelve Dancing Princesses, Baba Yaga and Vasilisa the Brave, Cupid and Psyche, Pegasus, and King Midas.

When she's working on a book, Kinuko spends many hours with the manuscript, letting its mood seep inside her, tint her dreams and spark inner visions. "Stories have color," she explains, "a certain smell and taste. I have to spend time with that, inhabit it, taste it, know it. I want to bring out my fantasy about that flavor." Although it's import to her to understand and express what the author has written on the page, it's ultimately her mission to tell her version of the story -- to render her reaction to it in color, shadow, and line. She doesn't like to be rushed, but rather to take the time to truly live with the tale. "The more time I put in, the more something lives in the image. I actually live in the book while I work. I function much like an actor taking on a role. The outside world fades away. It can be a real problem, especially when we run low on food during an ice story, and I've just spent twelve hours in my studio. But I think I've been in a fantasy world all my life."

Accuracy is important to her -- not only the little details of a character's hair coloring or dress, but historical accuracy, which is always meticulously researched. Even her fantasy paintings, she says, "must have a basis in reality -- a loosely assigned place in history. That sets the tone and flavor within which I must work, like a stage in a play and then I must fold my own fantasy into it. I consider myself a storyteller, and like any good actor, must convincingly portray my subject in a way that lends credibility to what I paint."

She particularly revels in her roll as storyteller when creating picture books for children, in which the reader is guided through the story by means of a string of linked images. She doesn't view them as books just for children, however -- and indeed, her picture books are also collected by many adult art lovers. "I create the images mainly for me," she notes, "for both the mature woman and the child within myself. I believe we are always young inside and psychologically never grow old and worn out, from birth to death."

The books of her grandfather's library provided her earliest art education, and it's no accident that her work is most often compared to Renaissance art. "He had a few volumes of Renaissance work. I was quite mesmerized by them and spent hours in their capture. I wanted to somehow become a storyteller like Giotto, Martini, Fra Angelico, Botticelli, Credi, Ghirlandaio, Bellini, Mantegna, Titian, and especially Leonardo da Vinci, who to me is the greatest painter who has ever walked the earth. I'm also attracted to painters of neoclassicism, romanticism, the symbolists, pre-Raphaelite paintings, Hudson River School works and Boston painters of the early 20th century. And also more modern works by artists like N.C. Wyeth, Kay Nielsen, George Tooker, Jared French and Richter attract me, maybe because I am moved by the elements of fantasy or the poetic themes of their paintings."

Kinuko has her own method for creating her distinctive imagery, combining watercolor and oil paints:

"First I make a very careful drawing on Strathmore brand illustration board. Sometimes, just planning the drawing can take longer than the actual painting. When I am pleased with the design, I begin by overpainting it with thin watercolor washes. That lays in the basic colors and tones. After that, I apply a sealer to the surface, to prevent the oil paint from soaking into the surface. The next step is quite time consuming. I work with very small Windsor Newton watercolor brushes, overpainting the watercolor with oil paints. Sometimes a painting can take up to a month."

Kinuko's original paintings are even more beautiful than book reproduction conveys, and as a result her art has been widely exhibited and collected. Highlights among her long list of shows include Brave Little Girls at the National Museum of Women in the Arts (which subsequently traveled throughout the U.S.), New York 5 at the Art Directors Club of New York (which subsequently traveled to Japan), Women and Illustration: Contemporary Visions and Voices and The Art of Enchantment at the Norman Rockwell Museum, Illustrating Women at the Ringling School of Art and Design, Masters of the Art of Children's Books at the University of Wisconsin,  Storytellers at Westmont College, The Fantasies of Kinuko Y. Craft at the Norfolk Library, Visions of the Floating World at the Cartoon Art Museum, a one-woman show at the Society of Illustrators in New York, and numerous appearances in the Society of Illustrator's annual exhibitions. Her work is in the permanent collection of The National Geographic Society, Time Inc., and The Museum of American Illustration, as well as in private collections world-wide. 

The pictures in this post are just a fraction of the imagery Kinuko has created over decades of dedicated, focused, passionate work. What keeps her inspired? "I'm driven by an attraction to beauty wherever I find it," she says. "That can be in the natural world, or in music, poetry, literature, or in a picture in an art museum, or in anything that touches my sensibilities or strikes a chord in my senses. I like to try to create the feelings these things touch off in me in my paintings, but always fail miserably. That's why when someone asks me, 'What's your best painting?' I always answer 'My next one,' in the vain hope that I may finally be successful."

I must beg to differ with Kinuko's humble appraisal of her work. In gifting us with her unique vision, creating imagery that is deeply personal yet also universal, she has increased the world's store of enchantment, painting by painting, book by book. The beauty that illuminates her art is both restorative and necessary in this age of harsh discord: it nurtures our sense of wonder, and helps us to find the magic in the world around us. Her paintings, like Patricia McKillip's stories, are absolutely luminous, and may the faeries bless everyone at Ace Books who conspired to put these two remarkable women together.

The quotes above are from an interview with the artist by Maurizio Manzieri (ASFA Quarterly, Spring/Summer 2003), an interview by Karen Haber (Locus Magazine, August 2002), and from Kinuko's website. Titles for the paintings and drawing can be found in the picture captions. (Run your cursor over the images to see them.) All rights to the art above reserved by Kinuko Y. Craft.

I'm still reeling from the news of Patricia McKillip's death last week. She was only 74, and I thought we'd have more time with her, more wonderful tales flowing from her pen, and I simply cannot reconcile myself to a world without Patricia in it.

I admired Pat professionally, loved her personally, and have been profoundly influenced by her artistically. From the moment I first stumbled upon her work (The Forgotten Beasts of Eld, 1974) her books have been lodestars for me -- demonstrating, over and over again, the timeless power of myth and fairy tale tropes when wielded by a master writer. And a master of fantasy she certainly became: one of the very best of our age, as well as one of the most influential in the mythopoeic end of the fantasy field.

"Writing was something I fell into," she once said, "much like Alice down the rabbit-hole, when I was fourteen. I sat down one day to write myself a story instead of reading one, and thirty-two pages later -- pencil and lined paper table -- I finished my tale and realized that my predictable world had expanded wildly, enormously, with endlessly diverging and intriguing paths running every which way into an unknown I suddenly knew existed. Having ended one story (which is locked away, guarded by dragons and evil-eyed basilisks, and will never see the light of day if I have anything to say about it), I wanted to start all over again on another."

In another autobiographical piece from 2004 (and heavens, I wish there were more of them) she noted:

"A friend asked me recently, 'What inspires you to write?'

"She is a writer herself, so I knew she wasn't asking me, 'Where do you get your ideas?' She would know that ideas are as random as shooting stars; they come while you're cleaning the bathtub, or watching Four Weddings and a Funeral for the ninth time, or in the morning when the last bit of your dream is fraying away, just before you open your eyes. You see it then, what you've been searching for all these weeks or months, clear as day; you look at it and think, 'Oh. Yeah,' and open your eyes. That wasn't what she was asking. And that was why I couldn't answer, I could only sit and stare at her with my mouth hanging gracelessly open, because all the answers that sprang immediately to mind answered the question she hadn't asked....

"The question was about drive, motivation. What possessed you to write eight or ten entirely different fantasies in ten or twelve years? What compels you? How could you? Why would you want to? Ever since I was young, the imagination, like the raw stuff of magic, has seemed to me a kind of formless, fluid pool of enormous possibility, both good and bad, dangerous and powerful, very much like the magma in a volcano. And I envisioned myself sitting on top of this mountain of magma, spinning it into endless words, visions, imagery, controlled and useful, to keep it from bursting out in its primitive state to devastate the landscape. At first, I felt very precariously balanced on top of my private volcano, spinning word and image into tales as quickly as I could to keep up with the unstable forces I was trying to harness. Lately I've been feeling rather at home there. The magma level has gone down a bit; I've done some satisfying work. I can slow down, maybe, take a longer time to think about what I want to make now. What I set out to do about fifteen years ago was to write a series of novels that were like paintings in a gallery by the same artist. Each work is different, but they are all related to each other by two things: they are all fantasy, and they are all by the same person. That's all I wanted to do. And now I'm reaching the end of that series.

"I have no idea what comes next."

What came next, of course, were more brilliant books (Od Magic, The Bell at Sealey Head, The Bards of Bone Plain, Kingfisher), three dazzling short story collections (Harrowing the Dragon, Wonders of the Invisible World, Dreams of the Distant Shores), and a handful of other fine stories. She kept shaping that magma into wise and wondrous tales, and it's hard to believe there will be no more. But she has left us shelves full of books to read, and re-read, talk about, and share, and as long as we do, then the magic is still flowing and she is still with us.

A few years ago, I spent two months re-reading her entire backlist (in order of publication); this week, I'm starting over again, from The House on Parchment Street and The Throme of the Erril of Sherill to her most recent stories. I know I'll find new depths in them, as I always do. I know I'll continue to learn from her. Perhaps some of you might join me by re-visiting a favourite novel or story, or seeking out a tale you missed along the way. For anyone who wants to join in: just let me know what you're reading in the Comments below this post, and then share any thoughts you have about the reading when you are done.

"At it's best," she wrote, "fantasy rewards the reader with a sense of wonder about what lies at the heart of the commonplace world. The greatest tales are told over and over, in many ways, through centuries. Fantasy changes with the changing times, and yet it is still the oldest kind of tale in the world, for it began once upon a time, and we haven't heard the end of it yet."

No, indeed we have not.

Some suggested reading to be found online:

"Women in SF & Fantasy" by Patricia A. McKillip (The Fantasy Cafe, 2013)

"Revisiting Patricia A. McKillip's The Forgotten Beasts of Eld" by Molly Templeton (Tor.com, 2017)

"Gingerbread Bricks, Cherry-Eating Cats, and Other Culinary Disasters" by Patricia A. McKillip (Tor.com, 2018)

"I Write Fantasy Because of Patricia McKillip's The Riddlemaster of Hed" by Julie E. Czerneda (Tor.com, 2021)

I also highly recommended listening to the Coode Street Podcast, Episode 579: Remembering Patricia A. McKillip, in which writers Ellen Kushner and E. Lily Yu discuss Patricia's life and work with the podcast's hosts, Gary Wolfe and Jonathan Strahan (May 16, 2022). To hear Pat herself describe her writing process, listen to her interviewed on The Agony Column Podcast Newsreport (April 20, 2008).

The remarkable art in this post is by Kinuko Y. Craft, the cover artist for many McKillip books, whose jewel-like paintings perfectly capture the luminous worlds contained within each volume.

The quotes above come from "Gingerbread Bricks, Cherry-Eating Cats, and Other Culinary Disasters" by Patricia A. McKillip (Tor.com, 2018); "What Inspires Me," Patricia McKillip's Guest of Honor speech, Wiscon 28, 2004; and The Writers Guide to Fantasy Literature, edited by Philip Martin (The Writer Books, 2002). All rights reserved. The photograph of Pat is by Patti Perret, from The Faces of Fantasy (Tor Books, 1996); all rights reserved by the photographer.

Today, in honour of April Fool’s Day, the Centre for Fantasy and the Fantastic at the University of Glasgow is hosting a special online event. Fantasy and Puppetry: Animating the Fantastic is a celebration of puppets and of the art of puppeteers in bringing fantasy and the fantastic to life, on stage, on screen and on the page. This online programme of talks and demonstrations features five of the best puppet designers, directors and performers working today: Brian and Wendy Froud (The Dark Crystal, Labyrinth, etc.), William Todd-Jones (The Chronicles of Narnia, Harry Potter, His Dark Materials, etc.), Mary Robinette Kowal (Sesame Street, LazyTown, etc.; also a Hugo and Nebula Award winning author), and Howard Gayton ( The Little Angel, Norwich Puppet Theatre, The Eden Project, Hedgespoken, etc.).

In addition, there will be a panel discussion of puppetry in fantasy literature -- with Mary Robinette Kowal, Rob Maslen (co-director of the Centre for Fantasy), Marita Arvaniti (scholar of theatre in fantasy), and me. We'll be looking at depictions of puppetry in fiction by Carlo Collodi, John Masefield, Susan Cooper, Diana Wynne Jones, Neil Gaiman, Russell Hoban, Helen Oyeyemi, A.S. Byatt and others, as well as Mary Robinette's own work.

It all takes place online (via Zoom) from 11:00 am to 6 pm, British Summer Time. For the full programme, go here.

Tickets are free, but you'll need to register to access the link for Zoom: https://www.eventbrite.co.uk/e/fantasy-and-puppetry-animating-the-fantastic-tickets-293661648897.

If you miss it, don't worry, the talks will be recorded and put online at a latter date. (But if you can join us today, in real time, you'll be able to participate in the Question-and-Answer sessions at the end of each talk.)

Edited later to add the following links to the recordings of the talks:

Brian and Wendy Froud, William Todd Jones (sadly, there were tech problems with the visuals on this one, but the audio is good and well worth listening to), Howard Gayton, and the panel on puppetry in fantasy literature.

Some of you will have noticed that many of the speakers today live here in Chagford. It's Puppeteer Central in this village. I'll be up at Brian & Wendy's old farmhouse this morning (pictured above), helping out with their talk; Todd's takes place on the other side of the village; then I'm back home for my husband Howard's talk (in his studio on our hill), and my panel discussion (from my own studio next door to his). Rob and Marita join us from Glasgow, and Mary Robinette from Nashville.

We hope you'll join us too. We've been working on this for awhile now, and at last we can share it with you.

Thank you to everyone who has been sending good wishes during my absence from Myth & Moor. Yes, I'm still dealing with Long Covid. It's getting a little better all the time, and I appreciate your kind thoughts and support.