Moira Fogarty

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Lord Edgware Dies
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A Rogue by Any Ot...
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Creative Play for...

  (page 60 of 128)
"This is super granola - make your child toys from twigs you harvest in the forest and wool you card from your own shorn sheep. Kind of makes me feel like the crass commercialism of buying my child plastic toys to play with is like handing her a gift that says "I don't love you enough to hand carve you a wooden train set, sorry". Ugh." Nov 11, 2015 07:39PM

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Forever Your Earl by Eva Leigh
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An Instance of the Fingerpost by Iain Pears
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Murder on the Orient Express by Agatha Christie
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Murder on the Orient Express by Agatha Christie
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Black Orchids by Rex Stout
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Where There's a Will by Rex Stout
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The Lion's Daughter by Loretta Chase
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Over My Dead Body by Rex Stout
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Not my favorite Wolfe mystery - I don't love the international intrigue ones, they have an odor of xenophobia and racism about them that turns my stomach - but still a well-written piece by Rex Stout. I suspected the twist but that didn't ruin anythi ...more
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China Miéville
“When people dis fantasy—mainstream readers and SF readers alike—they are almost always talking about one sub-genre of fantastic literature. They are talking about Tolkien, and Tolkien's innumerable heirs. Call it 'epic', or 'high', or 'genre' fantasy, this is what fantasy has come to mean. Which is misleading as well as unfortunate.

Tolkien is the wen on the arse of fantasy literature. His oeuvre is massive and contagious—you can't ignore it, so don't even try. The best you can do is consciously try to lance the boil. And there's a lot to dislike—his cod-Wagnerian pomposity, his boys-own-adventure glorying in war, his small-minded and reactionary love for hierarchical status-quos, his belief in absolute morality that blurs moral and political complexity. Tolkien's clichés—elves 'n' dwarfs 'n' magic rings—have spread like viruses. He wrote that the function of fantasy was 'consolation', thereby making it an article of policy that a fantasy writer should mollycoddle the reader.

That is a revolting idea, and one, thankfully, that plenty of fantasists have ignored. From the Surrealists through the pulps—via Mervyn Peake and Mikhael Bulgakov and Stefan Grabiński and Bruno Schulz and Michael Moorcock and M. John Harrison and I could go on—the best writers have used the fantastic aesthetic precisely to challenge, to alienate, to subvert and undermine expectations.

Of course I'm not saying that any fan of Tolkien is no friend of mine—that would cut my social circle considerably. Nor would I claim that it's impossible to write a good fantasy book with elves and dwarfs in it—Michael Swanwick's superb Iron Dragon's Daughter gives the lie to that. But given that the pleasure of fantasy is supposed to be in its limitless creativity, why not try to come up with some different themes, as well as unconventional monsters? Why not use fantasy to challenge social and aesthetic lies?

Thankfully, the alternative tradition of fantasy has never died. And it's getting stronger. Chris Wooding, Michael Swanwick, Mary Gentle, Paul di Filippo, Jeff VanderMeer, and many others, are all producing works based on fantasy's radicalism. Where traditional fantasy has been rural and bucolic, this is often urban, and frequently brutal. Characters are more than cardboard cutouts, and they're not defined by race or sex. Things are gritty and tricky, just as in real life. This is fantasy not as comfort-food, but as challenge.

The critic Gabe Chouinard has said that we're entering a new period, a renaissance in the creative radicalism of fantasy that hasn't been seen since the New Wave of the sixties and seventies, and in echo of which he has christened the Next Wave. I don't know if he's right, but I'm excited. This is a radical literature. It's the literature we most deserve.”
China Miéville

Mary Doria Russell
“Watching him with one eye, she wondered if men ever figured out that they were more appealing when they were pursuing their own work than when they were pursuing a woman.”
Mary Doria Russell, The Sparrow

Elizabeth Peters
“Marriage, in my view, should be a balanced stalemate between equal adversaries.”
Elizabeth Peters, The Mummy Case

Lily Tomlin
“When I was growing up I always wanted to be someone. Now I realize I should have been more specific.”
Lily Tomlin

“Novels and gardens," she says. "I like to move from plot to plot.”
Bill Richardson, Bachelor Brothers' Bed & Breakfast

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