Pablo Picasso, Portrait of Daniel-Henry Kahnweiler, Art Institute of Chicago An important aspect of modernism is how it relates to tradition through its adoption of techniques like reprise, incorporation, rewriting, recapitulation, revision and parody in new forms.
Genre fiction[ edit ] Williams chose the science fiction and fantasy genre for two main reasons: I generally consider myself to be more in the Zelazny or Sturgeon or Le Guin camp ie, follow the idea than strictly a writer of any genre or style.
In my particular genre, I can do anything I want, I can be as ambitious as I want, I can be as literary as I want, as long as every 5 or 10 pages something really horrible tries to eat my main character.
I enjoy that part of it because it's almost subversive, I can write anything, I can deal with big ideas, I can try to be an ambitious writer in my prose style -- all those things as long as I also do what the reader wants.
The readers are very forgiving, they are interested in experiments and ideas, as long as you remember you're writing fantasy. While the first two books were long— and pages, respectively—the third volume, To Green Angel Towerweighed in at a massive pages on hardcover publication.
But the paperback would have been pages—too big to be printed in one volume—so it was split into two separate volumes: Siege and To Green Angel Tower: Otherland was planned as a tetralogy from the beginning. I'm trying to get the length which feels right for the story, but it's not to everybody's taste.
Not everybody's interested in the level of detail I like. The fantasy audience almost expects things to be in multiple volumes, whereas some of the science fiction readership have been a bit startled. This is the plan, anyway. Also, I don't write well unless I feel challenged by something new.
But all my stories are single stories -- the length just varies -- as opposed to true series fiction, so it's mainly a question of just shrinking everything down, the scope, the secondary focal-points, the number of plot-strands.
That's why I'm writing the Angel Doloriel books, which will be more like regular series books -- you won't swoon if you try to pick one up without reading its predecessor. Me being me, though, there will still almost certainly be lots of detail, characters, and continuity stuff to wrestle with!
If you're going to make readers invest in these smaller characters, you have to give them a payoff as well, so instead of having one or two major character arcs I have 25 or 30 character arcs in my books.
People are not just spear-carriers.
I like to do that, because it gives me a much more kaleidoscopic view of these big, world-changing events. Even my most serious stuff usually is laced with humor, although obviously not at every moment, and not always in the most noticeable ways. A lot of my humor is absurdist in nature, so often I just put crazy things in and don't make much out of them, because it seems to reflect the world I live in.
But even the most basic conversations and situations usually have some humorous elements. That's just my own response to the human condition. Sometimes it may be bleak humor, but there's always humor.
Williams uses magic sparingly in his books. In her review of the series, Victoria Strauss points out, "Throughout the series, Williams has thoughtfully examined the importance of storytelling as a tool by which human beings shape their perceptions of self and world, and the relationships between them.
All the invented worlds of Otherland are stories sometimes literally, for a number of them are novels brought to lifethrough which the members of the Grail Brotherhood have given shape to their dreams of immortality; and along Paul's and Renie's and the others' difficult journeys, storytelling has helped them retain their connection to the real world and gain perspective on the struggles they undergo.
When Button the goblin tells a story to a crowd of goblins bent on revolution, we again see the storytelling theme: It is not for me to tell you what fits in that open place, that well of mystery at the center of Faerie What is in that empty space? It is not for me to say. The stories of my people do not work that way.
Renie's brother Stephen is one of the children caught up in mysterious comas, while! Xabbu the Bushman is learning about virtual reality in order to preserve the heritage of his people before it completely disappears. Family ties and history are primary motivators for the other characters as well, notably Jongleur, Dread, and even The Other.
In The War of the Flowersthe theme is explored in the political power struggle between the seven great families that rule over the land of Faerie, Theo's uncovering of his own family secrets, and the mysterious "terrible child" who represents "the idea of family connection without love Family is the cauldron of everything that makes us who we are.
It's the place we first learn the myths of humanity. It's the place we develop our ideas of society and also the order of the cosmos.Online shopping from a great selection at Bomb Brands Store.
The whole perception of war can be changed by a single book: All Quiet on the Western Front is such a book; a novel which shines a light on the horrors of war. The author, Erich Maria Remarque, drew on his own experience as an infantryman during the First World War as his inspiration for the novel.
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Start studying All Quiet on the Western Front - Erich Maria Remarque. Learn vocabulary, terms, and more with flashcards, games, and other study tools. The novel describes the life of Kathy H., a young woman of 31, focusing at first on her childhood at an unusual boarding school and eventually her adult life.