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The sentient beast has long been a staple of fantasy fiction and its antecedents in myth and folktale.

It's certainly a cliche to remark that a nonfiction book 'reads just like a novel,' but in the case of Jonathan Eig's 'The Birth of the Pill,' I have no other recourse, since his narrative is full of larger-than-life characters sharply limned and embarked on fascinating doings, their story told in sprightly visual fashion.

Critics, at least generally, want to regard works of fiction as independent entities, whose virtues and failures must be reckoned apart from the circumstances of their creation, and even apart from the intentions of their creator.

Jeff VanderMeer's fiction has always been entrancingly, engagingly, enthusiastically weird, a winning combination of mimesis and the fantastical that privileges neither component: perhaps the very definition of that mode categorized as the 'New Weird' and exemplified most famously by the groundbreaking work of China Mieville.

Generational change within a genre is hard to parse while it's happening. Only in retrospect can the passing of the baton from ancestors to progeny be clearly discerned.

Science fiction is a literary field crowded with strong opinions, and no SF novelist delivered himself more memorably of his views - on politics, sexuality, religion, and many other contentious topics - than Robert Heinlein.

The constituents of tragedy may be universally acknowledged, easily invoked and deeply felt, but the elements of comedy are, I think, more widely variable from person to person.

The three touchstones that woke Buddha up - sickness, old age, and death - are a pretty good place to start when crafting a tragic tale. And if we need to get more specific: heartbreak, destruction, miscomprehension, natural disasters, betrayal, and the waste of human potential.

Quite often, intent on conveying how things can go wrong for a culture (science fiction) or an individual (horror) or all of magical creation (fantasy), works of fantastika often preclude comedy, because humor gets in the way of messages of doom or struggle.

Consensus wisdom has it that all modern commercial fantasy novels fall into two camps: those derived from J.R.R. Tolkien and those derived from Mervyn Peake. The 'Lord of the Rings' template or the 'Gormenghast' mold.

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