[Thanks to the astonishing Dimitra Fimi we had a magnificent Symposium on Fantasy and the Fantastic at the Kelvin Hall in early May. Speakers included Dimitra Fimi, Rhys Williams, Brian Attebery and Dale Knickerbocker, as well as Francesca Tristan Barbini of Luna Press and writers, artists, academics and fantasy activists from across Scotland and beyond, all gathered together to think about what we might do with a Centre for Fantasy and the Fantastic here in Glasgow. Our keynote was the inspirational Terri Windling.
Here is the introductory talk I gave at the Symposium. More material from the event will be appearing on this blog in days to come. I hope these posts will give those of you who couldn’t come a sense of being part of the conversation; please join in if you feel so inclined. It won’t be ending any time soon!]
The imagination is the capacity to invoke in your mind the image or idea of something not actually present. The art of fantasy, for me, is the art of invoking the image or idea of something that never existed and never could exist. For it to be true fantasy, that denial of the possibility of the thing’s existence seems to me essential, otherwise fantasy becomes something else – religious faith, perhaps. At the same time, if it’s good fantasy it needs to make the impossible seem possible, breaking down to some extent, for a time, our understanding of the distinction between what’s true and what’s false, or between what’s reasonable and what’s clearly arrant nonsense. Fantasy is the art of lies breathed through silver, as C S Lewis put it – though he was thinking of myths at the time. It makes lies beautiful; it makes lies breathe; and that can be both a good thing and a danger to all who get caught up in it.
What is possible changes over time, and differs between cultures. Cultures too change, making the past an alien country whose inhabitants found many things plausible which to us are completely absurd. It’s essential, then, to study fantasy historically. That’s been a driving force of my approach since I first got the chance to teach a Masters course in fantasy, as Visiting Professor at the University of St Thomas in St Paul, Minnesota, between January and April 2004. After that I came home and set up an Honours course at the University of Glasgow called ‘The Fantastic History of the Twentieth Century’. It proved at once that the appetite for fantasy was strong among undergraduates, at least; we’ve had to set a cap on numbers every year since it was founded.
This appetite was noticed by my colleague Alice Jenkins, who urged me to think of setting up a Masters programme in fantasy. I was reluctant at first because of the cost in terms of workload. At the time I was the only member of staff in the English Department who admitted to an interest in fantasy on my webpage, so I would have to devise and deliver the programme more or less by myself. But I went ahead in 2015, encouraging my lovely colleagues in Creative Writing to offer a workshop suitable for Fantasy Masters students, picking out already established courses from across the university – such as the Children’s Literature courses offered by my good friends in the School of Education, Evelyn Arizpe and Maureen Farrell – as suitable options to sit alongside the two core courses I had put together.
I also worked hard to set up events and bring speakers to the programme. Over the four years of the course’s existence these have included the following: Ben Smith and Jon Oliver, Head of Books and Commissioning Editor at Rebellion publishing. The authors Julie Bertagna, Hal Duncan, Kij Johnson, Kirsty Logan, Claire North, Christopher Priest, Arianne ‘Tex’ Thomson and Neil Williamson. The academics Jennifer Attebery, Andrew Butler, Edward James, Will Slocombe and Anna Vaninskaya. Events have included two separate workshops with Ellen Kushner, Delia Sherman and Terri Windling, under the rubric ‘Reimagining Fantasy’. An evening festival of music, light and dramatic performance, ‘Night at the Museum: Fantasy Scotland’, which involved around 50 volunteers – many of them past and present students from the Fantasy programme – and brought around 800 visitors to the Hunterian Museum. Our now annual GIFCon conference (Glasgow International Fantasy Conversations, for those who don’t know), of which this year’s is the third instalment. And the appointment of Brian Attebery as the world’s first Leverhulme Visiting Professor in Fantasy (thanks for coming, Brian, and for speaking here today!).
The numbers on our MLitt have been high for an Arts programme at that level; around 20 a year, over half of whom are international. Alice Jenkins, now our Head of School, has created two new posts in fantasy – the first such posts in history, I think – which brought us the talents and energies of two world-class scholars, Rhys Williams and Dimitra Fimi. And the programme has attracted interest from around the world, simply by virtue of being the only dedicated graduate fantasy programme in existence.
Has the time come to think of branching out? Of seeing how the art of the impossible enables us to understand the world differently? How might the impossible itself – the concept of what could never exist in the past or the present – point the way to new ways of seeing and doing things in the future? What, as Rhys is always asking us, are the affordances of fantasy?
We’re meeting here today to think about the activities, the thinking and the research that might help us address these questions. And we’re also here to ask a follow-up question. What might a Centre for Fantasy and the Fantastic do for us? What might we want it to do? We’d like to respond to these questions with your help, as representatives of many academic disciplines, many kinds of work in the world, many kinds of creativity. We’d like to begin the process of putting together what we’re calling a Manifesto for Fantasy and the Fantastic.
Welcome to Fantasy at Glasgow. It’s a pleasure and a privilege to have you at this symposium.