[I was supposed to be on an Urban Fantasy panel at RTCon. I even prepared! This
was the hand-out I was going to have available. Sigh.]
Depending on the context or the person using the term, there are various
definitions. What all of these have in common: An intersection/transgression of
the numinous (that which is “wholly other”) with/upon the mundane. These worlds
can be open (”magic”, the “supernatural” is known to exist) or closed (where
“otherness” is concealed from common knowledge).
In other words:
“In urban fantasy you don’t leave the chip shop and go to another world to find
the unicorn. Rather, the unicorn shows up at the chip shop and orders the
cod.”–Elizabeth Bear
Examples of urban fantasy go back (especially in children’s fiction) to the
1920s but, generally, the term (and the fiction) gained popularity starting in
the 1980s. It was/is used in fantasy genre more or less in this manner:
Urban fantasy…A city may be seen from afar, and is generally seen clear; the
UF is told from within and from the perspective of characters acting out their
roles, it may be difficult to determine the extent and nature of the surrounding
reality. UFs are normally texts where fantasy and the mundane world interact
intersect and interweave throughout a tale which is significantly about a real
city.–J. Clute, “Urban Fantasy” in Encyclopedia of Fantasy, ed. by J. Clute &
J. Grant (1997)
These authors (and works) are most commonly cited as early examples of urban
fantasy:
- Jonathan Caroll (Land of Laughs, 1980)
- John Crowley (Little, Big, 1981)
- Charles de Lint (Moonheart, 1984)*
- Emma Bull (War for the Oaks, 1987)
When discussing urban fantasy in this larger context, authors like Neil Gaiman
(Neverwhere). China Mieville (King Rat), and Caitlin R. Kiernan (Threshold) are
often cited.
Within the last few years, the term has been applied to novels with a narrower
definition.
1) The term “paranormal romance” was being used to describe books like those of
Laurell K. Hamilton (Guilty Pleasures, 1993), Charlaine Harris (Dead Until Dark,
2001), and Kelley Armstrong (Bitten, 2001)–fantasy/mystery blends with strong
romantic element–as well as Christine Feehan (Dark Prince, 1999) who was
published as romance. Ann Rice’s novels were also termed paranormal romance. [No
offense to romance readers/writers/mavens, but the rest of the world didn’t see
the term as exclusive to romance. And, for better or worse, the sf/fantasy field
and others are still using the term “paranormal romance” to describe it all.]
2) Around 2005, the term “urban fantasy” started to be used to differentiate
novels that were not “romance-according-to-romance-genre” (plot about a love
relationship with a positive, satisfying–usually “happily ever after”–ending.)
3) Now, in this context: Contemporary, urban setting with female or male
protagonist with “kickassitude” and supernatural powers or connection. Primarily
an detective plot with sexy romance subplot. Action-oriented with strong
horrific elements balanced with humor. (Some add “first-person narrative”, but I
feel that restricts the definition too far.)
ROOTS of KICKASSITUDE
By the definition above, “urban fantasy” owes more to the American hard-boiled
detective genre than most may understand.
Note: The literal meaning of the word hero/heroine is “protector”, “defender”,
“guardian” and is connected etymologically with the name of the goddess Hera.
George Grella, “The Hard-Boiled Detective Novel” (Winks, Robin W., ed. Detective
Fiction: A Collection of Critical Essays. Foul Play Press, 1988):
- heterogeneous nature of American society vs. the more formalized British
- society of the traditional formal detective novel
- first hard-boiled stories were seen as realistic portrayal of American
- society, a society populated by real criminals and real policemen
- private eye and the American detective hero:
-deals out and receives a lot of physical punishment
-isolates himself from normal human relationships
-has own moral code which is usually stricter than the rest of society
-often has inner voice that is listened to, even when it goes against
traditional societal rules
-quests for truth and expulsion of the undesirable is the guiding principle; the
moral man who works in the city, the center of wickedness and perversion
- “the urban jungle” replaces the wilderness; Leslie Fiedler (Love and
Death in the American Novel (Criterion Books, 1960): the detective is a “cowboy
adapted to life on the city streets, the embodiment of innocence moving
untouched through universal guilt.”
- hero fights against the evils of society, and is left cynical and
disillusioned in the end, his strength remaining because of his own moral code,
his own sense of truth and right and wrong
- The hard-boiled detective can never hope for full resolution of the
crime and restoration of society because evil is too pervasive. He defeats only
a small portion of evil while the rest of the evil continues–to be fought again
The other important prototypical-hero element is derived from “Sword and
Sorcery”. These are action-packed, fast-paced stories set in a quasi-mythical or
fantastic world. Unlike epic fantasy–in which the fate of the world hangs in
the balance–the prize and the danger are usually more personal and less than
world-threatening. This lends itself to series of adventures. Female heroes were
not unknown (example: C.L. Moore’s Jirel of Joiry first appeared in story “Black
God’s Kiss”, Weird Tales, October 1934), but S&S had a strongly masculine bias.
Anthologies featuring skillful swordswomen and powerful sorceresses–Amazons!
Jessica Amanda Salmonson, ed. (1979), Amazons II, Jessica Amanda Salmonson, ed.
(1982), and Marion Zimmer Bradley’s Sword and Sorceress anthology series (began:
1984)–as well as novels like Salmonson’s Tomoe Gozen trilogy (1981-1984) and
The Swordswoman (1982), popularized S&S heroines.
Female hard-boiled detectives:
- Gale Gallagher in I Found Him Dead (1947) and Chord in Crimson (1949) by
- “Gale Gallagher” (Will Oursler and Margaret Scott)
- Honey West in (first) This Girl for Hire (1957) by Forrest and Gloria
- Fickling
- V.I. Warshawski in (first) Indemnity Only (1982)by Sarah Paretsky
- Kinsey Milhorne in (first) A Is for Alibi (1982) by Sue Grafton
Non-literary UF Influences That Don’t Fit Elsewhere:
* Buffy the Vampire Slayer (TV series: March 10, 1997 - May 20, 2003) Darker
than the action-comedy/horror parody film (1992) the series also better embodied
Joss Wheldon’s concept of an empowered woman fighting monsters (metaphors for
problems that teenagers, especially, face).
* The Crow [comic book series (1989) created by James O’Barr] filmed 1992/1993,
released 1994. At its core, a love story.
NOTES ON LKH:
Laurell K. Hamilton came along with Guilty Pleasures in 1993. The novel was a
mix of horror, fantasy, mystery, action-adventure, romance in which Anita Blake
is a female hardboiled detective-type (contrary, sarcastic, and has a protective
streak). Since it was vampires, it was “horror” or, at best, “dark fantasy” and
likened to Elrod and Huff. (”A common (and wildly inaccurate) [and since
revised] way that we explain our sections at Borderlands [bookstore] is thus “If
the story takes place on a space ship, it’s SF. If it’s about a vampire, it’s
horror. And if there’s a vampire on a space ship, it’s still horror.”–Alan
Beatts) The US cover had a male vampire (and an “Anita” in slacks outside a
nightclub) and a blurb from PN Elrod; the “Anita Blake Vampire Hunter” logo was
a yellow full moon with a bat. UK cover showed a sexy female vampire with the
line “Now it’s the vampires that need protection…”
NOTES ON VAMPIRE DETECTIVES:
There are numerous examples of vampire detectives previous to (and after) these,
but note:
* Nick Knight: TV movie released in 1989 about Nick Knight (played by Rick
Springfield), a vampire working as a police detective in modern day Los Angeles.
In 1992, CBS picked up the series and produced as Forever Knight with Geraint
Wyn Davies as the vampire detective. It ran three seasons, ending in 1996.
* Bloodlist (1990) by PN Elrod: Jack Fleming is good-guy vampire PI in 1930s
Chicago; supposedly hard-boiled but really a bit too nice to be really boiled.
Eleven books, most recent was 2005.
* Blood Price (1991) by Tanya Huff: Vicki Nelson, an ex-cop going blind who
turns private detective and teams up with a vampire; set in modern-day Chicago.
Five novels and a story collection with follow-up series of (so far) three
books. Adapted for television as Blood Ties (Lifetime, 2007).
NOTES ON OCCULT DETECTIVES:
Wikipedia: “Occult detective stories combine the genres of the detective story
with supernatural horror fiction. Unlike the traditional detective the occult
detective is employed in cases involving ghosts, curses, and other supernatural
elements. He or she is often a doctor inclined to metaphysical speculation.”
There are many, many examples of occult detectives, but note:
* Joseph Sheridan Le Fanu’s character Dr. Martin Hesselius (first appearance:
1872)
* Dr Abram van Helsing (Dracula, Bram Stoker, 1897)
* Algernon Blackwood’s John Silence (1908)
* William Hope Hodgson’s Thomas Carnacki (1913)
* Seabury Quinn’s Jules de Grandin and Dr. Trowbridge (1925)
* Mercedes Lackey’s Diana Tregarde:
1. Burning Water (1989)
2. Children of the Night (1990)
3. Jinx High (1991)
Wikipedia: [Set in] a real world with…elves who drive racing cars…The main
character, Diana Tregarde, is an American witch, practicing a fantasy version of
Wicca; by virtue of her position as a “Guardian” Diana has access to more
magical power than many, but she is required to give her help when someone asks
it of her. Her magical abilities do not pay the bills, however, and Diana is a
romance (genre) novelist in her day job. In the stories, she must protect others
from angry deities (Burning Water), vampires (Children of the Night), and a
sorceress who intends to remain eternally young (Jinx High). The books were
published under Tor’s horror imprint rather than as fantasy. At the time of
publication, positive depictions of what Wiccans and, more generally, neopagans
believed and did were rare. In the mid-nineties, Lackey’s books generally and
these three particularly were regularly cited as examples of pagan-friendly
fiction….The character Diana Tregarde first appeared in two short stories,
“Satanic, Versus…” and “Nightside”…
___________
*Charles de Lint on what to call his fiction:
“We liked the term ‘mythic fiction,’ which fits perfectly. ‘Urban fantasy’
doesn’t work because a lot of what I do isn’t set in an urban setting…’Mythic
fiction’ works because it has broader resonances and alludes to the heart of
this fiction, which is, of course, myth. It has the right tonality because these
are stories that have modern sensibilities, dealing with contemporary people and
issues, but they utilize the material of folklore, fairy tale, and myth to help
illuminate that. It also omits the word ‘fantasy’–a term for which people have
too many preconceptions….[because] I’m trying to engage an even broader
audience — people who normally don’t read fantasy, who get scared by the word
fantasy or by those types of covers. I think a lot of people who don’t like
fantasy just haven’t had the chance to have the right book put in front of
them.”–Charles de Lint (Locus, June 2003)