Diana Wynne Jones

We are part of the same lineage in that that lineage has existed for thousands of years.

From the Odyssey and Beowulf, the Morte d'Arthur, the Fairy Queen, Shakespeare's witches, the Inklings, Ursula Le Guin, Diana Wynne-Jones, people writing right now, B.B. Alston, Tolo Okwogu, you know, the Scandar books.

Philip Pullman, that we have all of us found this sense that fantasy might be a way of talking about humanity.

I think of it as essentially a sort of ancient song that we started singing a very long time ago and every generation hears that song and then they tune it to their own ear and they sing it on to the next generation and the next and the next and And my great hope would be that some child might read the world of Impossible Creatures.

The book came first.

The book was in 1986 by Diana Wynne-Jones.

And I mean, I liked the film.

It's incredibly creative in the visuals of it, at the very least, those whimsical designs.

But yeah, I really enjoyed this.

There are two sequels to the books that I'm looking forward to checking out as well.

So that's Howl's Moving Castle by Diana Wynne-Jones.

Can you tell me how long, essentially, is this book? Is it like a...

So again, it's a tier.

My next book is Howl's Moving Castle by Diana Wynne-Jones.

This came so close to making my list.

It's a, it's a good book.

Yeah.

But we aren't just taking the author's word for it.

We are diving deep into the trenches of the user comment section below that article.

Oh, boy, the comment.

Right.

A book possesses infinite real estate, essentially.

An author can spend 40 pages describing a family tree or, you know, a meal or the political structure of a fictional town.

And the paper will happily accept the ink.

The book.

Let's look at Diana Wynne Jones's original 1986 novel.

Jones was this masterful British fantasy author, and her prose has a very specific, very undeniable tone.

How would you describe it?

Those are his core themes in almost everything he makes.

So the war in the film is no longer a bureaucratic farce.

It is given a massive, crushing visual and moral weight that Diana Wynne Jones never intended for her story.

Yeah, you really see that.