Pullman, Philip

Tagged: Author

(1946-    ) UK author, mostly of books for children and the Young Adult market, and mostly fantasy, though his first novel, The Haunted Storm (1972) as Philip N Pullman, is a nonfantastic Bildungsroman for adults, though its climax in a devastated Mithraic temple hints at the shape of future work. In his second, Galatea (1978), also for adults, the protagonist's quest for his missing wife changes by stages into a Fantastic Voyage through Lost Worlds and obscured Utopias, with Monsters and sages and Zombies and other creatures along the way, all ending in an affirmation that all of reality boils down to "amorous inclinations of matter" – curiously reminiscent of the underlying burden of Edgar Allan Poe's Eureka: A Prose Poem (1848) – an elevated but secular conclusion Pullman has consistently re-affirmed.

More typical of his later career is his third novel, Count Karlstein (1982), a Gothic fantasy for older children whose young protagonists must escape being traded to the Devil, who needs them for his Wild Hunt; Count Karlstein; Or, the Ride of the Demon Huntsman (1991) retells the story for younger children, in entirely different words. Pullman's intensely storyable strategies throughout his work are first evident on a larger scale in the Sally Lockhart sequence, comprising The Ruby in the Smoke (1985), The Shadow in the Plate (1986; vt The Shadow in the North 1987), The Tiger in the Well (1990) and The Tin Princess (1994), where homages explicit and implicit to Charles Dickens and his London can everywhere be felt. The melodrama of Sally's life – she is an orphan who grows up in Victorian London to become something of a financial wizard and tycoon (see Feminism, Women in SF) – begins within the frame of the nonfantastic, but Inventions and exorbitant coincidences stretch it; the fourth volume leaves Sally Lockhart (for the most part) and London for Ruritania.

Pullman's second major series, the central work of his career to date, is the His Dark Materials sequence comprising a central three-volume narrative – Northern Lights (1995; vt The Golden Compass 1996), The Subtle Knife (1997) and The Amber Spyglass (2000), all three assembled as His Dark Materials (omni 2001) – plus two additional titles, Lyra's Oxford (2003 chap) and Once Upon a Time in the North (2008), with at least one further volume projected; the first volume – which won the Carnegie Medal – was filmed, truncatedly, as The Golden Compass (2007) directed by Chris Weitz, with the trilogy's secular premise carefully detoothed – presumably by Weitz, who also wrote the screenplay. One of the most challenging creations of the past decades – certainly for its ostensible Young Adult readership – Dark Materials inhabits an Alternate Cosmos in which the material cohesion of the cosmos (see Cosmology) can be seen as "dust", a physical manifestation of the angel-like dance of all matter. But this cosmos is beginning to show signs of severe Entropy, expressed through a literal Thinning [see The Encyclopedia of Fantasy under links below] of the Dust. The ageing of reality is partly laid down to the life-denying actions of the Church (Christianity, though not mentioned as such, is clearly being described here), and to the lesions caused by the use of the subtle knife, an instrument capable of cutting windows into Alternate Worlds. Even though the elimination of God in the third volume (see Religion) relieves the cast and the cosmos of an unwanted burden, the central problem remains: how to redeem the world. In the end, this task laid down to the two young protagonists, Lyra and Will, who must purify themselves by having sex together, that the Dust may live, and a secular Kingdom, a "republic of heaven", may come into being. A later, otherwise unconnected tale, The Good Man Jesus and the Scoundrel Christ (2010), further articulates Pullman's deeply secular understanding of the world.

Some later works are of interest, including Clockwork; Or, All Wound Up (1996 chap), in which a malign figure (who may be the Devil) argues for a universe in which "you wind up the future like clockwork". The story itself, as intricate as a clock but wiser, ends in a redeeming rapport between a young girl and a clockwork prince, for she – in yet another example of Pullman's central argument that "amorous inclinations of matter" make the world – has given her heart to him. [JC]

see also: Eastercon.

Philip Nicholas Pullman

born Norwich, Norfolk: 19 October 1946

died

works

series

Sally Lockhart

New Cut Gang

His Dark Materials

  • Northern Lights (London: Scholastic, 1995) [His Dark Materials: hb/David Scutt]
    • The Golden Compass (New York: Alfred A Knopf, 1996) [vt of the above: His Dark Materials: hb/Eric Rohmann]
  • The Subtle Knife (London: Scholastic, 1997) [His Dark Materials: hb/David Scutt]
  • The Amber Spyglass (New York: Alfred A Knopf, 2000) [His Dark Materials: hb/Eric Rohmann]
    • His Dark Materials (London: Scholastic, 2001) [omni of the above three: His Dark Materials: hb/David Scutt]
  • Lyra's Oxford (Oxford, Oxfordshire: David Fickling Books, 2003) [chap: His Dark Materials: illus/hb/John Lawrence]
  • Once Upon a Time in the North (Oxford, Oxfordshire: David Fickling Books, 2008) [His Dark Materials: illus/hb/John Lawrence]

individual titles (selected: excluding picture books)

plays (selected)

works as translator

nonfiction

about the author

links

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