I find it difficult to trust people who don’t re-read books.

“I don’t have time” when it comes to reading is just as invalid as when it comes to writing. We all have the same twenty-four hours. How we choose to use them defines us. Writers choose to carve out writing AND READING time. People who want to learn, be entertained, and experience different points of view, read.

“But there are so many books!”

Right. There are over 10,000 books published in any given year, and I’m afraid to hunt down the statistics on eBooks that never got to print, but remain in digital format. No one can read everything. That’s why writers are constantly forced to spend so much time marketing instead of writing the next book — because they’re trying to give readers the information about their book, and connect to readers who might enjoy it. Or at least feel some sort of emotion from it.

No one can read everything that comes out. We pick and choose.

So WHY re-read?

Because a good book always offers something new with each re-read. There are reasons the “classics” stay in the canon and we have to read them in school, century after century, and then, hopefully, re-read them as adults, when we’re not carrying the resentment of being forced to read them years before.

There’s a certain amount of re-reading I do to learn rhythm, structure, pace — to work on my craft. That’s a different type of re-reading. If I’m struggling with a piece, be it a play, a screenplay, a short story, or a novel, I go to the best writers in that particular specialty and re-read them. Why do those pieces work so well? I break them down on both technical and emotional levels, and see what I can apply to my own work in terms of craft. Not the words themselves, but the structure, the rhythms, the craft.

That type of deconstruction is a special, learned skill. For this piece, I’m talking about re-reading for pleasure.

Good books make the personal universal and the universal personal. They make specifics relatable. The relationship between writer and reader is intimate in a way it can’t be when you’re watching something in a cinema or on DVD. A reader BECOMES one or more characters in the book, when the writer does his/her job properly, and experiences all the emotions and the actions in the book

When one re-reads a book, one might experience them again. Or the experience can broaden and one can learn something new.

Shakespeare: I re-read Shakespeare constantly, throughout the year. I also read work ABOUT Shakespeare, his time, and his plays, fiction related to Shakespeare and his plays, and essays by actors and writers who have been influenced by Shakespeare and his plays. I always learn something new about humanity. Viola’s yearning for Orlando while he years for Olivia is just as relevant today as it was in the sixteenth century. Hamlet’s decision to “catch” the King by using the Players makes just as much sense, and is the jumping off point for decades of mystery writers. The Scottish Play’s message of what happens to corrupt politicians is what we wish, now, more than ever, to happen. The history plays teach us (somewhat) history, but even more about the human heart.

For those of you who had a negative introduction to Shakespeare, start with Asimov’s Guide to Shakespeare. Yes, Asimov the sci-fi writer. He wrote one of the best books about where Shakespeare stuck to history and where he veered off and why. Read a chapter. Read the play it discusses. Whole new worlds will open out for you.

Another book I keep re-reading is A.S. Byatt’s POSSESSION. I bought it in hardcover the day it came out, and I keep going back to it. Why? Because I love books about finding lost manuscripts. I love how she wrote in the style of several different authors, and we get to read those lost manuscripts while her characters investigate them. She wrote a book about one of my ongoing fantasies — to find a diary or a lost manuscript — and ran with it in a unique, intelligent, and beautiful way. It reminds me of the path not taken — when I had the choice between becoming a literature scholar, and made the choice, instead, to go into theatre, both as a technician and a writer, although I never stopped writing prose. Even though the chances of my ever finding a lost manuscript are less than one percent — I like the fantasy of it. I like the details of how the scholars do their work. I like the reminder of the smell of old books and archives, the feel of the paper. I love entering the characters’ skins.

For a similar reason, I regularly re-read THE NORTHBURY PAPERS by Joanne Dobson. The journey she takes in finding and researching the manuscript excites me. It is a fantasy of mine that I get to live for the hours I read and re-read the book.

I re-read Mercedes Lackey’s Diana Tregarde series and Rosemary Edghill’s Bast series to remind myself where I was in New York City in the mid-1990s. A time before 9/11 destroyed so much, including belief that the world is a wonderful place and that people are basically good (this last election really proved the latter is not true at all). Those books remind me what I hoped and dreamed for, and the decisions I made in my career, why I made them, and they remind me that, although I chose a difficult path, I made the right decisions for me. Not just at the time, but also in the context. Even though I’m frustrated by certain things in my life now and in the process of changing them, those decisions that brought me here were right for me, and I’m glad I made them. When I get tired, when I get disheartened — these books remind me. Yes, those books are what is now called “Urban fantasy” and what was then called “paranormal mystery”. But they were rooted in a reality of time and community that was part of my daily life. They matter.

That’s why I re-read. To learn more, to experience more, to indulge and re-indulge in some of my favorite fantasies, and to remind myself of my journey.

Why do you re-read?

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Why Real Women Love Urban Fantasy Women
By Cerridwen Iris Shea

It wasn’t called “urban fantasy” in the 1990s and even early 2000s. Mercedes Lackey’s Diana Tregarde books were filed under “fantasy/scifi”. Yasmine Galenorn’s Chintz N China series and Rosemary Edghill’s Bast Books were shelved in mysteries.

None of these women were your typical heroines, and not just because they worked with magic as part of their normal, every day lives. They weren’t waiting around for some man to rescue them — they rescued themselves. They solved problems more than creating them (how often do you see “heroines” in cozies do something stupid just so “the guy” can come in, call her stupid, and then have sex with her?), they accepted magic as part of themselves and part of their lives. They had jobs and friends and families and heartache and LIVES. They didn’t just sit around and do hocus-pocus — they dealt with the same sorts of things my friends and I dealt with, too. Plus the whole demons and vampires and fae and stuff.

As someone who was just entering the Craft, I wanted to read books about women who knew more about the Craft than I did, and had integrated it into their lives. Sure, I enjoyed high fantasy, sword and sorcery, created worlds. But I also wanted to see someone in similar living conditions, with similar issues, someone who was better and more knowledgeable and all that. Someone who worked to live an integrated life instead of a fractured one. Who might not always succeed, but put in the effort. And who could also kick ass when it came to demons and vampires and fae and stuff I was relieved I never had to deal with!

I knew these women were FICTIONAL. I knew the stories were FICTION. It’s not like I was going to take the novel out on a dark and stormy night, pretending it was a grimoire. I’m not a moron, and I’m not delusional. But the way that Nancy Drew inspired me when I was eight and nine and ten and on to explore my curiosity about the world — and she had friends and family and a life, too — these fictional women also inspired me.

They inspired me to search through the sludge and find my best self. And work on that.

The genre’s grown and shifted. Now we have part-humans and shifters and vampires and all kinds of urban fantasy women who kick ass. They’re still inspirational. Why? Because I’m older, the stakes are higher, and I might not be dealing with a personified demon that way Corine Solomon does in Ann Aguirre’s books, but I’m dealing with metaphorical demons as I try to find a good, ethical way to navigate in an often wildly unethical world.

These women are not perfect. But they are smart, resourceful, learn quickly, give a damn, have compassion and humanity even if they’re not always or fully human. They remind me that life is what I make of it. They remind me that, no matter how bleak it seems, there is always a choice. They remind me that, even if you can’t see the endgame, or know you’re going to win it, there are small victories along the way, moments with those you love, who make it all worthwhile.

Cerridwen Iris Shea wrote for Llewellyn’s calendars and almanacs for sixteen years. She also writes the Merry’s Dalliance fantasy pirate adventures. She teaches tarot workshops, and is thrilled to finally have her own herb garden and still room. Find her on the web at www.cerridwenscottage.com. This is her busy season.


Midnight Enchantments celebrates characters, authors, books, and situations we love who use magic.

Midnight Enchantments: Diana Tregarde
by Devon Ellington

Diana Tregarde was out there kicking paranormal ass and taking names before it was even called “urban fantasy.” I read them in the late 1990’s and just loved them. Here was a practicing urban witch who was also practiCAL. She was much more relatable to me than some swanning princess in a fantasy tower somewhere, riding a horse,wielding a sword, and having to worry about a political marriage. Diana lived in a Manhattan that, while it wasn’t exactly MY Manhattan, was recognizable, to an extent — until it wasn’t. Diana was practical and resourceful and smart and funny and loving and compassionate. You’d want her for your best friend and rejoice in having her as a neighbor, even if meant run off from slimy things that go bump in the night. You just ward your apartment a little better, that’s all! When the books were reissued a few years ago, a dear friend gave them to me for Yule. I didn’t leave the house for three days — I stayed warm and cozy, gobbling up the books and enjoying them more than ever.

Diana was also one of the first kick-ass heroines who could genuinely fall in love, yet still maintain feelings for and care about an ex. It was very rare, at the time, that female characters were “allowed” to do that by publishers. In most circumstances, the ex would have had to be a total loser, and we’d wonder why Diana got together with him in the first place. OR, the new love would be a total loser, and we’d wonder why Diana didn’t go back to the ex. That’s the way it worked for most female-centric fiction in those days. Lackey refused to cave in to those kinds of pressures with Diana. She made Diana memorable and sympathetic, and made both past and present loves the same. You could truly BELIEVE that Diana could love each of these men for very different reasons, and that each man was worthy of the relationship at the time.

She was — and is — one of my favorite characters in fiction. Whenever I feel the world is too much with me, or lacks good — I can settle in with one of her adventures, be reminded that there are still plenty of good people, and a lot of them are dealing with Bigger Bads than I have to!

I remember six books, but I can only find three titles in various bibliographies, so maybe I read them in different formats. I see references to three stories in MZB’s Fantasy Magazine, so maybe I mis-remember those short stories as books. I knew Lackey decided not to write more adventures for her, and was saddened by it. However, it’s a writer’s right to write whatever she wishes. Lackey had other stories to tell. Good for her!

I was angered when I heard that she received threats by so-called “fans” for discontinuing the series. Those are not fans; those are bullies. There is no place for such creatures in the landscape of literature. They are the true demons in our world, and “poof” — it’s up to the rest of us to make sure they don’t get the attention they crave or the opportunities to do harm.

I did a little happy dance when Diana showed up last year (this year?) in TRIO OF SORCERY. It was an early story, set in Harvard, while Diana was in college. But yeah, there was my girl, learning and caring, and damn, it was good to see her again!

She’s the kind of person who brightens your day just by being a part of it — even as a fictional character. Kudos to Mercedes Lackey for creating her, and then letting us experience life through her eyes!

You can learn more about these books and Lackey’s MANY others at her website.

–Devon Ellington publishes under a half a dozen names in both fiction and non-fiction, and particularly loves urban fantasy. She is presenting this weekend at the WriteAngles Conference in Mt. Holyoke, MA. Her webiste: www.devonellingtonwork.com.