Guy Gavriel Kay has some problems with historical fiction, the genre people don’t necessarily put him in so much as place him unquestioningly alongside.
“I don’t like it when you’re reading a novel set in some far past and you look at the characters and think ‘Oh, that’s us,’” he tells me, “when you just have moderns dressed up in period clothing.”
No one familiar with Kay’s work, which usually revolves around elements of the fantastic injected into a historical analog (settings are reminiscent of Moorish Spain, Medieval France, and Song-dynasty China), could accuse his ...
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