Biography

Songwriter and member of various rock bands, including Michael Moorcock & The Deep Fix, Hawkwind, Blue Öyster Cult, and Spirits Burning.

In 1971, Wendy Pini (of Elfquest fame) was working on an animated version of Moorcock's popular "Stormbringer" novels. Work stopped in 1973 after Pini decided the project was overwhelming her. Moorcock showed limited enthusiasm when shown preliminary work in 1976, and the animation has not been returned to since. Artwork and a rough plot description are available in Law And Chaos, now out of print.

Prolific science fiction and fantasy author who has won the British Science Fiction Association Award (1966), the Nebula Award (1967), the Derleth Award (1972, 1974, 1975, 1976), the Guardian Fiction Prize (1977), the Campbell Memorial Award (1979), and the World Fantasy Award (1979).

Has published fiction under the pseudonyms Bill Barclay, Edward P. Bradbury, James Colvin, and Desmond Reid.

Became editor of New Worlds magazine in 1964, which would be known for the New Wave of science fiction.

Arthuriana has become a genre in itself, more like TV soap opera where people think they know the characters. All that's fair enough, but it does remove the mythic power of the feminine and masculine principles. So I prefer it in its original form, even if you have to wade through Mallory's 'Le Morte d'Arthur' -- people smashing people for pages and pages! It still has the resonances of myth about it, which makes it work for me. I don't want to know if Mordred led an unhappy childhood or not.

Though I don't have any serious argument with Neil Gaiman's 'American Gods', I believe that Americans cease to be Europeans -- the land makes them become Americans. You see it happening all the time when you travel around America.

That John Boorman movie Hope and Glory (1987) is actually very similar to my own life. You grow up in ruins. You grow up in a very malleable landscape that was constantly changing. Something would be gone, but at the same time that opened up vistas of new landscape, so you were constantly getting these very peculiar changes of environment. The Chaos stuff in 'Stormbringer' is very much the way it felt, but it didn't feel weird because it's all you knew.

About The Final Programme (1973): It was finally agreed that Robert Fuest would use my script, and Fuest didn't like this, but he said, "Super! Marvellous! We're all very excited here, Michael." And off he went. And when I went down to watch when he started shooting, it began to dawn on me that he was using his original script - he'd actually chucked mine and was using his own script. The result was that he ended up with about three hours of film, two hours of which were primarily reaction shots - all the stuff I'd crossed out with a pen was back in there.

The Multiverse isn't a globe. Time isn't cyclic. There is no real linearity. The Multiverse is a tree root and branch, a living organism. A creature. Like me. Forever adapting and changing. Like us, made up of spheres, but it's not itself spherical. We've evolved beyond the merely spheroid, I hope.