Michael appreciates comments and questions from his fans. He frequently answers questions posted by fans and by journalists on his official website in the Q&A sections.
Michael Moorcocks, first wife is British author and editor, Hilary Bailey.
Michael is member of the following associations:
1. Authors Guild.
2. Fawcett Society.
3. National Socialist Party for the Prevention of Cruelty to Children (council member).
4. Royal Overseas League.
5. SPLC (leadership council).
Michael won the following awards: 1. The British Fantasy Award - multiple winnder.
2. The World Fantasy Award for his novel Gloriana.
3. The John W. Campbell Memorial Award for his novel Gloriana.
4. The Nebula Award, for his novella Behold the Man.
5. The Derleth Award for fantasy.
6. The for Guardian Fiction for The Condition of Muzak.
Michael's favorite top 10 SF books are:
Greybeard by Brian W Aldiss, The Drowned World by JG Ballard, The Knights of the Limits by Barrington Bayley, 334 by Thomas M Disch, The Female Man by Joanna Russ, Tiger! Tiger! by Alfred Bester, The Man in the High Castle by Philip K Dick, The Space Merchants by Frederich Pohl, Roderick at Random by John Sladek and The Exploits of Engelbrecht by Maurice Richardson.
Michael's name was removed from the credits of the play The Final Programmme following a dispute he had with the director.
Michael has published over 70 novels in all genres. These include several series that share a common multiverse: The Cornelius Chronicles, The Dancers at the End of Time, Erekose, The Books of Corum, Hawkmoon: The Chronicles of Castle Brass, Hawkmoon: The History of the Runestaff and the classic Elric of Melnibone Saga. He has also edited an anthology of late Victorian science fiction, Before Armageddon. Under the pen name E.P. Bradbury, he published a series of novel-length pastiches of Edgar Rice Burroughs' Barsoom novels.
Michael became the editor of New Worlds magazine in 1964 and as a result the magazine became famous for the New Wave of science fiction.
Michael published fiction under the following pseudonyms: Bill Barclay, Edward P. Bradbury, James Colvin, and Desmond Reid.
Michael is a song writer and was a member of the following rock bands: Greenhorns, The Hawkwind, Blue Öyster Cult, and Deep Fix.
Michael: (on Tolkien) What I found lacking in Tolkien which I had found in, for instance, the Elder Edda, was a sense of tragedy, of reality, of mankind's impermanence. Tolkien really did set out to write a fairy tale and in my view that's exactly what he did, provide a perfect escape plan, which had the added attractions of having been written by an Oxford don. I knew and liked Tolkien who in a bufferish sort of way was very kind to me and encouraging. I looked forward to those books coming out. I was deeply disappointed by their lack of weight and their lack of ambitious language. They are about as likely to last as "the book of the century" as Ouida, Hall Caine or Marie Corelli, all of whom were judged the greatest writers of their day by a contemporary audience. Thomas Hardy hardly got a mention and well into the twenties people were still wondering if George Eliot was going to last. You can just hope nobody puts a curse like that on your own work!
Tolkien has the right elements of snobbery and escapism to make it a huge success. John Buchan for teenagers. A compendium of disguised bigotry and English high church snobbery. I hate it for exactly those qualities which made it so popular. It's a lullaby. Not sure we need lullabies at the moment. Unless we're all just going to give up, go to sleep and wake up dead. I really do feel contempt for Tolkien and a certain disgust for those adults who voted him writer of the century. This has nothing to do with why I decided to be a writer.
Michael (when asked if he has a less less chaotic side to him) I've brought up three kids, aAnd I think I did it fairly responsibly. But I suppose I was indulging Chaos and Law in my life at the same time really. One day I'd be climbing out of my car onto the roof while it was going along the road, cause I felt like a breath of air (I wasn't driving by the way!); next day, I'd be making sure I got the kids to school. There's never been much division between the two sides of me. I just decided when I was very young, that I was not going to let the world frighten me into a corner. And yet at the same time I had the perfectly ordinary desire to live a perfectly ordinary life. I think there's a lot to be said for that normal life, but personally, I've never lived a particularly cautious life. It's not possible, I'd get bored to quickly. Yet at the same time I think I've lived a fairly sensible life, when required. I haven't been perfect by any means, I've been pretty imperfect really, but I've done my best. I've always managed to pay my mortgage and that sort of thing while living a financially reckless life. But if you've got a facility, as I have, for writing pretty fast, you can usually catch up on yourself if things start to go very bad. I'm just not a person who's going to avoid experience, but at the same time, I don't want anyone to get harmed by me making those sort of explorations. All through my fantasy novels you've got the constant searching for equilibrium until the Eternal Champion becomes fundamentally a champion not for Law or Chaos, but a champion of Equilibrium, of both. That's something that has developed as my own ordinary human wisdom has developed.
Michael: (on his childhood) I was playing guitar in a whorehouse at the age of 15 not because I was that good on the guitar or that sexy, but because I got on well with the girls and they liked me. I was a sort of mascot. Sex, drugs and rock and roll have, as it were, never been something I had to yearn for. I had probably enjoyed most of life's sweetest pleasures for quite a lot of the time by the age of 22 when I got married and settled down. I have been invited in to the English Literature world, too, but haven't been very comfortable in their churches.
Michael: (when asked if he'd ever write a straight autobiography?)
Probably not - I did an interview for a book in which I gave my account of certain events involving a very old friend. His memory of the events was different. Almost lost the friendship. So I'd rather keep my friends and let the bits of autobiography pop up here and there, as they occur. I don't really care if my version is the 'true' one or not. It means in some ways that you have no say in the public story about you and your friends and so on, but none of that much matters in the end. By now I am at least 50 percent fiction in terms of public perception of my life. Anything I say about it becomes almost a contradiction!
Michael: (on chances of seeing an Elric film in the near future) Well, I get several offers a year. So far nobody has been able to guarantee me enough quality control, so I'll wait until they get cheaper to make and I don't have to worry about spending someone else's £20 million or whatever. Otherwise I've never needed the money enough to let Elric become just another bad fantasy movie. Nowadays, too, there are lots of Tolkien clones for filmmakers to buy and you know how they prefer to do exactly what they did before, The Lord Of The Rings and Star Wars have very similar plots and cop-outs, giving them common denominators, which I might prefer not to work with.
Michael: (on being very open to questions from his fans, journalists, and the community at large) I think of myself unconsciously as part of a community. It is, if you like, a community of intellect and temperament whose links are strengthened and developed via the Internet, but I have always had the sense that I am one voice in a community of voices. I therefore tend to think of my work in part as an ongoing dialogue with the reader and I am inclined to note readers' questions or demands and often try to satisfy them in my fiction. Although fairly solitary in general, I still see my interest as the same as my readers.
Michael: (when asked why he persists in mixing genres and ideas and milieus and why can't he stand still every once in awhile) I'm easily bored. For that reason I usually don't read much genre fiction. I like fiction which precedes genre or when it has begun to parody or otherwise question the tropes.
Michael: (on being a writer) And for a writer, particularly a writer of imaginative work, there's always a tendency to put yourself in an ivory tower and write about things as they should be rather than things as they are. I prefer to write versions of things as they are. So when I'm writing about the Eternal Champion, I'm saying this is you and me. That it's actually a lot harder to face the ordinary problems of life, such as the landlord, than it is to face a fire breathing dragon. That the same kind of courage is always required of you. Although one isn't actually the same quality as the other. In fact, you might prefer the experience of a fire breathing dragon than dealing with the landlord!
Michael: A lot of my work is really about is Law and Chaos. About common sense and romanticism, and finding a balance between the two. Both aspects are strong impulses in me, so it's no surprise that they come out in my work.
Michael: (on his most famous character, Elric) He's an albino with bone white skin and crimson eyes, a sorcerer-emperor of a decaying kingdom which has ruled the world for ten thousand years. But physically weak as he is mentally powerful. He learns his magical craft through a series of dreams, taking decades in the dream time but only a single night in his real time. He depends upon a soul-sucking black sword for sustenance and has certain moral doubts about this means of staying alive…
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