Chapter VII, an Epilogue to the book, consists of a very short introduction to the Ainulindalë – the cosmogonic myth opening The Silmarillion. This myth can be interpreted as Tolkien’s archetypal and most elaborate reflection on the problem of the relation of Art and Primary reality. According to this myth, Eru created the world, employing the collaboration of the Ainur, invited to adorn His music with their “own thoughts and devices”. Eru is not merely a passive, detached observer, but constantly participates in the process of sub-creation, by continuing to inspire and correct the Ainur’s sub-creating activities, harmonising them with each other, and maintaining the freedom to introduce “new and unforetold” entities into the eventual unfolding of their Music, which remains under His ultimate control. As Eru says to the rebellious artist Melkor, in a passage encapsulating Tolkien’s vision of the mystery of literary creation: “no theme may be played that hath not its uttermost source in me, nor can any alter the music in my despite”.

While there are a few older examples of fantasies that create secondary worlds imaginatively separate from the Earth we know, such building projects became increasingly prevalent during the twentieth century. World-building is seen as one of the quintessential activities of contemporary Fantasy. Consequently, this chapter considers what fantasies, their creators and their audiences gain from imagining new worlds. It begins by examining J. R. R. Tolkien’s arguments about the importance of consistency and immersion in sub-creation, while also considering alternative views articulated by writers including Michael Saler, André Breton and H. P. Lovecraft. After drawing out the wide applicability of the world-building metaphor in conversation with work by Farah Mendlesohn, the chapter explores the metaphor’s limitations by looking at examples drawn from Michael Moorcock and Fredric Jameson. The second part of the chapter explores a wide range of world-building techniques using case studies that include Margaret Cavendish’s The Blazing World, E. R. Eddison’s The Worm Ouroboros, Mervyn Peake’s Gormenghast series, Nghi Vo’s The Empress of Salt and Fortune, Fantasy television, Planescape: Torment and Elden Ring.