Lillian Stewart Carl

Lillian Stewart Carl (born 1949) is an American author of mystery, fantasy and science-fiction novels.

Carl resides in North Texas.

She has been a friend of Lois McMaster Bujold since childhood; both authors credit Carl with getting Bujold started writing.

This is described in the introduction to Bujold's collection Dreamweaver's Dilemma.

Bujold's second novel, The Warrior's Apprentice, is dedicated to Carl.

Both authors are friends with fantasy and sci-fi author Patricia Wrede.

Lillian co-edited The Vorkosigan Companion, a retrospective on Lois McMaster Bujold's science fiction work, with John Helfers.

"Two serious flaws work against the novel, however — flaws made all the worse by being easily correctable, to my mind. Carl opens the book by throwing almost the entire cast at the reader, making it hard to grasp and identify with any of them, much less the setting of contemporary Glastonbury. ... The other major problem I had with Lucifer's Crown is infuriating simply because it's so utterly unnecessary: The novel takes place in the final months of the year 2000. That's right, we're treated to yet another clichéd end-of-the-millennium apocalypse. Other than hopelessly dating a story that otherwise manages to be effectively timeless, the move is just downright dumb."

Library Journal wrote:

"Blending historical mystery with a touch of the supernatural, the author creates an intriguing exploration of faith and redemption in a world that is at once both modern and timeless."

In Green Man Review Matthew Scott Winslow wrote:

"Lillian Stewart Carl's latest fantasy novel, Lucifer's Crown, effectively combines Arthurian legend, Grail myth, and British folkways to create a powerful novel."

"The highest praise I can give this novel is that it reminds me strongly of Charles Williams, but it succeeds where Williams always failed: it has believable characters. Not at first, however. It takes Ms. Carl about fifty to seventy-five pages to get into her stride with this story. Until then, the characters feel stiff and wooden and contrived."

"Also much like Williams is the theological and philosophical subtext. Ms. Carl takes the ideas of good vs. evil quite seriously and probes deeply into the idea of redemption. She does not, however, take her themes lightly, instead giving them a vigorous shaking down before she's done, resulting in a gripping spiritual thriller. One could easily call this 'in the tradition of Charles Williams' — which it certainly is — but it more importantly moves beyond that master of the spiritual thriller."

Jayme Lynn Blaschke writes:

"Like many genre authors, Carl perfected her craft at the short fiction level.... I was delighted to find Carl's most important stories collected here for the first time.... Of the 11 stories contained here, all have some sort of underlying mythic/historical theme, which is Carl's forté.... Perhaps the most ambitious story here is 'From the Labyrinth of Night.' A Martian exploration setup is developed nicely with rich allusions to the Minotaur legends of ancient Crete, culminating in the 'sacrifice' demanded by the beast in the maze. The interpersonal relationships are the real driving force to the narrative, as by this point, the astronauts' explorations are mechanical efforts done out of habit more than enthusiasm.... 'Upon this Shoal of Time' is another ambitious science fiction story cloaked in the trappings of mythology. This time, Carl takes the reader to a far-future archaeological dig, where real science is dependent upon the financial sponsorship of media conglomerates hopeful of unearthing exclusive rights to digs that capture the public fancy, King Tut-style.

After unearthing an intact Pictish skull from a Scottish burial site in Cawdor, Dr. James Henderson subjects it to a series of elaborate processes, each one designed to unlock lost memories from the subject at the sub-atomic level.

His experiment is far more successful than he'd ever dreamed.

At turns disturbing and impressive, with MacBethian overtones, Carl crafts a moving tale around the strength and impact memories can have on a person.

One of the strongest stories presented here — the fuzzy science of the premise is presented smoothly and logically, detracting nothing from the narrative."

in Thrust Ardath Mayhar writes:

"Anyone who believes that fantasy must contain magic and elves has never read the work of Mary Renault...in Lillian Carl we have found another who can offer her readers an alternate reality that will live inside the mind long after the book has been finished.'"

in Thrust Ardath Mayhar writes

"...resonances between adolescent lust and mature love, between interior and exterior beauty, and between faith and skepticism underlie the story with a steely webwork of reality...an elegant thread of eroticism woven with delicacy and with through the story...the prose is crafted with a jeweler's precision and the use of imagery is masterful. Carl may well be the finest stylist working in fantasy today..'"

In the Ohioana Quarterly Barbara Leskey writes:

"...characters come to life through Carl's ear for everyday dialogue...especially spell-binding is the realistic description of the ghostly presence that stalks the twisted corridors...the reader is drawn into the mystery as well as the love story that unfolds...a believable story laced with historical fact and delicious humor. I highly recommend it...'"

In Murder Express Kay Martinez writes:

"The setting is wonderful, Ms. Carl describes the village of Somerstowe and the English climate so well that this reader felt as if she were viewing a film. The characters, both major as well as minor, come to life clearly with all their traits, quirks, and foibles helping the reader understand some of their actions. The mystery kept me guessing until the last few chapters where I had an 'AHA! moment' just as I suspect the author intended."

It was published by Baen Books in December 2008 and nominated for a Hugo Award in the "Best Related"

category at Anticipation, the 2009 Worldcon.

In her biographical statement on her website and in her publicity materials, Carl says:

"Lillian has lived for many years in North Texas, in a book-lined cloister cleverly disguised as a tract house. Therefore she's developed a passion for mountains and seacoasts, especially the ones in Scotland. Lillian is a member of The Author's Guild, Novelists Inc., Science Fiction Writers of America, and Sisters in Crime."

Carl originally wrote science fiction and fantasy, then branched out in later years to romantic suspense and mystery.

Many of her books also cross genres, containing touches of what she calls her own genre mix of all the above with touches of the paranormal.

Carl states that: "It was she [Bujold] who introduced me to science fiction and fantasy in general and Tolkien in particular."

and "Recently I re-read my first published fantasy novels. I was appalled to discover I'd used several Tolkien-esque phrases — quite unconsciously, as so much of his prose is now lodged deep in my subconscious."

Jayme Lynn Blaschke writes:

"Lucifer's Crown is not an easy book to describe or classify. It tries to be many things at once, but first and foremost, it's a novel of Biblical apocalypse. In a time where Christian fiction with an apocalyptic bent — led by the wildly popular Left Behind series — is a multi-million dollar industry, it was inevitable that more traditional fantasy writers would eventually turn their hand to these tropes and themes. Lillian Stewart Carl, in taking up this challenge, has responded with her most complex and ambitious novel to date. What's more important, it's also by far her best."

"Planted firmly and unabashedly in the tradition of the Inklings, Lucifer's Crown evokes the theology-steeped works of C.S. Lewis and Charles Williams — a connection reinforced by repeated references and allusions to Tolkien.... Carl's book compares favorable to another classic work of Christian-themed fantasy, The Book of the Dun Cow by Walter Wangerin, Jr.... But pigeonholing Lucifer's Crown as apocalyptic Christian fiction does a grave disservice to the book and to readers. It's so much more than that. Carl has taken half a dozen or more traditions and genres, mixing them together to forge an alloyed novel of unexpected strength."

His praise is not unmixed, however—he complains that: