(1939- ) UK writer and editor, based until the early 1990s in London (where much of his most important work has been set), after which period he began to live part-time in Texas. In his early career, he wrote also as Bill Barclay, Michael Barrington (1 story in collaboration with Barrington J Bayley), Edward P Bradbury, James Colvin (a New Worlds house name) and Desmond Reid. He is the most important UK fantasy author of the 1960s and 1970s, and altogether the most significant UK author of Sword and Sorcery, a form he has both borrowed from and transformed. He is a central 20th-century exponent of Urban Fantasy, and of both Gaslight Romance and Steampunk, and he can take primary responsibility for the Temporal Adventuress. He is an adroit and seminal manipulator of a concept of Alternate Realities which treats the Multiverse – a term he first used in 1962 – as an interweaving performance of worlds (see Playground). The word "performance" is central: of all 20th-century fantasy writers of any popularity, MM is the most profoundly and multifariously theatrical. Almost all his work can be seen – either implicitly or, as in the Jerry Cornelius and related sequences, explicitly – as both reflecting and embodying the principles of the Commedia dell'Arte. The Multiverse is a parade.
MM has been prolific since the late 1950s, although he began his writing life earlier by producing many adolescent fanzines, the first apparently being Outlaw's Own in about 1950. Because he has written copiously for nearly 50 years, because he constantly revises and retitles his texts, and because he habitually reshuffles the order in which those texts appear in omnibuses and collected editions, his bibliography is a nightmare. The 1990s have, for instance, seen two separate and markedly different collected editions of his central S&S series, plus associated texts, each omnibus sequence being granted the same overall title, The Tale of the Eternal Champion (see listing below for breakdown). Neither sequence is complete (e.g., both omit the Jerry Cornelius books, which have an indirect relationship to the Eternal Champion novels) and both are eccentric (each includes novels lacking an Eternal Champion figure).
Sword and Sorcery
MM's first Sword-and-Sorcery tales date from the 1950s, before the primitive notion of the "Ghost Worlds" had begun to evolve into the concept of the Multiverse. But a volume like Sojan (coll of linked stories 1977), which assembles this early work, shows how early MM had begun to inject into routine action tales the characteristic sense of exploratory newness and of Belatedness, of high-sounding awe and retrospective irony, that would mark his mature writings. From the first MM managed to convey his complex reaction to the genre in a confidingly available tone of voice. As a result, he almost singlehandedly created the UK brand of S&S. This accomplishment is now taken for granted, and MM's tone of voice has become the default manner in which S&S tales are properly told in the UK; younger writers must either sound like MM or work hard not to.
It was not until the 1960s, however, that MM began to evolve the complex relationship between world and Hero, between Multiverse and Eternal Champion, that became the overarching structure of all his purely genre work; he is still evolving that structure today.
In the terminology of this encyclopedia, the Multiverse can be described as an indefinitely (though not, it seems, infinitely) extendable array of Alternate Realities, each one of which is a Fantasyland with a Palimpsest relationship to other fantasylands; at least one of these environments is a pure J R R Tolkien-like Secondary World, and others exhibit a Land-of-Fable relationship to Europe. In the war between Order and Chaos which supports most of MM's S&S plots, the Multiverse is both a fixed arena which has been stripped down for action (as the term "Fantasyland" implies) and a free, chaotic, primal swamp.
What binds the worlds together – in practical, storytelling terms – is the Eternal Champion. Each incarnation of the Eternal Champion – Erekosë, Elric, Kane of Old Mars, Hawkmoon, Corum and (less completely) Von Bek – finds himself in Bondage to the particular version of the Multiverse he has been brought into being to defend (or scour). Despite the seeming looseness of that Multiverse, therefore, many of MM's most popular characters are immured in lives and actions – however heroic – they desperately wish to escape. It is this serial Bondage of the Eternal Champion that gives substance to venues which would otherwise be subject to interminable fractionation.
This combination of bondage and multiversity is also an ironist's trick on his creations. Seen from above, the dozens of S&S tales which populate the Multiverse take on the air of a sequence of charades, as though they were Commedia dell'Arte skits devoted not to love but to the joke of heroism; although there are no Godgames within these texts, the Multiverse as a whole can be seen as a Godgame of a manipulating author/ironist. There is a smell of greasepaint to the MM oeuvre; even the bondage of the Eternal Champion himself is peculiarly and deliberately arbitrary – most of the Avatars are in any case granted frequent paroles, and manifest themselves in various worlds, under various names. The avatar masks they wear can, almost always, be shed. And, just as the Commedic instability of the Multiverse worlds constitutes a Thinning of the autonomous venue that most fantasy novels inhabit, so the Eternal Champion parodies the hero of the Monomyth, subjecting his generic model to a similarly constant thinning. Robert E Howard's Conan, though an immensely less sophisticated creation, is far more real to most readers than Elric, who is a deliberate Parody of Conan. In the end, the effect can be nightmarish. Thinned worlds which are interminably interchangeable; thinned heroes entrapped in masquerade roles: it is not surprising that so much of MM's work generates an atmosphere of Horror.
Tales exploiting the relationship between Multiverse and Eternal Champion proper make up only part of MM's oeuvre, but since the 1970s they have been quite ruthlessly interwoven with the full-fledged Commedia sequences featuring various versions of Jerry Cornelius, with MM's occasional sf, with his romances, and with his late nongenre works.
Erekosë "I am John Daker," confesses this first embodiment of the Eternal Champion in the prologue to The Dragon in the Sword (see below), "the victim of the whole world's dreams. I am Erekosë, Champion of Humanity, who slew the human race. I am ... Elric Womanslayer, Hawkmoon, Corum and so many others – man, woman or androgyne. I have been them all." John Daker is a human translated to a standard Nordic Fantasyland, where he is known as Erekosë, and behaves valorously. He is the only avatar of the Eternal Champion to describe himself as such, or to name his siblings. He features mainly in The Eternal Champion (1962 Science Fantasy; exp 1970 US; rev 1978 US), Phoenix in Obsidian (1970; vt The Silver Warriors 1973 US), The Quest for Tanelorn (1975) – which brings various avatars together – The Swords of Heaven, the Flowers of Hell (graph 1979 US) illustrated by Howard Chaykin and The Dragon in the Sword: Being the Third and Final Story in the History of John Daker (1986; full text 1987 UK). The Eternal Champion (rev omni 1992) excludes The Quest for Tanelorn and the Graphic Novel.
Elric The tales featuring Elric of Melniboné, published over more than 30 years, constitute MM's first consequential work. By internal chronology, the sequence comprises Elric of Melniboné (1972; cut vt The Dreaming City 1972 US), The Fortress of the Pearl (1989), The Sailor on the Seas of Fate (fixup 1976) – incorporating a rev of The Jade Man's Eyes (1973 chap) – The Weird of the White Wolf (coll 1977 US) – incorporating stories from The Stealer of Souls (1961-1962 Science Fantasy; coll 1963) and The Singing Citadel (coll 1970) – The Sleeping Sorceress (1971; vt The Vanishing Tower 1977 US), The Revenge of the Rose: A Tale of the Albino Prince in the Years of his Wandering (1991), The Bane of the Black Sword (1962 Science Fantasy; coll 1977 US) – incorporating the remaining stories from The Stealer of Souls and The Singing Citadel – and Stormbringer (1963-1964 Science Fantasy; cut 1965; restored and rev 1977 US). Omnibuses of this material are: The Elric Saga Part I (omni 1984 US) containing Elric of Melniboné, The Sailor on the Seas of Fate and The Weird of the White Wolf; and Part II (omni 1984 US) containing The Vanishing Tower, The Bane of the Black Sword and Stormbringer. Elric at the End of Time (coll 1984) assembles mostly earlier stories, including some from Sojan; Elric: The Return to Melniboné (graph 1973) illustrated by Philippe Druillet (1944- ) is a graphic novel; Michael Moorcock's Elric: Tales of the White Wolf * (anth 1994 US) ed Edward E Kramer and Richard Gilliam comprises stories by others set in the Elric universe.
Stormbringer, the first-written volume of the sequence, also terminates it, closing Elric's angst-ridden life as well; all subsequent volumes are prequels or interjections. The figure of Elric is, as noted, a direct parody of Conan; he is an albino weakling, introspective, haunted, treacherous, and the tool of his own Soul-drinking Sword Stormbringer, itself a parody of the normal S&S weapon, which may aspire to Companion status (if animate) but not normally to that of puppetmaster. Melniboné is – like Hyperborea – a land-of-fable vision of prehistoric Europe; Elric's treachery causes its total downfall. His humorlessness and unrelenting Weltschmerz may make him easy to mock, but he remains a remarkably vivid iconic figure.
Warrior of Mars The Science-Fantasy tales featuring Kane of Old Mars are Planetary Romances which pastiche Edgar Rice Burroughs with some skill; Kane's role as an Eternal Champion is an afterthought. The sequence comprises Warriors of Mars (1965; vt The City of the Beast 1970 US), Blades of Mars (1965; vt The Lord of the Spiders 1971 US) and Barbarians of Mars (1965; vt Masters of the Pit 1971), all assembled as Warrior of Mars (omni 1981 UK) and all first published as by Edward P Bradbury.
Hawkmoon The two series featuring Dorian Hawkmoon, Duke of Coln, and the brusque but fatherly Count Brass are set in a land-of-fable version of a far-future Europe, and are more novelistically textured than any other Eternal Champion book, except the late Von Bek tales. Hawkmoon is an attractive figure, though MM's tendency to load him with Plot Coupons generates at times a sense of (perhaps deliberate) hilarity; his war against Granbretan has the virtue of being just. The Runestaff books are The Jewel in the Skull (1967 US; rev 1977 US), Sorcerer's Amulet (1968 US; vt The Mad God's Amulet 1969 UK), Sword of the Dawn (1968 US; rev vt The Sword of the Dawn 1969 UK; rev 1977 US) and The Secret of the Runestaff (1969 US; vt The Runestaff 1969 UK; rev 1977 US), all assembled as The History of the Runestaff (omni 1979 UK; rev vt Hawkmoon 1992). The Count Brass books are Count Brass (1973), The Champion of Garathorm (1973) and The Quest for Tanelorn (1975), all assembled as The Chronicles of Castle Brass (omni 1985 UK).
Corum Beginning in an Earth long before our present world has taken shape and featuring a hero who is the last of the Elf-like Vadhagh, this series can be seen as a fairly decorous assault upon J R R Tolkien. Corum is much unlike Elric; metaphorically speaking, his back is to the reader, and he engages in his long war against Lord Arioch of Chaos with a certain elegance. There are two series. The Swords books are The Knight of the Swords (1971), The Queen of the Swords (1971 US) and The King of the Swords (1971 US), all assembled as The Swords Trilogy (omni 1977 US; vt The Swords of Corum 1986 UK; rev vt Corum 1992 UK). A second trilogy, the Chronicles of Corum, comprises The Bull and the Spear (1973), The Oak and the Ram (1973) and The Sword and the Stallion (1974), all assembled as The Chronicles of Corum (omni 1978 US).
Von Bek Graf Ulrich Von Bek is the first of his family, and the closest to a conventional Eternal Champion. The War Hound and the World's Pain (1981 US) is a smoothly told but generically complex tale, combining elements of traditional Supernatural Fiction and Matter-of-Britain fantasy, plus motifs out of the general Cauldron of Story, including a Wild Hunt. Von Bek's family features in The City in the Autumn Stars (1986), and the series thereafter begins to concentrate upon the family as a kind of Commedia troupe; these two books are assembled with an added story as Von Bek (rev omni 1992). Other titles, which extend the concept of the Eternal Champion to breaking point, include: The Brothel in Rosenstrasse (1982), a fantasy of sexual torment set in a very slightly displaced Europe; Blood: A Southern Fantasy (fixup 1995 US), which features variously spelled members of the Von Bek troupe in the US South in a tale whose main protagonists variously adventure through the Biloxi Fault, a rift in Reality, plus its sequel, Fabulous Harbours (coll of linked stories 1995), the epilogue to which also appeared as The Birds of the Moon: A Travellers' Tale (1995 chap); and Lunching with the Antichrist: A Family History: 1925-2015 (coll of linked stories 1995).
Cornelius Just as Elric is a parody of Conan, so Jerry Cornelius is a direct parody of Elric, Elric turned inside out. Any sense that various Avatars are parading before the footlights of the world, flaunting a succession of Masks, must surely accord with MM's intentions. In his early appearances, Jerry Cornelius represents MM's first version of Harlequin (see Commedia dell'Arte): a portmanteau Pop 1960s Antihero, an anarchic streetwise urban ragamuffin in James Bond gear, amorally deft at manipulating everything from women to the Multiverse itself. In his early adventures – during which the planet suffers various catastrophes – Jerry ranges from the present through the Far Future, randy (but loyal to his sister, Catherine Cornelius, who is a Columbine figure throughout the MM oeuvre), and evanescent. Jerry as Harlequin dominates the first two novels of the Jerry Cornelius sequence: The Final Programme (excerpts 1965-1966 New Worlds; 1968 US; rev 1969 UK; rev 1977 US; rev 1979 UK), filmed as The Final Programme (1973; vt The Last Days of Man on Earth 1975 US), and A Cure for Cancer (1969 New Worlds; 1971; rev 1977 US; rev 1979 UK). In the third and fourth volumes of the sequence – The English Assassin (1972; rev 1977 US; rev 1979 UK) and The Condition of Muzak (1977; rev 1977 US; further rev 1978 UK), which won the 1977 Guardian Fiction Prize – Jerry undergoes a transformation into Pierrot, and the latter novel (perhaps MM's finest) ends with the Cornelius figure stripped of his Mask, a failed rock singer in bondage to the mortal world. The omnibus which first assembled these four volumes was The Cornelius Chronicles (omni 1977 US; incorporating 1979 revs of individual titles vt 2 vols The Cornelius Chronicles: Book One 1988 UK and Book Two 1988 UK; vt The Cornelius Quartet 2 vols 1993). In The Cornelius Chronicles, Volume II (omni 1986 US) were assembled The Lives and Times of Jerry Cornelius (coll 1976; exp 1987) and The Entropy Tango: A Comic Romance (fixup 1981). In The Cornelius Chronicles, Volume III (omni 1987 US) were assembled The Adventures of Una Persson and Catherine Cornelius in the Twentieth Century (1976; cut vt The Adventures of Una Persson and Catherine Cornelius in omni 1980 US with The Black Corridor [see below]) and "The Alchemist's Question" (1984) from The Opium General and Other Stories (coll 1984). The Cornelius Calendar (omni 1994) assembles The Adventures of Una Persson, The Entropy Tango, "Gold Diggers of 1977" (1989) and "The Alchemist's Question" (1984).
The titles assembled in these subordinate omnibuses are fantasias upon the thematic material of the central quartet, but lack its cumulative intensity, though the Commedia dell'Arte effects remain central, if not as intensely conveyed in the absence of Jerry as Pierrot. They are perhaps most interesting for the space they grant for the development of the Temporal Adventuress, mainly in the guise of Una Persson, who toughly, sagely, resignedly, sexily and wittily traverses the venues of the Multiverse. She is as much a Trickster as Jerry Cornelius in his early pomp, but is not tied to role. Further associated material appears in The Nature of the Catastrophe (anth 1971; exp vt The New Nature of the Catastrophe 1993) ed MM and Langdon Jones, which contains stories and material by MM and other New Worlds writers who were invited to use Cornelius as, in effect, a Shared World; and in The Great Rock'n'Roll Swindle (1980 chap in the format of a tabloid newspaper; rev vt "Gold Diggers of 1977" in Casablanca coll 1989). The Distant Suns (1969 The Illustrated Weekly of India; 1975 chap) with Philip James (James Cawthorn) has as its protagonist a Jerry Cornelius who bears no relation to the Jerry of the other books.
Dancers at the End of Time This sequence is set in a Far-Future venue rationalized in sf terms, and comprises an initial central trilogy: An Alien Heat (1972), The Hollow Lands (1974 US) and The End of All Songs (1976 US), all assembled as The Dancers at the End of Time (omni 1981; rev 1991); this trilogy is accompanied by Legends from the End of Time (coll 1976 US) and The Transformation of Miss Mavis Ming (1976 New Worlds as "Constant Fire"; much exp 1976; vt A Messiah at the End of Time 1978 US), both assembled as Tales from the End of Time (omni 1989 US; vt Legends from the End of Time 1993 UK). The Dying Earth is of course a natural venue for Commedia dell'Arte routines. Dancers at the End of Time, though technically sf, sustainedly conveys a sense that genre distinctions are themselves part of the fantastic play.
Individual Commedia Titles Gloriana, or the Unfulfill'd Queen: Being a Romance (1978; rev 1993) is an ambiguous sexual parable, sanitized in the revision, set in a land-of-fable Elizabethan England. Most of the story takes place in Queen Gloriana's palace, a legacy from her father King Hern and an intricate Edifice. It is again and again described in terms that liken it to Gloriana's own mind, so that its murky underpassages have a double ominousness (which is not fully retained in the 1993 version). And indeed her nights are awful, for she is sexually unfulfill'd. References to Edmund Spenser's The Faerie Queene (1590-1596) and Mervyn Peake's Gormenghast sequence (1946-1959) permeate the text; John Dee is in evidence as well, and many members of the Cornelius and Eternal Champion troupes.
Mother London (1988) is less fantasy than Fabulation; but its presentation of the Masque of the great city is complexly and movingly Commedic, and the multifaceted protagonist – three separate figures making up an insect-eye self-portrait of MM – has all the theatrical jointedness of the true masker. Along with The Condition of Muzak and Gloriana, Mother London can stand as MM's most significant single creation. It is worth noting that all three novels are set in some or other version of London.
In the 1960s MM became editor of New Worlds magazine, a position he held, with some time off, from #142 (May/June 1964) to its effective demise as a magazine with #201 (March 1971). His editorship of New Worlds was far more significant for sf than for fantasy, as genre sf was in 1964 suffering profound turmoil, and MM's promoting of what became known as the New Wave caused grave upset and much excitement, especially in the USA. New Worlds published literate and in sf terms radically "modern" work by a number of writers – including Brian W Aldiss, J G Ballard, Samuel R Delany, Thomas M Disch, M John Harrison, John T Sladek and Norman Spinrad – most of whom wrote fantasy and sf with equal facility. But in this context it was not their fantasy that aroused contention. After ceasing as a magazine, New Worlds continued as a series of Anthologies until 1976, under the editorship (variously and in combination) of MM, Hilary Bailey (MM's wife 1962-1978) and Charles Platt; another brief series in magazine format ran for several issues in 1978-1979; a further anthology series, with MM's authorization, began in the 1990s with New Worlds 1 (anth 1991) ed David S Garnett.
In the 1980s MM began his only nongenre series, the Colonel Pyat sequence: Byzantium Endures (1981; cut 1981 US), The Laughter of Carthage (1984) and Jerusalem Commands (1992), with one further novel [then] projected, The Vengeance of Rome (2006) (with a comma after "Carthage", the four titles read together as a sentence). These novels, which feature many characters from the Cornelius books, comprise an ambitious attempt to convey some sense of the charnel-house nature of the 20th century through the memoirs of Colonel Pyat, born in 1900, a liar, a Jewish antisemite, a betrayer of all he meets, an aviator – the dark underside of the Commedia parade. His careening course through history is projected to culminate at Auschwitz, though he himself survives to become another London manikin. The Pyat books represent a culmination of MM's long attempt to integrate popular fiction and Postmodernism, an argument and traversal made all the more interesting because of the large number of books through which it can be traced, and because MM has so frequently returned to early sequences (Elric in particular), transforming them in the process. MM was never easy to pigeonhole as a writer – an early text like The Golden Barge (written 1958; excerpt 1965 New Worlds as by William Barclay; 1979) is as metaphysical as any of his mature experiments – and has come to be recognized as a major figure at the edge of sf and at the centre of fantasy, materially helping define all his chosen worlds.
In recent years MM has begun to write nonfiction statements, not dissimilar in tone to some of his New Worlds editorials, but now conceived autonomously. They include: a political pamphlet, The Retreat from Liberty: The Erosion of Democracy in Today's Britain (1983 chap); Letters from Hollywood (1986) illustrated by Michael Foreman; an impatient and rather patchy examination of fantasy, Wizardry and Wild Romance: A Study of Epic Fantasy (1987), a chapter of which was based on Epic Pooh (1978 chap), and which constitutes as a whole an apologia for his own ironized point of view; and Fantasy: The 100 Best Books (1988) with (in fact written almost entirely by) James Cawthorn. He has also become involved in Feminism, and his concern over writing that is damaging to women may have influenced some of the more recent of the revisions to his own work which MM has made throughout his career. At a comparatively young age, he remains the 20th century's central fantasist about fantasy. [JC]
other works: Caribbean Crisis (1962 chap) with James Cawthorn, together writing as Desmond Reid; The Sundered Worlds (1962-1963 SF Adventures; fixup 1965; vt The Blood Red Game 1970; rev under first title 1992); The Fireclown (1965; vt The Winds of Limbo 1969 US); The Twilight Man (1966; vt The Shores of Death 1970); The Deep Fix (coll 1966) as by James Colvin; The LSD Dossier (1966), a text drafted by Roger Harris and rewritten by MM, and its sequels, Somewhere in the Night (1966 as by Bill Barclay; rev vt the Chinese Agent 1970 US as by MM) and Printer's Devil (1966 as by Bill Barclay; rev vt The Russian Intelligence 1980 as by MM), comprising in rev form a series about a Cornelius analogue, Jerry Cornell; The Wrecks of Time (1965-1966 New Worlds as by James Colvin; cut 1967 dos US as by MM; text restored vt The Rituals of Infinity 1971 UK); the Oswald Bastable Steampunk sequence, comprising The Warlord of the Air (1971 US), The Land Leviathan (1974) and The Steel Tsar (1981), all 3 assembled as The Nomad of Time (omni 1982; rev vt A Nomad of the Time Streams 1993 UK); The Black Corridor (1969 US) with Hilary Bailey (uncredited); The Time Dweller (coll 1969); The Ice Schooner (1966-1967 Impulse; 1969; rev 1977 US; rev 1985 UK); 2 novels featuring Karl Glogauer, being Behold the Man (1966 New Worlds; exp 1969) and Breakfast in the Ruins (1972), both assembled with an unconnected tale as Behold the Man and Other Stories (omni 1994); the Hawklords sequence, comprising The Time of the Hawklords (1976) and Queens of Deliria (1977), the first with Michael Butterworth, the second by Butterworth alone though MM was credited without his authorization; Moorcock's Book of Martyrs (coll 1976; vt Dying for Tomorrow 1978 US); The Real Life Mr Newman (1966 in The Deep Fix; 1979 chap); My Experiences in the Third World War (coll 1980).
The Tale of the Eternal Champion: Each volume of the UK series, and those of the US series which appeared before the end of 1995, is listed below, in conjunction with the titles each assembles; for convenience, the sequences are listed by title only, without registering other bibliographical complexities, unless they are major. The UK series comprises: The Tale of the Eternal Champion #1: Von Bek (omni 1992); #2: The Eternal Champion (omni 1992), concerning Erekosë; #3: Hawkmoon (omni 1992); #4: Corum (omni 1992); #5: Sailing to Utopia (omni 1993), which contains The Ice Schooner, The Black Corridor and The Distant Suns, none being Eternal Champion tales; #6: A Nomad of the Time Streams (omni 1993), concerning Oswald Bastable; #7: The Dancers at the End of Time (omni 1993); #8: Elric of Melniboné (omni 1993); #9: The New Nature of the Catastrophe (coll 1993); #10: The Prince with the Silver Hand (omni 1993), concerning Corum; #11: Legends from the End of Time (omni 1993); #12: Stormbringer (omni 1993); #13: Earl Aubec (coll 1993), which assembles miscellaneous material; #14: Count Brass (omni 1993). The US series comprises The Tale of the Eternal Champion #1: The Eternal Champion (omni 1994 US), contents differing from #2 above; #2: Von Bek (omni 1995 US); #3: Hawkmoon (omni 1995 US); #4: A Nomad of the Time Streams (omni 1995); #5: Elric: Song of the Black Sword (omni 1995); 10 further volumes projected.
as editor: The Best of New Worlds (anth 1965); SF Reprise 1 (anth 1966), #2 (anth 1966) and #5 (anth 1967), all assembled from issues of New Worlds without MM's consent; Best SF Stories from New Worlds (anth 1967); Best Stories from New Worlds 2 (anth 1968; vt Best SF Stories from New Worlds 2 1969 US); Best SF Stories from New Worlds 3 (anth 1968); The Traps of Time (anth 1968); Best SF Stories from New Worlds 4 (anth 1969); The Inner Landscape (anth 1969), anon; Best SF Stories from New Worlds 5 (anth 1969); Best SF Stories from New Worlds 6 (anth 1970); Best SF Stories from New Worlds 7 (anth 1971); New Worlds 1 (anth 1971; vt New Worlds Quarterly 1 1971 US), #2 (anth 1971; vt New Worlds Quarterly 2 1971 US), #3 (anth 1972; vt New Worlds Quarterly 3 1972 US), #4 (anth 1972; vt New Worlds Quarterly 4 1972 US), #5 (anth 1973) and #6 (anth 1973; vt New Worlds Quarterly 5 1974 US), the last with Charles Platt; Best SF Stories from New Worlds 8 (anth 1974); Before Armageddon (anth 1975); England Invaded (anth 1977); New Worlds: An Anthology (anth 1983).
further reading: The Tanelorn Archives: A Primary and Secondary Bibliography of the Works of Michael Moorcock, 1949-1979 (1981) by Richard Bilyeu; The Entropy Exhibition: Michael Moorcock and the British "New Wave" in Science Fiction (1983) by Colin Greenland; Michael Moorcock: A Reader's Guide (1991 chap; rev 1992 chap) by John Davey (1962- ); Death Is No Obstacle (1992), book-length conversation between Greenland and MM about the latter's work.
Michael John Moorcock