The shifting sands of the world... show how much the surrealists were drawn towards an interrogation of what reality actually is. Unlike fabulists of whatever hue, there is a materiality in surrealist writing that resolutely keeps it, one might say, 'down to earth'.
Michael RichardsonStichwörter: reality fantasy surrealism fantastic fantastique
Granana doesn't understand what the big deal is. She didn't cry at Olivia's funeral, and I doubt she even remembers Olivia's name. Granana lost, like, ninety-two million kids in childbirth. All of her brothers died in the war. She survived the Depression by stealing radish bulbs from her neighbors' garden, and fishing the elms for pigeons. Dad likes to remind us of this in a grave voice, as if it explained her jaundiced pitilessness: "Boys. Your grandmother ate pigeons.
Karen RussellStichwörter: short-stories humor-relationships fantastic
The fantastic is always a break in the acknowledged order, an irruption of the inadmissible within the changeless everyday legality
Roger CailloisStichwörter: fantasy fantastic fantastique
As has already been noted, fantastic literature developed at precisely the moment when genuine belief in the supernatural was on the wane, and when the sources provided by folklore could safely be used as literary material. It is almost a necessity, for the writer as well as for the reader of fantastic literature, that he or she should not believe in the literal truth of the beings and objects described, although the preferred mode of literary expression is a naive realism. Authors of fantastic literature are, with a few exceptions, not out to convert, but to set down a narrative story endowed with the consistency and conviction of inner reality only during the time of the reading: a game, sometimes a highly serious game, with anxiety and fright, horror and terror.
Franz RottensteinerStichwörter: fantasy horror supernatural terror fantastic fantastique
Supernatural fiction contains its own generic borderland: a neutral territory, which Tzvetan Todorov calls 'the fantastic,' between 'the marvelous' and 'the uncanny.' According to Todorov, 'The fantastic is that hesitation experienced by a person who knows only the laws of nature, confronting an apparently supernatural event.' Once the event is satisfactorily explained (and sometimes it is never explained), we have left the fantastic for an adjacent genre - either 'the uncanny,' where the apparently supernatural is revealed as illusory, or 'the marvelous,' where the laws of ordinary reality must be revised to incorporate the supernatural. As long as uncertainty reigns, however, we are in the ambiguous realm of the fantastic.
Howard KerrStichwörter: fantasy supernatural fantastic uncanny marvelous todorov
In any event, whether a supernatural tale remains altogether fantastic or eventually modulates to the uncanny or the marvelous, the reader is faced with disconcerting ontological and perceptual problems.
Indeed, the disorienting effect of the supernatural encounter in fiction seems to reflect some deeper disorientations in the culture at large.
Stichwörter: fantasy horror supernatural fantastic uncanny marvelous
But the recurrent ambiguity of the American tale of the supernatural reveals both a fascination with the possibility of numinous experience and a perplexity about whether there was, in fact, anything numinous to be experienced. Writers often delighted in leading readers into, but not out of, the haunted dusk of the borderland.
Howard KerrStichwörter: fantasy horror supernatural fantastic numinous
(Washington) Irving was only the first of the writers of the American ghostly tale to recognize that the supernatural, exactly because its epistemological status is so difficult to determine, challenged the writer to invent a commensurately sophisticated narrative technique.
Howard KerrStichwörter: fantasy horror supernatural fantastic ghost-story ghost-stories wasington-irving
Psychic change, as Todorov has recognized, subverted the genre in another way, by revoking the cultural taboos, the social censorship, that had prohibited the overt treatment of psychosexual themes, which then found covert expression in the supernatural tale. 'There is no need today to resort to the devil [or to posthumous reverie] in order to speak of excessive sexual desire, and none to resort to vampires in order to designate the attraction exerted by corpses: psychoanalysis, and the literature which is directly or indirectly inspired by it, deal with these matters in undisguised terms. The themes of fantastic literature have become, literally, the very themes of the psychological investigations of the last fifty years.
Howard KerrStichwörter: devil fantasy psychology horror supernatural vampire psychological fantastic todorov
It should be particularly stressed that the fantastic makes no sense in an out-and-out strange world. To imagine the fantastic in it is even impossible. In a world full of marvels the extraordinary loses its power.
Roger CailloisStichwörter: fantasy horror genre fantastic
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