Category Archives: fantastique

Lemony Snicket’s A Series of Unfortunate Events

I watched Lemony Snicket’s A Series of Unfortunate Events with the girls yesterday evening and loved it. Loved Jim Carrey, Meryl Streep and even Dustin Hoffman’s cameo appearance.

The film is based on this series of comic books.

On its steampunk qualities:

Although the books can be classed as ‘steampunk‘, in that they involve young people struggling against great odds in an anachronistic setting, the addition, in later books, of the mysterious organization known as V.F.D. have begun to push the story into the new genre of post-steampunk (in the same way that later additions to the cyberpunk genre are now classed as postcyberpunk). –wikipedia

On its macabre and black comedy qualities:

The books can also be classified as absurdist fiction, due to their eccentric characters, quirky writing style and generally improbable storylines. Some might argue that these books could also be classified as black comedy, because of the mix of humorous and macabre elements.

In the words of my favorite Amazon critic Jeff Shannon and one of my favorite film critics tout court:

If you spliced Charles Addams, Dr. Seuss, Charles Dickens, Edward Gorey, and Roald Dahl into a Tim Burtonesque landscape, you’d surely come up with something like Lemony Snicket’s A Series of Unfortunate Events. Many critics (in mostly mixed reviews) wondered why Tim Burton didn’t direct this comically morbid adaptation … but there’s still plenty to recommend the playfully bleak scenario, … a variety of fantastical hazards and mysterious clues, some of which remain unresolved. Given endless wonders of art direction, costume design, and cinematography… –Jeff Shannon, Amazon.com

One more thing: loved the self referentiality of the intrusive narrator of the film (such as is commonly displayed in 18th and 19th century literature.)

Three Gothic Novels

Three Gothic Novels: The Castle of Otranto; Vathek; Frankenstein (1968) – Various
[Amazon.com] [FR] [DE] [UK]

The Gothic novel, which flourished from about 1765 until 1825, revels in the horrible and the supernatural, in suspense and exotic settings. This volume presents three of the most celebrated Gothic novels: “The Castle of Otranto“, published pseudonymously in 1765; “Vathek” (1786); and the story of “Frankenstein” (1818). Introduction by Mario Praz. The cover image of this Penguin edition illustrates one of the main tropes of gothic fiction: the isolated and haunted castle.

I have discovered a haunted house in the midst of London

A friend of mine, who is a man of letters and a philosopher, said to me one day, as if between jest and earnest,–” Fancy! since we last met, I have discovered a haunted house in the midst of London.”

“Really haunted?–and by what? ghosts?”

“Well, I can’t answer that question; all I know is this–six weeks ago my wife and I were in search of a furnished apartment. Passing a quiet street, we saw on the window of one of the houses a bill, ‘Apartments Furnished.’ The situation suited us: we entered the house–liked the rooms–engaged them by the week–and left them the third day. No power on earth could have reconciled my wife to stay longer; and I don’t wonder at it.” —The House and the Brain, also know as The Haunted and the Haunters (1857) by Lord Edward Bulwer-Lytton via here.

Lytton is famous for his cliché first sentence: “It was a dark and stormy night”

See also: haunted – horror fiction – 1857

Serendipity

Searching for kafka+gogol+nose+metamorphosis (inspired by Todorov’s likening of Kafka’s The Metamorphosis to Gogol’s The Nose) I re-find Alan Gullete. And via Alan I find Danill Kharms whose photograph below is striking to say the least.

Daniil Kharms, photo credit unidentified

Daniil Kharms (1905 – 1942) was an early Soviet-era surrealist and absurdist poet, writer and dramatist. Kharms lived in debt and hunger for several years until his final arrest on suspicion of treason in the summer of 1941. He was imprisoned in the psychiatric ward at Leningrad Prison No. 1. and died in his cell in February, 1942 — most likely, from starvation. —http://en.wikipedia.org/wiki/Daniil_Kharms [Nov 2006]

Via Alan Gullette http://alangullette.com/lit/absurd/ who I’ve mentioned before here. His literary entry page features pages supernatural, surreal, absurd, et al literature.

There is now only one fantastic object: man

Quoting from Todorov’s book on the fantastic, page 173, Todorov seems to hold that Sartre has a similar view on fantastic literature to his own:

“According to Sartre, Blanchot and Kafka no longer try to depict extraordinary beings; for them,

there is now only one fantastic object: man. Not the man of religions and spiritualisms, only half committed to the world of the body, but man-as-given, man-as-nature, man-as-society, the man who takes of his hat when a hearse passes, who kneels in churches, who marches behind a flag.

The quote by Sartre is taken from his article on Blanchot’s récit Aminadab, published in Situations.

There’s no English equivalent of the French récit, which names a literary genre which tells of a single event. A few dense notes on what this word comes to mean for Blanchot in The Book to Come and elsewhere. —http://spurious.typepad.com/spurious/2006/06/what_is_the_rel.html

[Nov 2006]

Tolkien

Although I recently stated that I only want to do appreciative criticism, I want to investigate why I don’t like Tolkien and Lord of the Rings. I do like the fantastique and fantastic literature as defined by Todorov.

On a sidenote I’ve noticed that people who like Tolkien also like Harry Potter for which I have very little enthusiasm. Again, why?

Googling for Todorov (who is the leading authority on the fantastique) in combination with Tolkien brings up this:

Key critics such as Rosemary Jackson, Christine Brooke-Rose, and Tzvetan Todorov all see Tolkien as beyond their parameters. Jackson’s work is largely concerned with fantasy elements within realist literature, while Todorov and Brooke-Rose see Tolkien as a creator of secondary worlds, no longer a fantasy writer, but a creator of the marvellous, placing him outside their studies. –Sara Upstone via http://findarticles.com/p/articles/mi_m0OON/is_4_23/ai_99848429

The keyword is marvelous, which according to Todorov does not belong in the fantastic/que category.

And googling for Tolkien and irrealism brings the Cafe Irreal:

[J].R.R. Tolkien, who not only had to create a whole new world from scratch, but one which he could only visit in his imagination. And yet Tolkien (and the various other genre fantasy and science-fiction writers) are not irreal writers. For, having imagined a new world, a Tolkien proceeds to make it so real and concrete for us (by giving it laws, mythologies and governments) that we could visit it, if it existed, like we would visit an exotic island — surprised by the customs of the people and the creatures that inhabit its jungles, but feeling very much as if we were in the category of the real. Like the realist writer, he tries to concretize the unreal. –G.S. Evans in IRREALISM AND THE DREAM-STATE via http://home.sprynet.com/~awhit/tirr_dre.htm [Nov 2006]

The key phrase in this little investigation is “Having imagined a new world, Tolkien proceeds to make it so real and concrete for us, … making it very much as if we were in the category of the real. Like the realist writer, he tries to concretize the unreal.” By doing so he takes out all the ambiguity, ambivalence, unresolvedness, unreliability and uncertainty that makes the fantastique what I find so attractive in it.

In the words of Jan Beardsly commenting on Todorov:

Todorov distinguishes the fantastic from two other modes, the uncanny and the marvelous. While these modes have some of the ambiguity of the fantastic, they ultimately offer a resolution governed by natural laws (the uncanny) or the supernatural (the marvelous). –Jan Bardsley via http://www.unc.edu/~bardsley/ghosts/todorov.html

A final quote on uncertainty by Todorov:

“The fantastic occupies the duration of this uncertainty….The fantastic is that hesitation experienced by a person who knows only the laws of nature, confronting an apparently supernatural event” (p. 25).

See also: realism – reality