Fantastique

What is distinctive about the fantastique is the intrusion of supernatural phenomena into an otherwise realist narrative. It evokes phenomena which are not only left unexplained but which are inexplicable from the reader's point of view. In this respect, the fantastique is somewhere between fantasy, where the supernatural is accepted and entirely reasonable in the imaginary world of a non-realist narrative, and magic realism, where apparently supernatural phenomena are explained and accepted as normal. Instead, characters in a work of fantastique are, just like the readers, unwilling to accept ...more

Harry Potter and the Philosopher's Stone (Harry Potter, #1)
Harry Potter and the Prisoner of Azkaban (Harry Potter, #3)
Harry Potter and the Chamber of Secrets (Harry Potter, #2)
Harry Potter and the Goblet of Fire (Harry Potter, #4)
Harry Potter and the Deathly Hallows (Harry Potter, #7)
Harry Potter and the Order of the Phoenix (Harry Potter, #5)
Harry Potter and the Half-Blood Prince (Harry Potter, #6)
Twilight (The Twilight Saga, #1)
Harry Potter and the Cursed Child: Parts One and Two (Harry Potter, #8)
New Moon (The Twilight Saga, #2)
A Winter's Promise (The Mirror Visitor, #1)
Eclipse (The Twilight Saga, #3)
The Invisible Life of Addie LaRue
Dracula
Breaking Dawn (The Twilight Saga, #4)
Jean Ray
L'affaire du couvent des Pères Blancs ne fut pas mauvaise. J'aurais pu faire main basse sur bien des choses précieuses mais, pour être un indévot, je ne suis pas un incroyant et l'idée seule de m'emparer d'objets du culte, même s'ils sont d'or et d'argent massifs, m'emplit d'horreur. Les bons moins pleureront leurs palimpsestes, incunables et antiphonaires disparus, mais ils loueront le Seigneur d'avoir détourné une main impie de leurs ciboires et de leurs ostensoirs. [...] La vente du bust ...more
Jean Ray, Malpertuis: The Classic Modern Gothic Novel

Franz Rottensteiner
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 ...more
Franz Rottensteiner, The Fantasy Book: An Illustrated History From Dracula To Tolkien

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