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 Sorcerer'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)
Breaking Dawn (The Twilight Saga, #4)
Dracula
The Invisible Life of Addie LaRue
Roger Caillois
The fantastic is always a break in the acknowledged order, an irruption of the inadmissible within the changeless everyday legality
Roger Caillois, Au coeur du fantastique

The fantastic is in complicity with the realist model, in the claims that realism makes to represent the true face of reality. It points to the gaps and inadequacies of realism, but does not question the legitimacy of its claims to represent reality. The concept of “suspension of disbelief', that beloved criterion of positivist criticism supposedly serving to establish the legitimacy of the fantastic, confirms this hegemony. ...more
Michael Richardson, Dedalus Book of Surrealism 2: The Myth of the World

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