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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. ↗
Necesitaba un cómplice, y eso es lo que eres tú. Un aliado en mi vida. Me salvaste, me protegiste, me ayudaste, me liberaste cuando menos sabía de qué santo colgarme. ↗
somewhere i have never travelled, gladly beyond any experience, your eyes have their silence: in your most frail gesture are things which enclose me, or which i cannot touch because they are too near your slightest look easily will unclose me though i have closed myself as fingers, you open always petal by petal myself as Spring opens (touching skilfully, mysteriously) her first rose or if your wish be to close me, i and my life will shut very beautifully, suddenly, as when the heart of this flower imagines the snow carefully everywhere descending; nothing which we are to perceive in this world equals the power of your intense fragility: whose texture compels me with the colour of its countries, rendering death and forever with each breathing (i do not know what it is about you that closes and opens; only something in me understands the voice of your eyes is deeper than all roses) nobody, not even the rain, has such small hands ↗
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. ↗
Todas las disparidades del mundo, las diversas alas de la paradoja, las dos caras del problema, las preguntas de deshojar la margarita, la concienca con forma de tijera, todas las polaridades, las cosas y sus imágenes y las cosas que no proyectan sombras y, sencillamente, las explosiones cotidianas de una calle, esta cara y aquélla, una casa y un dolor de muelas, explosiones que sólo tienen, en su nombre, letras diferentes, mi aguja todo lo atraviesa, y yo mismo, mis ávidas fantasías, todo lo que ha existido y hoy existe, somos parte de un collar de imcomprensible belleza y falta de sentido. ↗
As a rule, you see, I'm not lugged into Family Rows. On the occasions when Aunt is calling Aunt like mastodons bellowing across premieval swamps and Uncle James's letter about Cousin Mabel's peculiar behaviour is being shot round the family circle ('Please read this carefully and send it on Jane') the clan has a tendency to ignore me. It's one of the advantages I get from being a bachelor - and, according to my nearest and dearest, practically a half-witted bachelor at that. ↗
