The Fantastic: A Structural Approach to a Literary Genre (Cornell Paperbacks)

Rating:
Summary: What Todorov Means!
Review: This book is a great achievement in criticism, but one should be warned that Todorov is not talking about elves and dragons when he uses the term "Fantastic." In this book Todorov advances his definition of the fantastic as a "hesitation" or inability to decide whether events in a narrative are natural or supernatural. Thus, the book deals more with straight supernatural fiction, than with what we usually think of as "fantasy" fiction. All in all, Todorov is insightful and his book is a great companion to anyone who enjoys French, English, or American supernatural fiction.

Rating:
Summary: What Todorov Means!
Review: This book is a great achievement in criticism, but one should be warned that Todorov is not talking about elves and dragons when he uses the term "Fantastic." In this book Todorov advances his definition of the fantastic as a "hesitation" or inability to decide whether events in a narrative are natural or supernatural. Thus, the book deals more with straight supernatural fiction, than with what we usually think of as "fantasy" fiction. All in all, Todorov is insightful and his book is a great companion to anyone who enjoys French, English, or American supernatural fiction.

Rating:
Summary: Structuralist view of 'the fantastic'
Review: Those interested in the structuralist criticism of the 1960s-70s will find the most joy here, with Todorov applying the rigorous structuralist stance to one of literature's most fascinating genres. His demolition of Northrop Frye's approach to `genre' in Chapter 1 is still cogent after thirty years (and an amusing read in its own right), but it's Todorov's chapters on the `themes of the fantastic', and his conclusion on its role in literature generally, which are most compelling. This is not, however, an easy read. As Robert Scholes notes in his foreword, "neither structuralism itself nor poetics in general is noted for its ability to charm readers." You don't say. Fortunately, Todorov uses many examples from well known fantastic texts - such as `The Arabian Nights' and the works of Edgar Alan Poe - and also from lesser known French works which will have you rushing out to the antiquarian bookstore to hunt them down. You can accept or reject the structuralist position - but if nothing else, this book will open up a whole new world of `fantastic' novels for you to enjoy.

Rating:
Summary: Structuralist view of 'the fantastic'
Review: Those interested in the structuralist criticism of the 1960s-70s will find the most joy here, with Todorov applying the rigorous structuralist stance to one of literature's most fascinating genres. His demolition of Northrop Frye's approach to 'genre' in Chapter 1 is still cogent after thirty years (and an amusing read in its own right), but it's Todorov's chapters on the 'themes of the fantastic', and his conclusion on its role in literature generally, which are most compelling. This is not, however, an easy read. As Robert Scholes notes in his foreword, "neither structuralism itself nor poetics in general is noted for its ability to charm readers." You don't say. Fortunately, Todorov uses many examples from well known fantastic texts - such as 'The Arabian Nights' and the works of Edgar Alan Poe - and also from lesser known French works which will have you rushing out to the antiquarian bookstore to hunt them down. You can accept or reject the structuralist position - but if nothing else, this book will open up a whole new world of 'fantastic' novels for you to enjoy.