Each person’s definition of fantastic literature is slightly different but they all have some things in common. One definition is Judith Kerman’s; she states “Perhaps the fantastic is in fact usefully definable as a liminal artistic space, a place where we test ideas whose reality or potential reality we are not sure of… there has to be enough ‘reality’ that we can in fact imagine that the situation could be real, or want it to be real, or be afraid it is – solid characters, credible pseudoscience, magic that makes us wonder a little about what’s possible, terror that truly terrifies” (Kerman 182). The story should be believable but should also include content that makes us doubt the story. To be fantastic, a story must blur the line between two things that in reality have clear, set
Each person’s definition of fantastic literature is slightly different but they all have some things in common. One definition is Judith Kerman’s; she states “Perhaps the fantastic is in fact usefully definable as a liminal artistic space, a place where we test ideas whose reality or potential reality we are not sure of… there has to be enough ‘reality’ that we can in fact imagine that the situation could be real, or want it to be real, or be afraid it is – solid characters, credible pseudoscience, magic that makes us wonder a little about what’s possible, terror that truly terrifies” (Kerman 182). The story should be believable but should also include content that makes us doubt the story. To be fantastic, a story must blur the line between two things that in reality have clear, set