“The imaginary is not formed in opposition to reality as its denial or compensation; it grows among signs, from book to book, in the interstice of repetitions and commentaries; it is born and takes shape in the interval between books. It is the phenomena of the library.”
– Michel Foucault.
“Anyone who still wants to experience fairytales these days can’t afford to dither when it comes to using their brains.”
– Robert Musil.
“An admirable line of Pablo Neruda’s, “My creatures are born of a long denial,” seems to me the best definition of writing as a kind of exorcism, casting off invading creatures by projecting them into universal existence, keeping them on the other side of the bridge… It may be exaggerating to say that all completely successful short stories, especially fantastic stories, are products of neurosis, nightmares or hallucination neutralized through objectification and translated to a medium outside the neurotic terrain. This polarization can be found in any memorable short story, as if the author, wanting to rid himself of his creature as soon and as absolutely as possible, exorcises it the only way he can: by writing it.”
– Julio Cortázar.
“A serious adult story must be true to something in life. Since marvel tales cannot be true to the events of life, they must shift their emphasis towards something to which they can be true; namely, certain wistful or restless moods of the human spirit, wherein it seeks to weave gossamer ladders of escape from the galling tyranny of time, space, and natural law.”
– H.P. Lovecraft.
“Let us depart instead for the fields of Dreams and wander those blue, romantic hills where stands the abandoned tower of the Supernatural, where cool mosses clothe the ruins of Idealism. Let us, in short, indulge in a little fantasy!”
– Eça de Queirós.
“Surrealism, then, neither aims to subvert realism, as does the fantastic, nor does it try to transcend it. It looks for different means by which to explore reality itself.”
– Michael Richardson.
“Nevertheless, the potential and actual importance of fantastic literature lies in such psychic links: what appears to be the result of an overweening imagination, boldly and arbitrarily defying the laws of time, space and ordered causality, is closely connected with, and structured by, the categories of the subconscious, the inner impulses of man’s nature. At first glance the scope of fantastic literature, free as it is from the restrictions of natural law, appears to be unlimited. A closer look, however, will show that a few dominant themes and motifs constantly recur: deals with the Devil; returns from the grave for revenge or atonement; invisible creatures; vampires; werewolves; golems; animated puppets or automatons; witchcraft and sorcery; human organs operating as separate entities, and so on. Fantastic literature is a kind of fiction that always leads us back to ourselves, however exotic the presentation; and the objects and events, however bizarre they seem, are simply externalizations of inner psychic states. This may often be mere mummery, but on occasion it seems to touch the heart in its inmost depths and become great literature.”
– Franz Rottensteiner.
“The fantastic is always a break in the acknowledged order, an irruption of the inadmissible within the changeless everyday legality.”
– Roger Caillois.
“Fairy tales make rivers run with wine only to make us remember, for one wild moment, that they run with water.”
– G.K. Chesterton.
“I became insane, with long intervals of horrible sanity.”
– Edgar Allen Poe.