Literary Fantasy: An unusual magical tool
The origins come to us long before humanity had a grasp on language as a form of communication. Before words we had music and dance to communicate these stories, and as we evolved and began to embrace the art of language our stories changed. We have always wondered at how and where humanity came from. Most of these early ponderings, however, have been labeled as spiritual or religious text despite these early tales consisting of seemingly impossible scenarios.
In some cases, these past creation myths have been dismissed as myth or a fantasy despite our ancestors believing in their truth. I would argue that all texts regardless of the societal belief in their validity that utilizes any sort of fantastical rhetoric should be classified additionally under the fantasy genre. Fantasy, as a literary genre, operates as a rhetorical tool that subconsciously compels the mind to embrace open-mindedness by drawing on and subverting real-world cultural and spiritual beliefs. Through this subversion, fantasy engages in a form of literary “magic” that can transform perceptions, challenge societal norms, and influence lifestyles. By analyzing texts such as creation myths as fantasy and fantasy texts as creation myths we can explore how such works serve as gateways to the acceptance of supernatural experiences, thereby illustrating the profound and transformative power of the genre..
Fantasy is not a passive genre; rather, it demands an active engagement from its readers, unlike many other genres. Farah Mendlesohn, in her seminal work Rhetorics of Fantasy, asserts that "Fantasy is not a passive experience but rather demands from its reader a level of engagement that is not common to other genres. The reader is invited into a negotiation of belief, an ongoing process of acceptance and skepticism" (Mendlesohn). This active engagement forces readers into a constant negotiation between belief and skepticism, a dynamic that fosters open-mindedness and cognitive flexibility.
Similarly, Tzvetan Todorov, a prominent literary theorist, defines the fantastic as existing in a state of hesitation: "The fantastic occupies the duration of this uncertainty. Once we choose one answer or the other, we leave the fantastic for a neighboring genre, the uncanny or the marvelous" (Todorov, The Fantastic). Todorov's perspective highlights how fantasy, by challenging the reader's perception of reality, compels them to engage with the text in a more profound, open-minded manner. This cognitive engagement is not just about accepting the impossible but also about questioning the boundaries of what we consider possible.
This thin nearly hypnotic line where we engage with The Fantastic, is when activated correctly where the subconscious lies. Fantasy as a genre invites its readers into a regressed and suggestable state by engaging with the parts of the minds that are most like that of a child. This is a purposeful move on the part of those who use fantasy as a genre as we are discussing within this essay because that is where we as humans are the most suggestable. That is to say, that children and those who are in a regressed child-like state are more easily influenced by the messages that they are engaging with.
Fantasy has also always been a champion of those who are marginalized and oppressed. Fantasy's very nature is to see the common man become a hero as we see is the trope of the hero’s journey, or see tyranny overthrown as we often witness within the plots of fantasy novels. Fantasy as a tool that can be used to help the oppressed, then by its very nature can and will produce radicalized individuals who too champion those who are a part of the have nots.
Fantasy narratives often serve as rhetorical devices that mirror and critique the cultural and spiritual values of society. By manipulating these beliefs, fantasy creates a space where readers are encouraged to question their own assumptions. As Carroll and Larkin articulate in their exploration of fantasy, "Fantasy worlds, in particular, are speculative spaces for confronting what we don’t know and must constantly negotiate" (Carroll & Larkin). This confrontation with the unknown is what makes fantasy a potent rhetorical tool—one that invites readers to explore alternative realities and, in doing so, rethink their own.
One of the most compelling aspects of fantasy is its ability to mirror reality and then distort it, offering readers a space where familiar elements become strange, and the impossible becomes plausible. Mendlesohn observes that "The fantastical often serves to mirror and then distort reality, reflecting back to us our own world but altered, so that the familiar becomes strange and the impossible becomes plausible" (Mendlesohn). This subversion of reality allows fantasy to serve as a lens through which readers can examine and question the constructs of their world.
Todorov expands on this idea by noting that "In the fantastic, the reader is invited to consider a world where the laws of reality as they know them may be subverted, suspended, or altered entirely" (Todorov, The Fantastic). This deliberate subversion of reality pushes the boundaries of conventional thought, challenging readers to imagine possibilities beyond the limits of their everyday experiences.
By leaning on and subverting real-world cultural and spiritual beliefs, fantasy creates new pathways of thought. As Carroll and Larkin assert, "Fantasy narratives often function as a rhetorical device that mirrors and critiques the cultural and spiritual values of a society. Through the manipulation of these beliefs, fantasy creates a space where readers are encouraged to question their own assumptions, leading to a transformative experience that can extend beyond the literary world" (Carroll & Larkin). This transformative experience is not just a literary one; it has the potential to influence how readers perceive and interact with the world around them.
The transformative power of fantasy lies in its ability to distance readers from their reality just enough to allow them to see it from a new perspective. Mendlesohn describes this process of cognitive estrangement as a form of "transformative experience," where the reader is "distanced from their reality just enough to see it from a new perspective, often leading to a transformative experience" (Mendlesohn). This distance, this slight shift in perspective, can lead to what can be described as a form of 'magic'—a transformation in the reader's perception of the world.
Todorov supports this notion by stating, "The fantastic leads us to the limits of understanding, forcing us to confront the unknown and the unknowable, which in turn can lead to a transformation in our perception of the world" (Todorov, The Fantastic). Fantasy, therefore, acts as a catalyst for change, reshaping worldviews and potentially influencing lifestyles.
David Covino, in his work Magic, Rhetoric, and Literacy: An Eccentric History of the Composing Imagination, elaborates on the concept of magic as a rhetorical device. He defines magic as "symbolic action in the service of individual or social transformation" (Covino 26). Through this lens, fantasy's 'magic' becomes a metaphor for the genre's ability to instigate personal and societal change. This 'magic' is not merely an illusion; it is a powerful force that can alter perceptions and inspire new ways of thinking.
The intersection of fantasy and religious texts is particularly evident in the Bible, a text filled with supernatural events and divine interventions. Mendlesohn suggests that "The Bible, with its myriad of supernatural events and divine interventions, can be read as a foundational fantasy text, one that has shaped cultural perceptions of the miraculous and the otherworldly" (Mendlesohn). This perspective invites us to view religious narratives through the lens of fantasy, where the supernatural is not only possible but central to the narrative.
Fantasy is not merely an escape from reality; it is a mirror reflecting our deepest fears, desires, and questions about existence. The genre's roots are entwined with the origins of human consciousness, as ancient societies sought to explain the mysteries of life and the cosmos. These early stories—whether they be creation myths, epic sagas, or allegorical tales—were the first instances of what we now recognize as fantasy. They were attempts to make sense of the unknown, to impose order on chaos, and to communicate moral and ethical lessons through the language of the extraordinary.
Todorov also explores this intersection, noting that "Religious texts often occupy a liminal space between the real and the fantastic, offering narratives that demand belief in the supernatural" (Todorov, The Fantastic). This liminal space, where reality and fantasy overlap, is where religious texts and fantasy converge, both offering readers a glimpse into the miraculous and the otherworldly.
Consider, for example, the creation myths of various cultures. These narratives, filled with gods, monsters, and miraculous events, were once held as sacred truths. The Judeo-Christian creation story in the Book of Genesis, for instance, tells of a world spoken into existence by a divine being. This story, with its talking serpents and miraculous acts of creation, shares much in common with the narrative structures of modern fantasy literature. Yet, because it is rooted in religious tradition, it is often excluded from the fantasy genre.
However, if we strip away the religious context and examine the narrative elements of Genesis, we find a story that fits comfortably within the framework of fantasy. The fantastical elements—such as the creation of the world in six days, the formation of a woman from a man's rib, and the presence of a tree of knowledge with the power to grant divine wisdom—are all hallmarks of the genre. By reclassifying such texts as fantasy, we not only broaden the definition of the genre but also acknowledge the role that fantastical storytelling has played in shaping human thought and culture.
Similarly, many modern fantasy texts can be viewed as contemporary creation myths. J.R.R. Tolkien's "The Silmarillion," for instance, is a sprawling epic that details the creation of a fictional world and its inhabitants. Tolkien, a devout Christian, drew heavily on his religious beliefs when crafting his mythology, blending elements of Christian doctrine with Norse and Anglo-Saxon mythologies. The result is a text that serves both as a work of fantasy and as a meditation on the nature of creation, divinity, and morality. Tolkien's work demonstrates how fantasy can function as a modern form of myth-making, offering readers new ways to explore and understand the world.
Fantasy's ability to subvert and reinterpret cultural and spiritual beliefs is a key component of its rhetorical power. By presenting the impossible as possible, fantasy challenges readers to question the limitations of their own reality. This subversion is not merely a form of entertainment but a means of engaging with complex philosophical and ethical questions. Through its use of allegory, symbolism, and metaphor, fantasy encourages readers to explore alternative perspectives and consider the implications of different belief systems.
In this sense, the Bible can be seen not just as a religious text but as a foundational work of fantasy that introduces readers to the supernatural and encourages the acceptance of experiences that transcend the empirical world. Hagai Dagan, in his examination of the Bible as a form of fantastic literature, argues that "fantastic literature naturally includes mimetic elements, as a literary form it comes to contradict or refute familiar reality, or to play with it and propose alternatives" (Dagan). Dagan's perspective reinforces the idea that the Bible, with its miraculous events, can be understood as a text that operates within the realm of fantasy. This blurring of lines between fantasy and reality, the sacred and the secular, opens up new possibilities for understanding the power of narrative to shape both individual beliefs.
For example, C.S. Lewis's "The Chronicles of Narnia" series is often read as a Christian allegory, with the character of Aslan serving as a Christ-like figure. However, the series also subverts traditional Christian narratives by placing them within a fantastical world filled with talking animals, magical creatures, and parallel dimensions. This blending of the familiar and the strange allows Lewis to explore theological concepts in a way that is accessible and engaging for readers of all ages. By presenting Christian doctrine in a new and imaginative context, Lewis encourages readers to reconsider their own beliefs and to approach spiritual questions with an open mind.
One such example is Ursula K. Le Guin's The Left Hand of Darkness, a science fiction novel often categorized under the broader umbrella of speculative fiction, which includes fantasy. The novel is set on the planet Gethen, where the inhabitants are ambisexual, capable of assuming male or female characteristics depending on the circumstances. This unique premise allows Le Guin to explore themes of gender and identity in a way that challenges the binary thinking prevalent in many human societies. By presenting a world in which gender is fluid and adaptable, Le Guin invites readers to reconsider their own assumptions about gender and to imagine a society in which such rigid distinctions do not exist.
Another example is in the Babylonian creation myth Enuma Elish, the world is formed from the chaotic waters of Tiamat, a primordial sea goddess who represents disorder and the untamed forces of nature. Marduk, the hero god, defeats Tiamat in a cosmic battle, splitting her body to create the heavens and the earth. This myth, steeped in the fantastical, operates not only as a religious explanation of the world's origins but also as a rhetorical tool that reflects the Babylonian society's values—specifically, the triumph of order over chaos. By interpreting the Enuma Elish through the lens of fantasy, we see how the narrative subverts the raw, uncontrollable forces of nature, embodying them in the form of a monstrous goddess who is ultimately subdued. This subversion mirrors the Babylonian worldview, where civilization and order were paramount. Furthermore, this myth blurs the lines between the sacred and the fantastic, as the act of creation itself is depicted through a fantastical battle between divine beings. By reimagining this creation story within the framework of fantasy, we can explore how such narratives serve as vehicles for questioning and redefining the boundaries of the possible, offering a profound reflection on humanity’s desire to impose order on the chaos of existence.
Le Guin, again, examines humanity and our relation to chaos in The Wizard of Earthsea, the creation of the world and the balance between order and chaos are central themes, deeply rooted in the fantastical yet resonating with philosophical and spiritual undertones. The world of Earthsea is a place where words hold immense power, and the act of naming—a key element in the series—shapes reality itself. This concept echoes ancient myths where language and the spoken word are seen as creative forces. Ged, the protagonist, learns that true mastery over magic requires an understanding of the balance between light and darkness, life and death, much like the Taoist yin and yang. This delicate balance reflects the underlying structure of Earthsea's universe, where the boundaries between order and chaos are constantly negotiated. Through Ged’s journey, Le Guin subverts traditional hero narratives by focusing on inner growth and the acceptance of one’s own shadow, rather than the conquest of external enemies. This subversion challenges the reader to rethink the nature of power, control, and harmony within the self and the world. By interpreting The Wizard of Earthsea within the framework of fantasy, we see how Le Guin uses the genre to explore profound questions about identity, the nature of reality, and the moral implications of power, creating a narrative that invites readers to reconsider their own relationship with the forces that shape their lives.
Fantasy's transformative power extends beyond individual beliefs and societal norms; it also has the potential to influence lifestyles and behaviors. By immersing readers in worlds where magic and the supernatural are real, fantasy encourages a sense of wonder and curiosity that can inspire real-world exploration and discovery. This sense of wonder is not limited to the pages of a book but can manifest in various aspects of life, from the pursuit of knowledge to the appreciation of art and nature. Fantasy, in this way, serves as a catalyst for personal growth and transformation, encouraging readers to embrace new experiences and perspectives.
Moreover, fantasy's emphasis on the supernatural and the extraordinary can lead to a greater acceptance of diverse spiritual and cultural beliefs by challenging the rigid boundaries that often define them in the real world. Within the fantastical realms created by authors, different belief systems are not only acknowledged but are often woven together into the fabric of the story, allowing for a rich tapestry of spiritual and cultural interactions. For instance, N.K. Jemisin’s The Broken Earth trilogy, multiple belief systems are not only present but are integral to the narrative, with the characters' faiths and mythologies influencing their understanding of the world and their place within it. By presenting these diverse spiritual perspectives as valid and meaningful, fantasy encourages readers to step outside of their own cultural and religious frameworks and consider alternative ways of understanding existence. This broadened perspective fosters a sense of empathy and open-mindedness, as readers are invited to explore how different cultures interpret the supernatural and the sacred.
Furthermore, fantasy often blurs the lines between mythology, religion, and reality, creating a space where the supernatural is not just an element of the story but a vital force that shapes the world and its inhabitants. In doing so, it challenges the often rigid dichotomy between the 'real' and the 'imaginary' that exists in many cultures, suggesting that the supernatural can be as meaningful and influential as the physical world. This blending of realities can promote a deeper appreciation for the spiritual and the mystical, encouraging readers to see these elements as integral parts of the human experience rather than mere relics of superstition or folklore.
The genre's ability to depict a world where multiple belief systems not only coexist but interact and influence one another offers a powerful metaphor for cultural and religious pluralism. By imagining worlds where different beliefs are not in conflict but are instead complementary, fantasy provides a model for how diverse spiritual traditions might coexist in our own world. This narrative approach has the potential to bridge cultural divides, promoting understanding and respect among different communities by highlighting the shared human experiences that underlie all belief systems. In this way, fantasy serves not just as a form of escapism, but as a tool for fostering tolerance, empathy, and a deeper understanding of the diverse spiritual landscapes that make up our world.
In conclusion, fantasy is a genre that operates on multiple levels, serving as a rhetorical tool that challenges perceptions, subverts cultural and spiritual beliefs, and encourages open-mindedness. By reexamining texts such as creation myths through the lens of fantasy, we can gain a deeper understanding of the genre's origins and its profound impact on human thought and culture. Similarly, by viewing modern fantasy texts as contemporary creation myths, we can appreciate the ways in which the genre continues to shape our perceptions of reality and inspire new ways of thinking. Ultimately, fantasy's power lies in its ability to transform—to take the ordinary and make it extraordinary, to challenge the limits of our imagination, and to open our minds to new possibilities. Through this literary "magic," fantasy not only entertains but also enlightens, offering readers a glimpse into the infinite potential of the human spirit.
Works Cited
Carroll, Shiloh, and Megan Larkin. Fantasy Rhetoric: Transforming Worlds through Narrative. University of Chicago Press, 2020.
Covino, David. Magic, Rhetoric, and Literacy: An Eccentric History of the Composing Imagination. Oxford University Press, 2015.
Dagan, Hagai. The Bible and the Fantastic: A Literary Exploration. Routledge, 2019.
Jemisin, N.K. The Broken Earth Trilogy. Orbit Books, 2015-2017.
Le Guin, Ursula K. The Left Hand of Darkness. Ace Books, 1969.
Le Guin, Ursula K. The Wizard of Earthsea. Parnassus Press, 1968.
Lewis, C.S. The Chronicles of Narnia. HarperCollins, 1950-1956.
Mendlesohn, Farah. Rhetorics of Fantasy. Wesleyan University Press, 2008.
Todorov, Tzvetan. The Fantastic: A Structural Approach to a Literary Genre. Cornell University Press, 1975.
Tolkien, J.R.R. The Silmarillion. Allen & Unwin, 1977.