The New Fantastic: The Carnival of the World

…the  symbolic  order  functions like  Kant’s transcendental screen, through which reality is  rendered accessible and which, nonetheless, simultaneously prevents our direct access to it.

-Slavoj Zizek, Traversing the Fantasy

Marcel Brion regards the fantastic as that kind of perception ‘qui ouvre sur les plus vastes espaces‘ (which opens onto the widest spaces). It is this opening activity which is disturbing, by denying the solidity of what had been taken to be real. Bataille has referred to this kind of infraction as ‘une déchirure’, a tear, or wound, laid open in the side of the real. The same violent ‘opening’ of syntactic order can be found in Lautréamont, Mallarmé, Rimbaud, Surrealism, Artaud, etc. and from this perspective, fantastic works of the last two centuries are clear antecedents of modernist texts, such as Joyce’s Ulysses and Finnegans Wake, with their commitment to disintegration.1

For Sartre, the fantastic tale told of leaps into other realms. Through asceticism, mysticism, metaphysics, or poetry, the conditions of a purely human existence were transcended, and fantasy fulfilled a definite, escapist, function. ‘It manifested our human power to transcend the human. Men strove to create a world that was not of this world’ (Sartre, 1947, p.58). In a secular culture, fantasy has a different function. It does not invent supernatural regions, but presents a natural world inverted into something strange, something ‘other’. It becomes ‘domesticated’, humanized, turning from transcendental explorations to transcriptions of a human condition. In this sense, Sartre claims, fantasy assumes its proper function: to transform this world. ‘The fantastic, in becoming humanized, approaches the ideal purity of its essence, becomes what it had been.’ Yet, as Italo Calvino reports it we cannot stop there,

The problem with the reality of what we see—extraordinary things that are perhaps hallucinations projected by our minds, or common things that perhaps hide a second, disturbing nature, mysterious and terrible, beneath the most banal appearances—is the essence of fantastic literature, whose best effects reside in an oscillation between irreconcilable levels of reality.2

But in our time the humanist discourse of yesteryear falls flat, so that the fantastic is moving away from the human and into the nonhuman world that no longer suffers the powers of humanistic discourse or language, math or science to be transformed or mastered but is beginning to reveal its inhuman face and the order of the Real. Rather than turning inward toward the so called human condition we’ve begun to explore the nonhuman condition so that rather than ‘transform the world’ we’ve begun to transform our perception of the world that is already there without us. The fantastic, in becoming nonhuman, approaches the continuity that underlies the impure inessentialism of the world not as it is ‘for us,’ but rather as it is for itself. Like the Gnostics of old we are learning to deprogram our symbolic blinkers, destroy the cultural filters, habits, customs, mores, and normative barriers of discourse and imagination that have blinded us to the world as it is without us. The fantastic is no longer a task for writers, artists, or any utilitarian exploration, but rather the very truth of our becoming fantastic within the nonhuman continuum. The wound in the side of the Real is opening in our time, and the official reality patrols of the global order are seeking ways to fill that ancient gap in the symbolic order they’ve created to imprison us in their illusory world of Neoliberalism. It’s up to us to enter the bloody gap of the Real, traverse the fantasy of the impossible, and discover for ourselves the possibility of a new world, a new earth in the ruins of the present order.

Fantasmatic Politics

For thousands of years our Masters have set up taboos and prohibitions against the Real, suggesting that if one goes beyond the limits one will go mad or insane, and if not mad then commit sacrilege against society. Those who have broken free of the Law of reality imposed by the cultural ideology of symbolic order of the age have been ostracized or dismissed from the world of acceptable discourse, silenced or obliterated from the Book of the Law of Society’s memory. We’ve seen throughout the last two thousand years those who transgressed the Book of the Law of Western Civilization labeled heretics of one form or another, both religious and secular. All have been hunted to extinction by the Inquisitorial powers of the enforcers of this symbolic order. In one form or another the heterological opening into the Real has led to expulsion, exclusion, and exit from the official realms of the communal vision. Those who opened such gaps in the Real were either burned at the stake, tortured, or imprisoned; else, labeled as irrational, insane, monstrous and cast under the Law of legitimated systems of psychoanalysis or medical treatment and facilities. Those who survived in the no man’s land of the arts where such disturbances could be attested were brought back into the economic, political, and social fold there escape routes closed off and encased in the arena of justified art, and as members of the tribe of fantasists the cultural tribes of critics and philosophers labeled these beings as not to be believed but rather enjoyed as specimens of this new madness and thereby controlled by the strict regulation of the Reality Patrol.

What if ours was the End Times, not in the Biblical sense of Jesus or God returning to judge the wicked and the dead, but rather of the Climatological catastrophe on the horizon that seems inevitably to be collapsing upon our present, or the coming of the Singularity that so many conspirators of the posthuman or transhuman visionary seem to portend, or even some natural catastrophe – an Asteroid, or supervolcano, or rise of the seas due to the melting of North and South poles, etc.? What of all these and any number of other natural or unnatural events on the horizon? We see the political fantasies being portrayed by both globalists and anti-globalists, capitalists and anti-capitalists in an antinomian oscillation between ambiguous and competing strategies. How should we deal with these? If you take one side or the other of this narrative you become a part of the problem rather than the solution, you suddenly enter a cultural narrative that locks you into a controlled vision of the future that suddenly closes off all other possibilities. What if the future is none of this? What then?

I’ve seen friends and family argue for hours over the notion of Climatological change and the degradation of the environment, Global Warming and the myriad of portending facets of civilizational decay and fall into a new barbarism that it might bring about, etc. While the one side argues this is all fantasy, that there is no such thing as Global Warming or climate change, and that even if we are seeing changes these are all part of earth cycles that have happened before, not man-made or done by human intervention, etc. In other words both sides have their clichéd narrative, their fantasy of the future around which they each gather supposed scientific fact and facticity to support their side of the debate. Usually at the end they will either accept a truce realizing neither side will accept the other’s argument or standpoint, or they begin to punch the shit out of each other till someone outside intervenes on their irreconcilable violence. Either way nothing is accomplished, both go away, go back to heir work-a-day-lives satisfied that they alone know the truth, that they are the defenders of the future against the idiocy of all those others. Nothing changes, nothing is accomplished. Sounds like most efforts in parliament or Congress/Senate debates these days. So that whether in private or public life the contradictions remain, the antinomian stance unresolved, no one wins…

Have you ever noticed how people in a conversation that already know they do not agree, implicitly talk past each other rather than with each other; by this, I mean the notion that they already know that this is not going to be a conversation, but rather a moment for a monologue in which the interlocutor can address not the Other but rather herself in the Other. So that it becomes a mere mirror world of Narcissistic self-satisfaction. A self-promoting moment of legitimating one’s thoughts at the expense of the Other.

Are we after all victims of our own Narcissistic self-loss in the Other, promoters of our own delusions and deliriums projected or introjected to/from the Other’s wound? Is the wound in the Real none other than our inability to accept the wound in our Narcissitic Prometheanism, our desire to surpass all others on the registry of success, of being right – of our blind faith in our own superfluous fantasy, collective or personal? Have we constructed out of our fears and terrors of the Real the very prisons of our affective and intellectual lives, given ourselves over to the rational mythologies of our age believing them to be both scientific and real? Haven’t we deluded ourselves into believing that we alone, we ‘humans’ are the exception to the rule, beyond hubris; that our place in the universe is at once the justified and sustained by our own delirious mythologies, rational or irrational, discursive or imagistic?

Traversing the Fantasy

What if as Zizek would have it – following Lacan, that ‘traversing the fantasy’ is not to escape into some alternate realm of possibility and impossibility, but rather as he suggests to push into the immersive fantasy of our official reality matrix, fully identify ourselves with the reality fantasy that disturbs us, terrorizes our worst nightmares and fears; and, in so doing we will as Richard Boothy remarks:

“Traversing  the phantasy” thus does not mean that the  subject  somehow abandons
its  involvement with fanciful  caprices and  accommodates itself to a pragmatic
“reality,”  but precisely  the  opposite:  the  subject is  submitted to that  effect  of the
symbolic lack that reveals the limit of everyday reality. To  traverse  the  phantasy in
the Lacanian  sense  is  to  be more  profoundly  claimed by the  phantasy  than  ever, in
the  sense of being brought  into an ever more intimate  relation with that real core  of
the phantasy that transcends imaging. 3 (238)

This new relation to the Real, both through pacification and by way of shock – a shock that awakens of to a new sense of reality, one not proscribed by the official order of society and its Reality Police.

Zizek will ask: What  if­ as  I  endeavor  to  demonstrate  in  my extensive  and  repeated  analyses-the  final Hegelian  reversal  is rather  a  redoubling  of the  antinomic  gap, its displacement  into the  “thing  itself’?  He’ll go on to analyze (I quote at length):

What  lurks  in  the  background  here  is  the  old  problem  of  the passage  from  Kant  (the  philosopher  of  antinomies)  to  Hegel  (the  philosopher  of dialectical  contradictions) ;  grosso modo,  there  are  two versions of  this  passage:  ( 1 )  Kant asserts  the irreducible gap of finitude,  the negative  access  to  the Noumenal  (via Sublime)  as  the  only  possible  for  us,  while  Hegel ‘ s   absolute  idealism  closes  the Kantian  gap  and  returns  us  to  pre-critical  metaphysics;  (2)  it is Kant  who  goes  only half the  way  in  his destruction of metaphysics,  still maintaining the reference  to  the Thing-in-itself as  an  external  inaccessible  entity,  and  Hegel is  merely  a  radicalised Kant  who  accomplishes  the  step  from  negative  access  to  the  Absolute  to  Absolute itself  as  negativity.  Or,  to  put  it  in  the  terms  of  the  Hegelian  shift  from epistemological  obstacle  to positive  ontological  condition  (our  incomplete knowledge  of the  thing turns  into  a  positive  feature  of  the  thing which  is  in  itself incomplete,  inconsistent):  it  is  not  that Hegel  “ontologises”  Kant;  on the  contrary,  it is Kant who, insofar as  he conceives the  gap  as merely epistemological, continues to presuppose a fully constituted noumenal realm existing out there,  and  it is Hegel who “deontologises” Kant, introducing a gap into the very texture of reality. (Boucher, 248)

Here we discover that Kant introjects the gap or cut in the world internally within the Subject producing a purely epistemological dualism between phenomenal/noumenon; while for Hegel the gap of cut is not within the Subject or Mind, but actually part of the “very texture of reality”: the wound of the world is open, contradictory, and antinomic. Those who perceive one pole or the other, a purely transcendent real or an immanent real divided against itself are both wrong, instead as Zizek would have it: The  tension between immanence and transcendence is thus also secondary  with regard  to  the gap  within immanence  itself:  “transcendence”  is  a  kind  of  perspective illusion,  the  way  we (mis)perceive the  gap/discord that inheres to immanence itself. (Boucher, 249)

One could say that Bataille was right all along, that instead of a return to the officially sanctioned real of religious sublimity of the Church and the Sacred Order, we instead choose the left-hand path, downward bent into the morbid, obscene lairs of our fears and terrors, identifying with all that is most monstrous in our existence, our racist, bigoted, misogynistic and outlandish misanthropic delusions and technogothic nightmares. That only through our identification with what is so ridiculous and obscene, with the grotesque and macabre can we begin to laugh again, communicate again, rejoin each other in the carnival of existence, open ourselves to the Carnival of the World.

…this  brings  us  back  to  our  beginning:  perhaps,  one  should assert  this  attitude  of passive  aggressivity  as  a  proper  radical  political  gesture,  in contrast  to  aggressive  passivity,  the standard  “interpassive”  mode  of  our participation in socio-ideological life in which we are active all  the time in order to make  it  sure  that  nothing  will  happen,  that  nothing  will   really  change.  In  such  a constellation,  the first  truly  critical  (“aggressive,”  violent)  step  is  to wthdraw into passivity,  to  refuse  to  participate-Bartleby’ s   “I  would  prefer  not  to”  is  the necessary first step  which  as it  were clears the ground for a true activity,  for  an act that will  effectively change the coordinates of the constellation. (Boucher, 258)

Todorov in his classic work on the Fantastic would suggest that the ‘Fantastic narrative is presented as a transcription of the imaginary experience of the limits of reason. It links the intellectual falseness of its premises to a hypothesis of the unnatural or supernatural’, gradually arriving at a position in which these hypotheses are untenable so that the fantastic introduces ‘that which cannot be, either in a natural or supernatural economy’ (Jackson, 24). From the late nineteenth century onward fantastic fantasy became the vehicle for interrogating the antinomic, the ambiguous zones of the symbolic order, the came to bet a critical project as being one of dissolution, disrepair, disintegration, derangement, dilapidation, sliding away, emptying. The very notion of realism which had emerged as dominant by the mid-nineteenth century is subjected to scrutiny and interrogation. (Jackson, 25)

Politically the fantastic would give voice to the oppressed, the excluded, the marginal – to all those who were deemed outside the sublime world of economic security, the illusory world of the powerful, the rich, the visible. The poor and outcast of society had become invisible and it was the power of the fantasist to make visible what was now invisible in the social body, what had been rejected and left to fend for itself in the darkness of societies morbid, and obscene slums and decaying systems of crime and punishment. One can see this in many of the stories of Dostoevsky, Gogol, Kafka, Lovecraft, Machen, and on through those such as Borges, Bioyes, and later authors too numerous to name here. Against the realism of society one will discover in the fantastic terms such as the impossible, the unreal, the nameless, formless, shapeless, unknown, invisible. As H.P. Lovecraft famously noted, “the oldest and strongest emotion of mankind is fear, and the oldest and strongest kind of fear is the fear of the unknown.”

As Eugene Thacker will suggest in his three volume work on the horror of philosophy Lovecraft implicitly makes the argument that not only is there no distinction between the natural and supernatural, but that what we sloppily call “supernatural” is simply another kind of nature, but one that lies beyond human comprehension – not in a relative but in an absolute sense. Herein lies the basis of what Lovecraft called “cosmic horror” – the paradoxical realization of the world’s hiddenness as an absolute hiddenness. He’ll go on to say:

It is a sentiment frequently expressed in Lovecraft’s many letters: “Now all my tales are based on the fundamental premise that common human laws and interests are emotions have no validity or significance in the vast cosmos-at-large. To me there is nothing but puerility in a tale in which the human form – and the local human passions and conditions and standards – are depicted as native to other worlds or other universes. To achieve the essence of real externality, whether of time or space or dimension, one must forget that such things as organic life, good and evil, love and hate, and all such local attributes of a negligible and temporary race called mankind, have any existence at all…but when we cross the line to the boundless and hideous unknown – the shadow-haunted Outside – we must remember to leave our humanity and terrestrialism at the threshold.”4

This sense that what is reflected in the fantastic is not some extra-ordinary world, some Platonic other realm but rather our own universe seen with new eyes, with eyes that are no longer folded in the cage of a symbolic order that excludes the noumenal and binds us to a realm of utilitarian values and the logics of oppression of capitalism and its imposed economic dictatorship of Neoliberal globalism and austerity. It is this negative relationality to the symbolic order of our Globalist Society and its economic systems which constitutes the meaning of the modern fantastic.

Living In-Between: The Emancipatory Fantastic

Fantastic narratives confound elements of both the marvellous and the mimetic. They assert that what they are telling is real – relying upon all the conventions of realistic fiction to do so – and then they proceed to break that assumption of realism by introducing what – within those terms – is manifestly unreal. They pull the reader from the apparent familiarity and security of the known and everyday world into something more strange, into a world whose improbabilities are closer to the realm normally associated with the marvellous. The narrator is no clearer than the protagonist about what is going on, nor about interpretation; the status of what is being seen and recorded as ‘real’ is constantly in question. This instability of narrative is at the centre of the fantastic as a mode. (Jackson, 34)

In our times the notion of a secular fantastic or as I’m calling it political fantastic is becoming more and more pertinent. In an essay on transgression in the work of Georges Bataille, Foucault compares the kind of transgressive literature found in secularized fantasy to religion in previous ages. He claims for them both the same ontological func tion: an exploration of the limits of being. Foucault suggests that a literature of transgression occupies the ‘place where the sacred used to play, for transgression takes limit to the edge of its being, to the point where it virtually disappears, in a movement of pure violence’. He’d go on to say:

Perhaps the emergence of sexuality in our culture is an event which has several levels of meaning: it is linked to the death of God and to that ontological void which that death left at the limits of our thought: it is also linked to something which is still obscure and tentative – a form of thinking in which an interrogation of limits replaces a search for totality and in which a movement of transgression replaces a movement of contradictions. It is linked, finally, to a questioning of language by itself, in a circularity which the ‘outrageous’ violence of erotic literature, far from breaking, manifests from its earliest entrance into language. (Foucault, ‘Préface à la transgression’, p.767) (Jackson, 78-79)

Zizek again will return to Lacan and Freud telling us the Freudian answer is the drive toward transgressive gestures: what Freud calls the “drive” is not, as it may appear, the craving that enslaves us to the world of illusions or Maya (Buddhist). The drive, on the contrary, goes on even when the subject has “traversed the fantasy” and broken out of its illusory craving for the (lost) object of desire.5 Ultimately the goal of traversing the fantasy is to open up the space for the emergence of the pure drive beyond fantasy.

They evidence the radicality of the fantastic, its ability to suspend the apparent impossibility that things could be otherwise, to provide a space in which the impossible can be renegotiated. The fantastic impulse is bound up with a self-altering praxis. The weird alienates and estranges, ruptures what is. Nick Land’s notion of ‘hyperstitional’ relations between writing and the real comes to mind in which ‘fiction is not opposed to the real. Rather, it argues that reality is composed of fictions – consistent semiotic terrains that condition perceptual,  affective and behavioral responses’ (Cybernetic Culture Research Unit [Ccru], 2004: 275).

Today the fantasist enters into the everyday fantastic, her life becomes a part of the fantastic reality she is participating in as she struggles to disturb the worlds of the present symbolic order of a corrupt Globalist systems that seeks to plug up the gaps in its imaginary. Our struggle is not against imaginary powers, but rather against the very real powers in high places within an ruinous order of the corrupt Oligarchic and State powers who seek dominion over every fact of our physical and mental existence. In this sense the fantastic is our lives in this inescapable world of economic and political sorcery,  and we fight not as external agents in some fantasy world or alternate reality MMO but rather in the very real world of our everyday lives seeking a way to awaken those others around us from the spell of black magic they are entrapped in. Unlike the movie The Matrix, there are no big bad robotic systems out there somewhere controlling us, instead there is a very real world of economic, political, social, and cultural agents of fear and terrors who have enclosed us in a horror show of austerity and ruinous life.

Our escape from it is not to dream of escape into false fantasies, but rather to traverse the fantasy of this very real symbolic order we’re trapped in, become the heroes and heroines of a new order warring against the dark powers that entrap men, women, and children in a false world of mirrors, an utilitarian vision of endless work and slavery. Ours is a visionary fantastic of transformation and metamorphosis as we begin to reshape both our epistemic view onto this realm, as well as redefine and shape our lives toward other goals.

The Carnival of the World

This carnival sense of the world possesses a mighty life-creating and transforming power, an indestructible vitality. Carnival was never just a literary form, but was part of a world of pageantry and ritual in different parts of the world. As a form it is very complex and varied, giving rise, on a general carnivalistic base, to diverse variants and nuances depending upon the epoch, the people, the individual festivity. Carnival has worked out an entire language of symbolic concretely sensuous forms–from large and complex mass actions to individual carnivalistic gestures. This language, in a differentiated and even (as in any language) articulate way, gave expression to a unified (but complex) carnival sense of the world, permeating all its forms. This language cannot be translated in any full or adequate way into a verbal language, and much less into a language of abstract concepts, but it is amenable to a certain transposition into a language of artistic images that has something in common with its concretely sensuous nature; that is, it can be transposed into the language of literature. We are calling this transposition of carnival into the language of life the carnivalization of the awakened contradiction, the antinomic life lived in the space of freedom in-between.6

Carnival is not contemplated and, strictly speaking, not even performed; its participants live in it, they live by its laws as long as those laws are in effect; that is, they live a carnivalistic life. Because carnivalistic life is life drawn out of its usual rut, it is to some extent “life turned inside out,” “the reverse side of the world” (‟monde à l’envers”). (Bakhtin, KL 3456) This sense of living outside the symbolic order of our civilization, of entering into the old forms of the trickster, the fool, the ‘one who walks backwards’ – against the grain of things, thoughts, feelings. As Bakhtin suggests,

Carnival is the place for working out, in a concretely sensuous, half-real and half-play-acted form, a new mode of interrelationship between individuals, counterposed to the all-powerful socio-hierarchical relationships of noncarnival life. The behavior, gesture, and discourse of a person are freed from the authority of all hierarchical positions (social estate, rank, age, property) defining them totally in noncarnival life, and thus from the vantage point of noncarnival life become eccentric and inappropriate. Eccentricity is a special category of the carnival sense of the world, organically connected with the category of familiar contact; it permits–in concretely sensuous form–the latent sides of human nature to reveal and express themselves. (Bakhtin, KL 3301)

What Bakhtin terms noncarnival life is our utilitarian work-a-day-world, the humdrum world of forced jobs, austerity, the literal life of survival in a world of economic necessity and brutality. To be eccentric, no longer fitting into the patterns of acceptable behavior or typology, no longer bound to the corporate treadmill, the usual subterfuge of suppressing one’s urges and displacing one’s real needs, but rather refusing to participate in this degradation, refusing to work in this dark ruinous wasteland of pain and apathy.

The new participatory fantastic breaks us out of this world and into a world of freedom, not by escaping into some imaginary fantasy but through laughter, contact, and communication. All distance between people is suspended, and a special carnival category goes into effect: free and familiar contact among people. This is a very important aspect of a carnival sense of the world. People who in life are separated by impenetrable hierarchical barriers enter into free familiar contact on the carnival square. The category of familiar contact is also responsible for the special way mass actions are organized, and for free carnival gesticulation, and for the outspoken carnivalistic word. (Bakhtin, KL 3298)

Instead of participating in the illusory world of democratic politics which is a false world caught in the trap of State and Corporate corruption the scion of the fantastic moves in another world right here in this one, living the fantastic within a carnivalistic realm among her peers shaping and changing this world, building a new one out of the ruins of the present symbolic order and freeing others around her, showing them there is hope – hope of a new world, a new path forward, a realm of the impossible whose possibility is real freedom.

Bakhtin tells us that the primary carnivalistic act is the mock crowning and subsequent decrowning of the carnival king. This ritual is encountered in one form or another in all festivities of the carnival type: in the most elaborately worked out forms–the saturnalia, the European carnival and festival of fools (in the latter, mock priests, bishops or popes, depending on the rank of the church, were chosen in place of a king); in a less elaborated form, all other festivities of this type, right down to festival banquets with their election of short-lived kings and queens of the festival. (Bakhtin, KL 3324) In our time the King is Capitalism itself, the neoliberal order of economics that pervades every aspect of our lives, the world the State and Corporate controllers and reality police want us to believe is the only world, the final world; that, for them, there is no alternative. This is the fantasy of Capital.

It is time to break free of this fantasy, this symbolic order, this game of austerity and economic oppression, time to awaken the sleepers from their long sleep in economic malfeasance, enslaved to an order of ruin and corruption.  Under this ritual act of decrowning a king lies the very core of the carnival sense of the world–the pathos of shifts and changes, of death and renewal. Carnival is the festival of all-annihilating and all-renewing time. Thus might one express the basic concept of carnival. But we emphasize again: this is not an abstract thought but a living sense of the world, expressed in the concretely sensuous forms (either experienced or play-acted) of the ritual act. (Bakhtin, KL 3328)

This is our lived fantastic, the moment when we begin the act of destruction, the time of our feast-of-fools, our carnival of annihilation and renewal, a time to bring before us all a living sense of the world where men, women, and children can experience a new life. Fire and laughter.

Deeply ambivalent also is carnival laughter itself. Genetically it is linked with the most ancient forms of ritual laughter. Ritual laughter was always directed toward something higher: the sun (the highest god), other gods, the highest earthly authority were put to shame and ridiculed to force them to renew themselves. All forms of ritual laughter were linked with death and rebirth, with the reproductive act, with symbols of the reproductive force. Ritual laughter was a reaction to crises in the life of the sun (solstices), crises in the life of a deity, in the life of the world and of man (funeral laughter). In it, ridicule was fused with rejoicing. (Bakhtin, KL 3376)

Maybe in the end it is fire and laughter that we return too. Fire was humanity’s first symbol of freedom from the natural order, the moment of strangeness when we held the power of the Sun in our hands, turned from raw meat to the taste of cooked food, began the slow process of taming the powers of the natural realm. Laughter was the merriment of contact, of contagion, of festival, drums, music, dance, movement; the fount of the carnivalesque that brought us together in ritual and enjoyment of life, the vitalistic element. As Bakhtin reminds us “by its very idea carnival belongs to the whole people, it is universal, everyone must participate in its familiar contact” (B, KL 3412).

  1. Rosemary Jackson, Fantasy: The Literature of Subversion
  2. Italo Calvino. Fantastic Tales (Kindle Locations 39-42). Knopf Doubleday Publishing Group. Kindle Edition.
  3. Geoff Boucher   (Author), Jason Glynos (Editor),  Matthew Sharpe (Editor)Traversing the Fantasy: Critical Responses to Slavoj Zizek. Ashgate Pub Co; First Edition edition (January 2006)
  4. Thacker, Eugene. In the Dust of This Planet: Horror of Philosophy vol. 1 (pp. 80-81). NBN_Mobi_Kindle. Kindle Edition.
  5. Zizek, Slavoj. Less Than Nothing: Hegel and the Shadow of Dialectical Materialism (Kindle Locations 3147-3155). Norton. Kindle Edition.
  6. Bakhtin, M.M.. Problems of Dostoevsky’s Poetics (Kindle Locations 3282-3290). University of Minnesota Press. Kindle Edition.

Leave a Reply

Fill in your details below or click an icon to log in: Logo

You are commenting using your account. Log Out / Change )

Twitter picture

You are commenting using your Twitter account. Log Out / Change )

Facebook photo

You are commenting using your Facebook account. Log Out / Change )

Google+ photo

You are commenting using your Google+ account. Log Out / Change )

Connecting to %s