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By George Edgar Slusser, Eric S. Rabkin, Robert E. Scholes

13 unique essays written in particular for the second one Eaton convention on technological know-how Fiction and myth Literature, held February 23–24, 1980, on the college of California, Riverside. These essays display the range of delusion types and their pervasiveness through the a long time and may stimulate additional examine of this advanced and elusive mode. The essays—by Harold Bloom, author and DeVane Professor of the arts at Yale collage; Larry McCaffery, Assistant Professor of En­glish at San Diego nation college; Marta E. S?nchez, teacher of English on the college of California, San Diego; Arlen J. Hansen, Professor of English on the collage of the Pacific, Stockton; David Clayton, teacher of Comparative Literature on the college of California, San Diego; Robert Sale, author and Professor of English on the college of Washington; G. Richard Thompson, Professor of English at Purdue Univer­sity, West Lafayette; Robert A. Collins, Coordinator of the an­nual Swann convention at the great and teacher at Flor­ida Atlantic collage, Boca Raton; John Gerlach, affiliate Professor of English at Cleveland nation college; David Ket­terer, author and Professor of English at Concordia collage, Montreal; George R. Guffey, Professor of English on the Univer­sity of California, l. a.; Jack P. Rawlins, affiliate Pro­fessor of English at California nation collage, Chico; and Gary Kern, author and translator of early Soviet literature—examine fable on many degrees of curiosity: as a component of human proposal, as a continuing consider the social and highbrow setting, and as a generator of shape in artwork and literature.

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Bridges to fantasy

13 unique essays written particularly for the second one Eaton convention on technological know-how Fiction and fable Literature, held February 23–24, 1980, on the college of California, Riverside. These essays exhibit the range of myth kinds and their pervasiveness through the a while and may stimulate extra research of this advanced and elusive mode.

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Psychic ambivalence, as Angus Fletcher reminded us in his superb, path-breaking book, Allegory, does not mean mixed feelings but rather a mixture of diametrically opposed feelings, usually related to a concept of taboo. If the extreme degree of ambivalence is, as Fletcher said, irony or allegory, we need to remember that for Freud the masterpiece of psychic ambivalence was the Oedipal conflict. This conflict emerged for Freud most vividly both in the taboo and in the psychoanalytical transference, but I think that Freud always repressed his rather shady basing of the structure of the transference upon the structure of the taboo.

Yet I will assert for it a greatness that few contemporary critics might grant, and part of that greatness is the book's near-perfection in a particular kind of romance invention, as once it would have been called, that kind we have agreed to call fantasy. I am moved by Eric Rabkin's insight when, in his recent anthology of fantasy, he places A Voyage to Arcturus together with Alice in Wonderland in his range (10) category of fantasy, meaning the outer limit of the mode, after which I suppose we would pass into a strange new Scripture, a revelation like that of the Gnostic Valentinus or of Joachim of Flora.

I invoke Carlyle deliberately, because he is the tutelary spirit who Page 2 informs Lindsay's frightening romance, which is a direct descendant of Sartor Resartus. Indeed Carlyle himself, I take it, is the perhaps unconscious model for the god or demi-god Krag, just as Walter Pater and his disciple Oscar Wilde served Lindsay as repressed models for Krag's adversary, Crystalman or Shaping. But I will postpone an account of the Carlyle-Pater agon in A Voyage to Arcturus until I have explored some opening aspects of my clinamen or ironic swerve into a beginning for a theory of fantasy.

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