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LiteratureandFantasySpeculativefictionmaybeabigtent,but"real"literature,whenconsideringthesametopics,is

not.Ifastoryhassciencefictionattributes,thereislittlechanceitwillbeacceptedintothecanon.Virtuallyanythingfutureorientedortechnologicalis

automaticallyshuttledinto"genre",becomingsciencefictionbydefault.Thereisverylittle"literature"whichisscienc

efiction.MargaretAtwood'sAHandmaid'sTale,someVonnegut,andnotawholelotmore."Realliterature"issomewhatkindertofantasy.Ahybridfantasystorycanm

akequiteacceptableliterature.Literaturegenerallyusesthreemaintypesoffantasticconstruction.Thefirstmightbe

called"speculativestorytelling".Thereareoftennoovertfantasyelementsinsuchastory,buttheverypremiseitselfwillbefantastical.Oftenvergingo

nbeingaschematicmythology,thisformischaracterizedbytheuseofsymbolismandextendedmetaphor.Hereisanexample.Awomanisborn

toamanwhowantsonlyason.Sohesimplygoesonasifshewasmale,raisingherasaboyandbelievingfullyinhermaleness.Intime,enjoyingherenhancedplaceinsociety,sheadop

tstherolefully.Whatmightbeonlyaspecificcaseoftransvestismcanbecomeametaphorfortheroleofgender,ortheplaceofwomeninmale-dominatedsoci

ety,orforthenatureofidentityitself.Somethingfairlynormal(oratleastconceivable)canbecomethevehicleoffantasticspeculation.(Thestorycited,TheS

andChildbyTaharBenJelloun,willbereviewedinourupcomingDesertThemesissue,sostaytuned.)Asecondareaoffantasyinliteratureisthefabulation.The

keymarkofthefabulationisasubversionofacknowledgedrealityfortheexpressbenefitofthestorybeingtold.Itisimportantthat

thereaderrecognizetheunrealityofthetaletoappreciatethepointsofthenarrative.Thisisaverywidelyusedconventioninliterature,bycountlessauthors.Wi

lliamBurroughscomesimmediatelytomind,asdoesKatherineDunnintheincrediblycreepyGeekLove.Mostimportantly,itisaconvention,use

dwithanodandwinktothereader,andinthisstraysabitfromwhatcouldbecalleda"pure"fantasy.Wherespeculativest

orytellingusescovertfantasyintherealmofovertreality,thefabulationturnsthisinsideout,hidingthe"reality"withinaconstructoffant

asy.Athirdavenueinvolvesfantasticelementsemergingintoaconventionalsetting.ThereisalotofthisinKafka,andespeciallyinthegenreof"magicalreal

ism".MostlyLatinAmericanorCentralEuropean,magicalrealism'sthree"M's"aremystery,miracle,andmagic.Somee

xplanationsofmagicalrealism'sgenesisare,first,themysteriesofaliencultureobservedbytheEuropeaninvadersoftheNewWorld,theacceptanceofmy

steryasanintegralpartof"pagan"religion.ThesecondisthestructuralsystemofbeliefinmiraclewhichunderpinstheCatholicfaith,themiraculo

ushappeninginliterarynarrativeechoingthehistoryofacceptanceofmiraculoushappeninginlife.Thirdisthecollisionofthemode

rnworldwithremnanttraditionalbeliefsystems,oftenmagical,whichofferaresonantsymbolismandstructure.Thetypicalmagicalrealismstoryinvol

vessingular,fantasticeruptionsintoeverydayexistence,aberrationsofrealitywhichholdwithinthem(spiritual)truths.Itishalf-wayfan

tasy,notforcingthereadertomakeafullsuspensionofdisbelief,usingfantasyonlyasanelementinthestory.Whatliteratureismostcomfor

tablewithisanemergentfantasy,asinmagicalrealism,Kafka,Burroughs,andrecentlyintheexcellentworkofJonathanCarroll.(Ithasananaloginhorr

orfiction,whichusestheintrusionoftheoccultintomundanelife).Literaturewillusethespeculativedevice,butislearyoffullspeculativeinvestigation.Atthesharpe

nd,useoffantasyin"real"literatureisnotaboutafull,speculativesuspensionofdisbelief.Thatislefttosciencefictionandfantasy,whic

hitghetto-isesas"genre".Thestinkofitisthatthesetwostepchildrenarenotfullyliterary,thattheyaresomehowless.Unfortunate,butthat'sjustthewaythingsare.It

'seasytoseewhyUrsulaLeGuincomplainsaboutbeingcalledasciencefictionwriter."Iwritesciencefiction.Iamnotasciencefiction

writer".*Beingtakenseriouslyintheliteraryworldcanbeatoughie.