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LiteratureandFantasySpeculativefictionmaybeabigtent,but"real"literature,whenconsideringthesametopics,isnot.Ifastoryhassciencefictionattributes,t

hereislittlechanceitwillbeacceptedintothecanon.Virtuallyanythingfutureorientedortechnologicalisautomat

icallyshuttledinto"genre",becomingsciencefictionbydefault.Thereisverylittle"literature"whichissciencefiction.MargaretAtwood'sAHandmaid's

Tale,someVonnegut,andnotawholelotmore."Realliterature"issomewhatkindertofantasy.Ahybridfantasystorycanmakequiteacceptableliterature.L

iteraturegenerallyusesthreemaintypesoffantasticconstruction.Thefirstmightbecalled"speculativestorytelling".Thereareoftennoovertfantasyelementsinsu

chastory,buttheverypremiseitselfwillbefantastical.Oftenvergingonbeingaschematicmythology,thisformischara

cterizedbytheuseofsymbolismandextendedmetaphor.Hereisanexample.Awomanisborntoamanwhowantsonlyason.Sohesimply

goesonasifshewasmale,raisingherasaboyandbelievingfullyinhermaleness.Intime,enjoyingherenhancedplaceinsociety,sheadoptstherolefully.Whatmightbeon

lyaspecificcaseoftransvestismcanbecomeametaphorfortheroleofgender,ortheplaceofwomeninmale-dominatedsociety,orforthenatureofidentityitself.Somethingfa

irlynormal(oratleastconceivable)canbecomethevehicleoffantasticspeculation.(Thestorycited,TheSandChildbyTaharBenJelloun,willbereviewedinourupcomingDes

ertThemesissue,sostaytuned.)Asecondareaoffantasyinliteratureisthefabulation.Thekeymarkofthefabulationisasubversionofack

nowledgedrealityfortheexpressbenefitofthestorybeingtold.Itisimportantthatthereaderrecognizetheunrealityofthet

aletoappreciatethepointsofthenarrative.Thisisaverywidelyusedconventioninliterature,bycountlessauthors

.WilliamBurroughscomesimmediatelytomind,asdoesKatherineDunnintheincrediblycreepyGeekLove.Mostimportantly

,itisaconvention,usedwithanodandwinktothereader,andinthisstraysabitfromwhatcouldbecalleda"pure"fantasy.Wherespeculativestorytel

lingusescovertfantasyintherealmofovertreality,thefabulationturnsthisinsideout,hidingthe"reality"withinaconstructoffantas

y.Athirdavenueinvolvesfantasticelementsemergingintoaconventionalsetting.ThereisalotofthisinKafka,andespeciallyintheg

enreof"magicalrealism".MostlyLatinAmericanorCentralEuropean,magicalrealism'sthree"M's"aremystery,miracle,andmagic.Someexplanationso

fmagicalrealism'sgenesisare,first,themysteriesofaliencultureobservedbytheEuropeaninvadersoftheNewWorld,t

heacceptanceofmysteryasanintegralpartof"pagan"religion.ThesecondisthestructuralsystemofbeliefinmiraclewhichunderpinstheCatho

licfaith,themiraculoushappeninginliterarynarrativeechoingthehistoryofacceptanceofmiraculoushappeninginlife.Thirdisthecollisionofthe

modernworldwithremnanttraditionalbeliefsystems,oftenmagical,whichofferaresonantsymbolismandstructure.Thetypicalmagicalrealismstoryinvolvessin

gular,fantasticeruptionsintoeverydayexistence,aberrationsofrealitywhichholdwithinthem(spiritual)truths.Itishalf-wayfantasy

,notforcingthereadertomakeafullsuspensionofdisbelief,usingfantasyonlyasanelementinthestory.Whatliteratureismostcomfortablewithisanemergentfanta

sy,asinmagicalrealism,Kafka,Burroughs,andrecentlyintheexcellentworkofJonathanCarroll.(Ithasananaloginhorrorficti

on,whichusestheintrusionoftheoccultintomundanelife).Literaturewillusethespeculativedevice,butislearyoffullspecula

tiveinvestigation.Atthesharpend,useoffantasyin"real"literatureisnotaboutafull,speculativesuspensionofdisb

elief.Thatislefttosciencefictionandfantasy,whichitghetto-isesas"genre".Thestinkofitisthatthesetwostepchildrenaren

otfullyliterary,thattheyaresomehowless.Unfortunate,butthat'sjustthewaythingsare.It'seasytoseewhyUrsulaLeGuincomplainsabou

tbeingcalledasciencefictionwriter."Iwritesciencefiction.Iamnotasciencefictionwriter".*Beingtakenseriouslyint

heliteraryworldcanbeatoughie.