This book attempts to reveal how the fantastic operates and how it produces its effects, and analyses the devices and techniques used by the fantastic in order to produce hesitation in the mind of the reader. It proceeds through an analysis of one French and one Russian work.

Readings in Twenty-First-Century European Literatures brings together analyses of post-2000 literary works from twelve European literatures. Sharing a common aim - that of taking the first step in identifying and analysing some of the emergent trends in contemporary European literatures - scholars from across Europe come together in this volume to address a range of issues. Topics include the post-postmodern; the effect of new media on literary production; the relationship between history, fiction and testimony; migrant writing and world literature; representation of ageing and intersexuality; life in hypermodernity; translation, both linguistic and cultural; and the institutional forces at work in the production and reception of twenty-first-century texts. Reading across the twenty chapters affords an opportunity to reconsider what is meant by both 'European' and 'contemporary literature' and to recontextualize single-discipline perspectives in a comparatist framework.

Hesitation between a natural or supernatural interpretation of fictional events is the life-blood of the fantastic, but just how is this hesitation provoked? In this detailed and insightful study, Claire Whitehead uses examples from nineteenth-century French and Russian literature to provide a range of narrative and syntactic answers to this question. A close reading of eight key works by Alexander Pushkin, Vladimir Odoevskii, Nikolai Gogol, Fedor Dostoevskii, Theophile Gautier, Prosper Merimee and Guy de Maupassant illustrates the decisive role played in the provocation of ambiguity by factors such as modalization, point of view, multiple voice and narrative authority. The analysis of hesitation experienced in works depicting madness or ironic self-consciousness advocates the inclusion into the genre of previously marginalized texts. The close comparison of works from these two national traditions shows that the fundamental discursive features of the fantastic do not belong to any one language.