Incipits

These are aphorisms and thoughts, mostly swollen, out of which is it sometimes possible to say something

The Fantastic is the thermometer of the Case.

Fantasy is finding things to recognize.

But, in the end, the fantastic as a whole is all about disappearance. Because history is.

Horror is a Masque of Recognitions. It is, of course, both about the Masque and about knowing what was always there, though Disappeared. It is all about _knowing_. Hence the knowingness of the ceremental style, even when that knowingness fustians-over that which is declarably unnamable.

The two horrors: the horror of change: the horror of unchange.

Each genre is a heatdeath of modality, a masque clamped over the churn, a cast against the past, in order to stay the catastrophe of change.

Genres: fuck-buddies in the lek of Time.

The primal location of Story in Horror is the hovering between not facing and turning to face, between Bondage and the Double, between petrification and mirror. Story gripes and grinds at the consequences of this hovering against the inevitable huis clos, consequences which are always against the inner grain of Story, hence its difficulty.

When we speak of works written before 1764, we speak of the blastemata of genre.

Note: how do genres adjust to history: study of H Allen Smith’s “Mr Klein’s Kampf” (1939) and Paul Gallico’s “Adventures of Hiram Holliday” (1939) in terms of the shifting and changing necessary before the fact of an historical event being anticipated. This is before the technothriller; and it is different from Near Future sf, because it does not yet know what to make of what is quite likely to come.

It is truly sophisticated of a reader to understand a story as literal. Only the unsophisticated reader sees metaphors in everything: for they do the job of looking. Metaphorical readings of literal texts (like fantasy or horror) are a category of menuization. (A language without declensions is a pathos of the unattainable True Name, but it gets closer all the time. So the fantastic.)

The 20th century was a train; the 21st is a cryptonomicon.

In so far as all fantasy takes the form of a tale foretold, all fantasy is a godgame.

Genres: Stud farms for McGuffins that lasted the course.

Change is guilt.

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