300-FRANK MILLER (SPANISH) by Frank Miller

By Frank Miller

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Is the question that, with Nightspore, we must put to the elaborate inventions of any particular fantasy, if we wish to apply those high standards of inevitability in figuration and design that traditionally have been applied to literary romance. Fantasy is a literary sub-genre, by which I do not mean to deprecate it, but rather to state this formula: what is good in fantasy is romance, just as anything good in verse is poetry. Historically, the eighteenth century, and subsequently Romanticism, replaced the heroic genre by romance, even as the concept of the Sublime replaced theology.

When, in my disappointment, I have probed the negative reactions of readers I trust, I have found that they do center uncannily on what I take to be the true critical issue here: why do books promising aesthetic freedom (and I know no fantasy wilder than A Voyage to Arcturus) seem to labor under such apparent aesthetic bondage? Why might a sensitive reader come to believe that Lindsay's book is a vivid nightmare, at best, rather than the absolute vision that I keep discovering in it? A Voyage to Arcturus begins rather weakly, I would concede, as a kind of parody of science fiction, more or less in the mode of Jules Verne.

But I have a stronger. . " I quoted the end of this great passage at the beginning of my discourse, and come full circle back to it now, but in I trust the finer tone of a clinamen, a swerve into the start of a theory of literary fantasy. What kills Maskull? In an earlier vision, he had seen Krag murdering him, whereas Krag, at the start of the final voyage, prophesies that Crystalman as Gangnet will be the cause of Maskull's death. Lindsay equivocates, as he has to. Every other corpse in this book of endless corpses has the vulgar Crystalman grin upon it, even that of the beautiful High Romantic Sullenbode, who has died for love of Maskull.

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