“War begets war. Destruction begets destruction. On earth, a century ago, in the year 2020, they outlawed our books.” -Edgar Allen Poe, in Ray Bradbury’s “The Exiles.”
Edgar Allan Poe fights rocket men on a Mars mission to annihilate everything fantastic or non-realistic, in Ray Bradbury’s short story “The Exiles.” Bradbury’s short story stands with Fahrenheit 451 as a grim chronicle of a dystopian world where imagination is prohibited, even to the point of it being considered a mental disorder. In these worlds, fantasy—the ability to imagine realities other than the “consensus”—is outlawed, exiled, and, ultimately, considered heretical.
One fascinating question arises out of how Bradbury saw the role of fantasy literature in this future world. Is fantasy heretical? More specifically, does the literary mode or genre we refer to commonly as “fantasy” hold any innate capacity to oppose the dominant, orthodox “consensus” understanding of truth and reality? If there is such a capacity, what does it mean fantasy-as-heresy can do? And if it is not true that fantasy is heretical, why is it not?
“Fantasy itself is heretical. It denies what everyone knows to be the truth. And, if you’re lucky, the untruth shall make you free.” These words may sound counter-intuitive, even a little Nietzsche-esque, but they are part of Brian Attebery‘s argument for fantasy’s subversive potential in his essay “The Politics (If Any) of Fantasy” (11).
Brian Attebery argues that fantasy is heretical in “The Politics (If Any) of Fantasy”
Since it accepts the non-real, fantasy can say that “reality is a social contract, easily avoided” (10). Indeed, most fantasy novels contain an element of escape from the humdrum of modern-day, middle-class North American life (or whatever is your current milieu). While fantasy can slip into “escapism,” what escape does for readers is break the jail cell bars which contain us within the accepted reality that we accede to ever day. It demonstrates that out world is “a fluke, a localized and temporary aberration” (10). I like to think of Neil Gaiman in The Ocean at the End of the Lane saying that the world we know as our own is only the icing on a much larger and much deeper cake, lying just under the surface of things.
The slightly more dangerous and “most profound political statement that fantasy can make is to let the Other become a self” (10). Fantasists write from the point of view of aliens, animals, and other fantastic creatures—and analogously, other human cultures right here on earth. In fantasy, “the past threatens to break into the present, colonies become capitals, and the natural world takes revenge on civilization” (10).
The way fantasy novels do this is clearly evident. Epic fantasy, for starters, is almost completely based on the ways in which the past interferes with the present, and novels such as Ysabel by Guy Gavriel Kay do this in a twentieth-century our-world setting. And how subversive would the Ents of Fangorn be, if they waged a crusade against Amazon rainforest deforestation? In our globally-warmed world, the whole Mayan apocalypse craze was partially a result of our fear of nature’s vendetta against our race, and that surely inspired a few fantasy stories. On the subject of decolonization, I need go no further than Kay’s other novel Tigana in order to indicate a subversive book: a tale of rebels who overthrow the yoke of foreign domination in order to restore their nation’s identity. This belongs not only to the mythic history of the USA and France, but also to Ireland, Wales, Quebec, the Basque regions in Spain, and Communist East Europe.
Choose any binary: man/woman, dark/light, subject/object, self/society, victor/victim, man/nature, past/present, self/other: fantasy gains its subversive, heretical edge by showing us the “other,” by presenting both sides of the coin, and thus challenging us, whether we choose heads or tails. Even when an author such as C.S. Lewis attempts to reinforce a worldview—Christian orthodoxy—Attebury argues that the fantastic frame “resists any kind of orthodoxy” (11). Fantasy has infinite possibilities, which makes any limitations upon those possibilities (the “rules” of the secondary world) contrast with what lies beyond those boundaries, letting us question what set those limitations in the first place.
Why is Aslan a lion, we might ask, and not, say, a dragon? Lewis’ choice reveals Aslan’s significance as a symbol for the “Lion of Judah,” Jesus Christ. At the same time as Christian orthodoxy is reinforced, the fantastic elements in Narnia—such as witches, centaurs, and giants—recall a more pagan world, the other side of the coin. Even a fascistic fantasy that reinforces a certain ideology or orthodoxy will be subverted, argues Attebery, because the possibility of asking, “What else?” remains. There will always be another side, an “other” that the fantasy implies exists.
Since fantasy brings down the orthodox, it is intrinsically heterodox, which is a fancy way of saying “heretical.” Attebery is not alone in drawing conclusions like this. Rosemary Jackson in Fantasy: the Literature of Subversion observes a similar phenomenon. For her, fantasy (defined more as a left-wing absurdist type of literature than post-Tolkien generic fantasy, which she viewed as too conservative and conventional) is a literature of desire that can thwart dominant understandings of reality.
Which brings us back to Edgar Allan Poe in his Martian exile. The dominant orthodoxy of the rocket men eventually triumphs over Poe, when the captain burns the pages of A Midsummer’s Night Dream, The Land of Oz, and Dr. Jekyll and Mr. Hyde—the last copies in the universe. Bradbury’s short story gains its power from the binary contrast between the world of the imagination and the world of science and progress that the rocket men represent. Even though the rocket men triumph and they see that “there’s no one here at all” in the now-emptiness of Mars, the fantastic remains in the unconscious. One man who sees the fall of the city of Oz must report for psychoanalysis. Although orthodoxy might presume to establish itself over all the universe, the fantastic remains in the mind, as an “other” understanding of reality, a heterodoxy.
Imagining other worlds and other heterodox realities is not, of course, a phenomenon limited to fantastic fiction. Any heretic who opposes orthodoxy must have an imagination. In fact, we can further explore how imagining other worlds can be subversive by looking at one sixteenth-century heretic: Giordano Bruno.
Bruno is best known for championing a Copernican understanding of the universe. While this was not precisely the reason for his condemnation as a heretic, it nonetheless presented an alternate understanding of the universe’s order. Humans were no longer the center of the universe after Copernicus’ theories gained acceptance. The “self” had become an “other.” Interestingly, Attebery writes that we can understand fantasy as “the meeting ground between empirical and traditional world views” (10) The whole Copernican debate was also fueled by the very tension between empiricism and the traditional church teachings.
One of the actual reasons that Bruno was burned was that he asserted that Jesus could not have been God: since God, as he saw it, was infinite, it was impossible for infinity to become incarnate in a finite, human form. In my personal opinion, this leaves out the following possibility: in the infinite possibilities of the universe, such a thing could perhaps be possible. Nonetheless, Bruno was also one of the first to champion the idea that there might exist other worlds (such as Mars!) beyond our own, that the universe did not end, but stretched on to infinity. Implicitly, (the following is also my own thought) there are infinite possibilities to reality, no matter how fantastic they might seem to us. Whatever exists in our imagination could exist (we do hope!) somewhere out there.
Giordano Bruno’s was the core of all heresies. By asserting that the universe was infinite and that human beings were not at the center, he challenged the dominant “consensus” reality of his day. An infinite universe has no boundary between orthodoxy and heterodoxy. Implying there are worlds and things that lie outside of any explanation orthodoxy can provide necessarily undercuts that orthodoxy. Furthermore, implying that there are infinite things outside those boundaries can render those boundaries insignificant. Bruno’s beliefs not only made him a heretic for denying Christ’s divinity, but his teaching of infinity also denied the very legitimacy of the word “heretic.”
The Spanish Inquisition tortures a suspected heretic.
Fantasy, like Bruno’s infinite universe, has endless possibilities. It can therefore subvert any distinction made to divide the universe into binaries, whatever they might be. Furthermore, Bruno’s philosophy suggests that everything is in the universe, whether or not you believe it is real. Science, the orthodoxy of today, does not believe in dragons or the Emerald City of Oz. But Bruno’s philosophy can imply that these places do exist, if not on Mars, then somewhere in the infinite.
So the universe contains everything that can fit under one’s distinctions, as well as everything that exists outside of it. White swans and black swans in equal measure. Your best dreams, and your worst nightmares.
Going back to our original question, I can now confirm that fantasy is intrinsically heretical. However, this does not mean that all fantasy novels go “against the system” or challenge our most profoundly held beliefs. What it does mean is that the element of fantasy, when placed even in a conservative fantasy novel, implicitly subverts the worldview put forward in its story, by opening up the possibilities of the novel to infinity.
Some fantasy literature (we can all imagine the names of a few culprits) has become so codified that board games such as Dungeons and Dragons suggest formulas for crafting genre narratives using a nearly automatized technique. Elves, half-elves, barbarians, bards, and paladins run amok fighting goblins, orcs, and trolls. What particularly scandalizes me about formula dictating a work of fantasy is that—however fun playing a game might be—the story runs counter to everything fantasy stands for.
Fantasy is for imagining other things, new things, things not yet imagined, or things that break the mold of the orthodoxies to which we all implicitly hold. The elves and orcs, which began as an imaginative escape from our boring everyday twentieth- or twenty-first-century life, have become the new prison for our imagination.
Fantasy abhors a prison. It is free spirit. Formulaic genre literature undoes itself when we recognize the boundlessness of the fantastic and ask, “Why is this land populated exclusively by elves, dwarves, humans, and orcs? Why not other things we can imagine?”
In fantasy as in infinity, everything is possible. The creed of the Assassins comes to mind: “Nothing is true; everything is permitted.” Since everything in fantasy is permitted, it implies that what we assume to be true about the genre—and what we assume to be true about the universe—is not always so. Fantasy, a free radical, undoes whatever boundary lines the orthodox assumptions of society can set in its path.
In conclusion, I can confirm that fantasy itself is heretical. If it finds itself in a novel set by boundaries (and every work of fiction must have boundaries to exist), it breaks them. We may not intend this as authors. We may not pick up on it, as readers. But as soon as the windows to infinity are opened, the boundaries of the world we construct—either in the narrative of a story, or in the world in which we live—become exposed, and they are revealed for what they often are: arbitrary limitations. Faced with infinity, it becomes our duty to react. Do we stand by our current structures, definitions, and beliefs, or do we find some way of opening our mind to what we do not understand?
The tricky part of answering this question is that no matter what our answer is, we will always, at least implicitly, be forming a new orthodoxy in our minds—perhaps one more expansive, but still with its limits. A human mind cannot completely encompass infinity. Doctor Faustus tried that and failed miserably. However, if we are careful, fantasy is still a good thing: it’s work is never done, and in this world, the ability to help us press the boundaries of our imagination is a continual need.
Illustration on Title Page of Christopher Marlowe‘s Doctor Faustus. Faustus is an example of a scholar who transcends orthodoxy–but perhaps goes too far by signing a contract with the devil for his soul. (Wait … doesn’t that reinforce the orthodoxy?)
Attebery, Brian. “The Politics (If Any) of Fantasy.” Modes of the Fantastic. Ed. Robert A. Latham and Robert A. Collins. Westport, CT: Greenwood Press, 1995. 1-13.
Bradbury, Ray. “The Exiles.” Bradbury Stories: 100 of His Most Celebrated Tales With an Introduction by the Author. New York: HaperCollins, 2003.
Jackson, Rosemary. Fantasy: the Literature of Subversion. London: Routledge, 1998.
Assassin’s Creed: http://assassinscreed.wikia.com/wiki/Rashid_ad-Din_Sinan
Brian Attebery: http://www.isu.edu/english/Faculty/BrianAttebery.htmlEdgar Allan Poe: http://en.wikipedia.org/wiki/Edgar_Allan_Poe
Doctor Faustus: http://tvtropes.org/pmwiki/pmwiki.php/Theatre/DoctorFaustus?from=Main.DoctorFaustus
Giordano Bruno: http://johns-spot112948.blogspot.ca/2013/02/giordano-bruno.html
Helio vs. Geo: http://www.technologijos.lt/n/mokslas/astronomija_ir_kosmonautika/S-29955
Infinity Bruno: http://www.theharbinger.org/xvi/971111/birx.html
Spanish Inquisition: http://fineartamerica.com/featured/victim-of-the-spanish-inquisition-everett.html