Introduction
Realism stories represent the actual World that the authors live through which the various writers bring into play techniques to make the readers have a belief the text they encounter is like real life. In contrast, fantastical stories range from time immemorial and the never-ending mode of writing dating back to the genesis of the literal cultures yet focusing on the recent traditions.
Richard Danson Brown illustrates “…..the fantastic uses imagined other worlds and practices to make sense of the experience in the broadest sense of the World” (2019, pp. 12–13). Additionally, fantastic stories tend to be intrinsically diverse as well as accepted through their uses of imagined words. Taking the prompt from Brown’s quote, fantasy is associated with events that are extraordinary and couldn’t happen literally.
Therefore, fantastical stories depend on various devices such as magical power for instance raising the dead, teleporting, or hyper dives that are viewed as not existing in reality. The paper discusses the novel Stardust and The Dispossessed and its application of imagination and use of various devices in the broadest sense of the World.
Imagination in Stardust and The Dispossessed
Analysis of Stardust has resulted in giving rise to a majority of reflections. Having been established from other ancient and modern stories, the blending of Neil Gaiman and Charles Vess has resulted in the novel Stardust having many interpretations (Brown, 2019). Transformations both visually and verbally by both Gaiman and Vess have resulted in fundamental instability at the core of reality and the self. According to Brown, various objects are assigned meaning, for instance, stars are converted to women and thus tend to become lifeless rocks. Also, women take various forms such as slaves, trees, or even birds.
In the book Stardust, key areas discussed entail; Gaiman’s text supplements Vess’s visual signs on Stardust and intertextuality. The readers thus are provided with a road map to cut across Faerie. Vess goes further to explain the imaginary beings and the various places based on the identical framing devices and the angle of the camera when explaining Victorian England. Therefore, the presence of Vess and Gaiman provides a stepping stone from the sociable world to the otherworld.
Stardust goes further to illustrate the two key echoes in the novel are Fairy tales and romance. The subtitle is ‘Being a Romance with the Realms of Faerie’ (Brown, 2019, 120). Gaiman however is unfamiliar with making the connection between the fairy tale and romance. Different authors such as Tolkien and Lewis recognized the overwhelming influence of Gaiman and Vess’s work concerning the fantastic tradition as well as the childhood reading from the Victorian fairy tales (Brown, 2019, pp. 12–13).
Similar to Stardust, the partnership of Gaiman and Vess focused on the inclusion of two aspects of The Sandman. The Sandman aimed toward the reinterpretation of Shakespeare’s novels such as The Tempest and The Midsummer Night’s Dream. Equally important is that throughout Stardust, there is a need for one to pay attention to the echoes from the other narratives that are derived from both traditions of fantasy and reality.
Secondly the interpretive debate from the intertextual connections in stardust. Although much exploration of the intertextual connections tends to be entertaining, Gaiman’s option of intertext can also lead to interpretive debate during the comparison of Stardust with the quote “…. the fantastic uses imagined other worlds and practices to make sense of the experience in the broadest sense of the World” (Lainck & Moura, 2020, 23). Brown further explains that fantastical stories depend on various devices such as the use of magical power and use of superpowers.
As illustrated from the recall of the album by David Bowe, ’The Rise and Fall of Ziggy Stardust and the Spiders from Mars’ Ziggy falls from outer space to earth. (Lainck & Moura, 2020, 23) Additionally, Ziggy is in the long run destroyed as fans want to own pieces of him. Also, the application of imagined words and the use of superpowers is illustrated in the prologue of the novel ‘A Song’ (Brown, 2019, 13). The poem unfolds a series of tasks that are impossible for instance, the catching of the falling star and also the mermaid’s singing.
Therefore, Tristran’s journey across the fantastical realms is illustrated when he gains the courage to face Victoria and asks her for a hand in. marriage. Moreover, Tristan goes ahead to make promises to her vowing to deliver to her the star that fell from the East. Additionally, his torn clothes are only an illustration of Tristran not being so good with the other side of logic.
However much Tristran isn’t bright, he can identify a crying figure that is lying under the hazel tree as the star he has been looking for. The star goes ahead to call him a ninny and even lackwit. Tristran naturally nods his head affirming the names he is being called. Additionally, the star asks Tristran to end the fight between lion and unicorn which he firsts is afraid of but later accepts. Through such courage, the life of the unicorn is saved. As illustrated by Brown, claiming the fantastic uses imagines other worlds is illustrated by Tristran through the promising of Victoria a star and the conversation under the hazel tree with the star.
Additionally, the trapping of Tristran and the hairy man to be eaten by serewood makes Tristran acts in a cool manner and finds his way out. Also, Tristran’s bravery is expressed when the witch queen is about to slay Yvaine. To illustrate, Tristran refines the wax candle around a wick that is new and puts his hand into the fire. The solution works as both Tristran and the hairy man get out of there despite being in pain and burning to the extent of screaming (Brown 2019).
According to Brown, the fantastic uses imagines other worlds such as Tristran’s refinement of the wax candle and putting his handing on fire. Also, the attack by serewood on Tristran and the hairy man is a true illustration of Browns analysis of the fantastic uses of imagined worlds. Such heroic acts of Tristran make him identify the fact that people have the right to their own choices and thus can set their boundaries.
Also, Tristran’s knowledge of boundaries is from inception when he was being intimate with Victoria. Upon coming back from the journey, he tells Victoria that she didn’t need a basis to hold consent by stating,” It was your right to kiss me’ (Gibson, 2019, 15). Additionally, he identified that the star cannot be passed from one person to another but rather a true person in all due respects. Browns statement on imagination in other worlds has been illustrated when Tristran analyses the fact that stars can never be passed from one person to another. Therefore, such actions are imaginary and are related to the World.
As the Witch queen searches for the star, she comes across Madam Semele. When they both share a meal, Madam Semele offers Witch queen meat prepared from Limbus grass. Additionally, the meat makes anyone who tastes it tell the truth; forcing her to state the intention of her journey. The angered queen goes ahead to curse Madam Semele which takes away her eyesight, touching or analyzing the stars. Therefore Brown aimed at illustrating the fantastic uses of imagined other worlds to make sense to the world. For instance, the Limbus grass is symbolic as it makes one reveal one’s true intentions. Also, the witch queen cursing Madam Semele explains the use of superpowers and their impact on the receiver.
Lastly, the intertextual connection of Gaiman and Vesss work reflects the similarity and the differences based on their approach to gender roles. From Browns words on how the fantastic uses imagined other worlds and practices, the fantastic enables Gaiman and Vess to examine the metaphors as well as imaginary things by making them visible. One of the key subjects the authors explore is the position of women in society. As opposed to Tristan’s quest for his Desires of the heart, Yvaine the star comes into the story through loss. For instance, Yvaine gets knocked out of the sky where she resided with her family as well as the moon. Her fall is viewed as changeless and therefore Yvainne can never get back to the sky.
Additionally, the equivalence of Yvaines fall and rape that was accompanied by pregnancy was symbolized through Yvaine possessing the jewel that caused her fall. Therefore, in Stardust young women are constantly coerced or brutally abused by men. Thus, the reader either can choose to view such observations as of importance to the otherworld or to adhere to the intertextual relationship and be able to reflect on its significance to the World.
Analysis of The Dispossessed aims at the analysis of various literal genres. Additionally, Le Guin addresses science fiction as it modifies the dividing line between realism and fantasy (Gibson, 2019). However, the last chapter of The Tempest makes one conclude that the Dispossessed tend to develop new ideas as well development of thoughts on the various genres.
The key distinction areas in the novel The Dispossessed are as follows: Getting a glimpse of the various characters and their various geographical locations. Secondly, the symbolic significance of the wall as they are viewed to be of much importance. Thirdly, the partnership between Shevek and Takver partnership and lastly, Le Guin’s reflection on the Novel as well as the science fiction. Therefore, The Dispossessed relates the imagination to other worlds such as setting foot into the imagined universe of science fiction and its application in the World.
One of the major steps in analyzing The Dispossessed is the need to understand the various characters and their locations. Furthermore, the names are represented in bold, italics, or rather underlined. For instance, in Chapter One, the key authors are Shevek, Takver, and Saio Pae. The various locations named here are Nio Essia and Abbenay (Gibson, 2019, 15). Chapter 4, reporting back to the Central Institute of the Sciences: and how precious minerals are transferred from Uras (Brown, 2019).
Moreover, The Dispossessed story is narrated by a narrator that is Omniscient and various individual characters despite being fixed within the narrative of the third and first-person. To sum up, given Browns quote on the imagination of other Worlds and its broadest sense of the World: Shevek ends up disappointed with the society due to their difficult experiences. However, he departs his society with the faith in identifying new personal, social, or political solutions.
Secondly, the symbolic use of words in The Dispossessed obtains more significance. The walls thus tend to assume symbolic importance. The key significance of the wall in The Dispossessed is as follows: Firstly, in Chapter 1 Shevek gets into a spaceship inbuilt for Urras and tends to state his affection loss for personal agency. He thus makes a comparison on his recent feeling concerning before expressions to Takver. He states that he will go to Abbenay and thereafter unbuilt the walls (Lainck & Moura, 2020).
Also, in Chapter 2, Shevek dreams of passing over a plain and thus comes across an impassable wall. Moreover, he finds a stone with numbers written 5 and 1 and cannot interpret the meaning (Lainck & Moura, 2020). However, his dreaming on the wall again results in the dream being grumpy and without any aim. In conclusion, the fantastic uses imagined other worlds such as the negative associations of the World and its relation to the modern world such as walls blocking individual initiatives, they hinder the development of science and also serve as selfish interests.
Thirdly, the partnership between Shevek and Takver partnership exposing Shevek to the World beyond self. In my view, the attractiveness of The Dispossessed is through romance. Le Guin fumbles a lot with aspects of obsession or the pursuit.
The partnership between Shevek and Takver is rushed and thus unconvincing. However, despite such setbacks, Shevek and Takver’s partnership still blossoms. Le Guin goes further to state that commitment is a risky process and thus brings both joy and suffering. Furthermore, it’s the suffering between Shevek and Takver that they experience throughout their relationship. However, the need to focus on the completeness of a person foregoes the mere pleasures and thus strengthens their bonds.
Thus, Shevek and Takver opt to take the risk. They show beyond doubt that promises are not mere words but instead are ethical acts followed in an organized manner (Lainck & Moura, 2020). Lastly, what I find exceptional their partnership is not viewed as idealized but rather as self-aware beings seeking interdependence.
Lastly, Le Guin’s reflections on the Novel as well as the science fiction. Le Guin aims to overturn through displaying the unworldly society in the anarchical representation of The Dispossessed. Additionally, characters such as Sabul in specific represent the anarchism in The Dispossessed. The key essential factor thus isn’t to offer betterment but rather to offer imaginative but persuasive alternatives in reality. This is in comparison to Browns quote on the imagination of other Worlds and its broadcast sense to the World.
Thus Le Guin aims to shift the mind of the reader from the slothful nature and relaying to the World how they live. Furthermore, despite Le Guin being a feminist, Shevek controls The Dispossessed in a masculine fashion. In the illustration, though the dreamland was founded by a woman, the central character is a man who dominates in a masculine way. Le Guin further argues for the shift from a complex, frightening world that is incapacitated by death and taxes to a cozy environment.Thus.the cozy environment ensures one doesn’t pay taxes and death is only the villain.
In The Dispossessed, the interconnected stories of both Shevek and Annares depict that the dreams of a promising society are challenging to turn into reality. Additionally, Shevek not only benefits from aging with the Annaresti values of the community; but his being exceptional makes him advance his scientific research. Understanding that hypocrisy and the hierarchy extend Annares results in Shevek’s displeasure with the societal principles. However, when learning on Urras that stiff competition also creates social ills, Shevek ends up becoming an advocate for cooperation among the various planets. Therefore, Le Guin suggests that the most ideal societies are likely to experience flaws.
As compared to Stardust, The Dispossessed helps us make a clear sense of our experience due to various reasons. For instance, the capitalists and the spear headers gain new perspectives on the small things taken for granted. Shevek, a physic who belongs to the Annares society gets back to Urras to demolish the walls keeping the planets apart.
The wall separating the two planets slows down the communication and thus makes it sparse. Secondly, for the revolutionaries, the hardships and the building of society from different foundations depict the lack of resources. Le Guin’s illustration of Annares shows society as people being free to do things and use their initiatives. Lastly, even if you are not observant of anarchical debates, I believe the Depossessed still has its attractiveness. Moreover, Le Guin has generated a universe that’s self-contained and thus can even be enjoyed past the debate. Therefore, The Dispossessed is the flavor of both the week, month, and year.
In my view, I believe the extent to understand our experience is exceptional to fantastical stories as opposed to the realist stories. To illustrate, fantastical stories accord the reader with fictional worlds that relate to the actual world. Moreover, fantastical stories cover wider aspects from the real world to the fictional world. Also, fantastical stories relate to our world and thus we cannot avoid its relation. Brown states how Fantastic uses imagined other worlds and practices to make sense of the experience in the broadest sense of the World. Therefore, fantastical stories enable one to gather, explain and even make a comment on reality.
The key distinction between fantastical and realistic stories is as discussed below: Realist stories generate characters and situations that show our World as well as society. The key focus in realism stories is based on growth and facing up both personal and social problems. Therefore people can act the same way they do in real life. Thus are true situations and realities. Thus realism stories are based on real people, places, or things.
In contrast, fantastical stories explain imaginary rules of lands, people, or even creatures. Magic, the use of superpowers, and hyper-diving are usually major dimensions in fantasy. Through fantasy, characters are usually developed who battle on the nature of both good and evil. Also, realism is linked with the moderate everyday life so is the realist plot that’s linked with events likely to happen.
Realistic characters are people who can presume to come across in the day to day life. As compared to fantastical stories that are liked with the occurrence of extraordinary events and characters. Moreover, such extraordinary events do not happen or rather depend on certain devices. For instance, the use of hyper dives, or teleporting. Therefore, fantastical stories are not real as some things can never happen in real life. To sum up, sometimes it doesn’t make objects talk or act like people.
Conclusion
In brief, Realism stories describe the authentic World that the novelist inhabits through which the various writers apply various play techniques to ensure the readers have confidence the text they encounter is like real life. In comparison, fantastical stories have been in existence since, and the never-ending mode of writing dates back to the genesis of the literal cultures yet focuses on the recent traditions.
Brown illustrates how the fantastic uses imagined other worlds and practices to make sense of the experience in the broadest sense of the World. Furthermore, the use of imaginary words in fantastic stories makes it ethically accepted in society. Concerning Brown’s quote, fantasy is associated with events that are extraordinary and couldn’t happen literally. Therefore, fantastical stories are dependent on various factors such as magical power, for instance, raising the dead, teleporting, or hyper dives that are viewed as not existing in reality. To sum up, The Dispossessed is the ideal novel to help make a clear sense of our experience.
References
Brown, R. D. (Ed.). (2019). The Fantastic A233. The Open University.
Gibson, J. (Ed.). (2019). A233 Book 1 Realism. The Open University.
Lainck, A., & Moura, E. R. (2020). Magical realism and the fantastic. The Routledge Handbook to the Culture and Media of the Americas, 136-146. Web.