LOVECRAFT

CHA


AN ASIAN LITERARY JOURNAL


Issue 46

 Written for the reviews section of Cha (a Hong-Kong-based, English-language literary journal dedicated to the arts and cultures of Asia), my article "The Flock of Ba-Hui: Lovecraft's New England Nightmares Meet the Mythical Geography of China" is about The Flock of Ba-Hui, a Chinese collection of short stories that incorporates the fictional world of American horror writer H.P. Lovecraft into Chinese physical and cultural landscapes.

I analyze the ways the author (Oobmab) and his translators and co-authors (Akira and Arthur Meursault) blend the two cultural universes, and I contextualize the experiment, both as part of Chinese fantastic and horror fiction, and as part of Lovecraft's cultural legacy.

The article will be published on line in issue 46 of Cha, at an as-yet undisclosed date (the current issue featured on the journal's homepage is issue 44). In the meantime, the article is already prepublished in the "reviews" section of the journal's blog, at the following address:

Here is also the page de The Flock of Ba-Hui on its publisher's website:
https://camphorpress.com/books/the-flock-of-ba-hui/


MYTHE ET FABULATION DANS LA FICTION FANTASTIQUE ET MERVEILLEUSE DE NEIL GAIMAN
Academic essay (critical analysis of novels, short stories, comics and films written by Neil Gaiman mainly, but also of works by  Alan Moore, Shakespeare, Borges, Lovecraft, Philip José Farmer, Jack Kirby, Winsor McCay, Roger Avary, and many others). Released in October 2018 and adapted from my doctoral thesis.

Back cover: Neil Gaiman’s fantasy works are often deemed postmodernist since they experiment with self-reflexivity and mix it with a supposedly antagonistic impulse towards popular fiction. Typical postmodernist works mostly emphasize their attacks against the fictional illusions of referentiality, character or plot. On the contrary, Gaiman’s works unapologetically remain within the bounds of fantasy, a genre in which imagination and storytelling are paramount–along with their related issues: characterization, plot, emotion and suspense. Thus, Gaiman’s fiction is not experimental fiction enhanced with elements of popular fiction, but actual popular fiction made self-reflexive. Thanks to that peculiar mood, studying Gaiman’s work is a very fruitful means of investigating the distinctive features of popular fiction, and its inherent emphasis on storytelling–or, as Henri Bergson called it, “fabulation.” Both Bergson and Frank McConnell focused on this notion which they saw as the essential link between ancient mythmaking and today’s fiction writing. Gaiman’s fiction mostly relies on such a dialectics between myth, popular fiction and storytelling or fabulation. His fantasy stories constantly rewrite ancient, religious myths, modern myths or the “myths” of popular fiction, and feature many fictional and historical writers, traditional storytellers, or Gaiman’s own personae, so that in paratext as well as in the heart of a narrative, in the quiet and supposedly reliable words of an introduction as surely as on the most striking comics panels, fiction is portrayed as myth, writers as mythical avatars of some archetypal storyteller, and storytelling as the one, quintessential human act.

Page of the book on the publisher's website:
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