According to Attebery (1980) Fantasy as a genre can be most recognised by forming a collection of similar works and interpreting the similarities between the texts. Then to decide which characteristics define the genre, and which characteristics act independently in the text.
The primary feature, without which a work simply cannot be fantasy, is 'an overt violation of what is generally accepted as possibility'.
Fantasy then, presupposes a view of exterior reality which it goes on to contradict.
Fantasy, though, needs consistency. Reader and writer are committed to maintaining the illusion for the entire course of the fiction.
Fantasy invokes wonder by making the impossible seem familiar and the familiar seem new and strange.
In 1964 Ursula Le Guin began writing a series of short stories called Earthsea. The Wizard of Earthsea, was published in 1968 an is a fantasy novella. A novella is essentially a long short story or a short novel. In 2004 a TV Miniseries was directed by Robert Lieberman that was based on the fantasy novella. Le Guin continues to expand the Earthsea series, last year publishing The Daughter of Odren, a stand alone novella set in the world of Earthsea. The fantasy world of Earthsea is continuously developing and elaborated further that creates a timelessness and cult following for Le Guin's work and the fantasy genre.
The defining characteristics of the fantasy genre that apparent in The Wizard of Earth Sea, are related to narrative, characterisation and context.
Narrative:
There are various ways a story can proclaim its fantastic nature. It can involve beings whose existence we know to be impossible, like dragons...It can revolve around magical objects: rings, hats...and other attributes inanimate objects do not, in our experience, possess. It can proceed through events...and fantasy treats these impossibilities without hesitation, without doubt, without any attempt to reconcile them with our intellectual understanding of the workings of the world or to make us believe that such things could under any circumstances come true.
Narrative structure is important as it evokes believability, and is essentially how the text is read. Within The Wizard of Earthsea, although the title suggest following just one character, there are multiple storylines. Initially seemingly disjointed, each set of characters that interact within their own storyline have a set of complications and events they have to overcome. It is only once the characters of each storyline intersect and interact, that the story then seems cohesive and the entire plot can be unravelled.
The storyline of Sparrowhawk shows his journey from his home village, to wizard's school and then what follows afterwards. The structure of witnessing a character develop from a boy to a man is not uncommon in an genres. However, the introduction of a Wizard school was a very new idea at the time, and may have been an influence to later fantasy writing such as the Harry Potter series by J. K Rowling.
As to engaging attention, fantasy does so in many of the ways any fiction does: by generating suspense, by presenting characters whose fates we are interested in, by appealing to our sense, by calling forth human longings and fears.. In addition, take advantage of our curiosity.
The main protagonist, Ged is introduced in his home village on the island of Gont. Here, the people who reside here live a simple life. Self sufficient and overall content with their way of life, the young Ged is malcontent with the quiet simple life and is seeking adventure and thrill. Ged wants to make something more out of his life and is eager to change, develop and grow. These characteristics can be relatable to viewers and readers, creating an empathic relationship with Ged.
When invaders attack Ged's village, he uses his hidden talents and abilities, along with the spells he has learnt from his Aunt, and defends his village. It is after initial complication that sets off a series of events, Ged meets Ogion a wizard who gives him his 'true name' Sparrowhawk. With the introduction of a 'true name' we are introduced to a reoccurring concept that eventually becomes the crux of his adventures. It is with this changing of name that suggests changes are happening, developments and this creates suspense, what happens to him next? The viewer/reader is interested in Sparrowhawk's fate.
Marion, Ged's Aunt, the village witch can be seen as a classic mother figure for Ged. We learn that Ged's mother has passed away and so the absence of a mother figure suggests women will be introduced to Ged through out his journey. Marion is an elderly frail women, caring and sweet
and although is unaware of her past, how she got to the island, her past holds important keys to Ged's future, which is later found out.
Ogion, Sparrowhawk's mentor can be seen as a kind of father figure. Although Ged's father is still alive, the life he leads doesn't meet with the expectations Ged holds for himself. This puts a strain on their relationship as Ged makes the decision whether to follow his ambitions or follow in his own father's footsteps as a blacksmith. After leaving the village, Ogion is now the main father figure, the protector and the one who holds all the knowledge.
Tenar, the main female character is introduced within an alternate storyline to Sparrowhawk. Raised by the church, Tenar is seen as the epitome of peace, all things innocent and pure. The complications that arise in her own storyline make the viewer/reader empathetic and sympathetic towards her. The intrigue on how Sparrowhawk and Tenar will meet, takes advantage of our curiosity and already the viewer/readers create the connection between the two characters. It seems their fates are intertwined and the introduction of a romance creates further intrigue.
Context:
Whatever the material, extravagant or seemingly commonplace, a narrative is a fantasy if it presents the persuasive establishment and development of an impossibility, an arbitrary construct of the mind with all under the control of logic and rhetoric.'
The literal context in which the narrative unfolds, is within the magical world of Earthsea. Set in an archipelago environment, the land is separated by the rough tumultuous seas that suggest adventure and journey. Each isle homes witches, wizards and humans and the disconnected landscape is reflective of the relationships between the people who live there. Most archipelago environments are formed from volcanic activity, an idea in itself that evokes development and a sense of magic.
When we first meet Ged, the lifestyle he leads seems rather mundane and can be reflective of the reader/viewers world. The village is self sufficient and the people live simply, creating a calm, still environment before the action unfolds.
Within a social context, there is a natural hierarchy among the humans of Earthsea which through out the story is deconstructed and understood, then built back up again and eventually brought down. Within the storyline that follows Tygath, a strong, powerful male leader seeking totalitarian control over Earthsea, along with everlasting life. His personal ambitions aren't generally agreed with which places him in a villain role. The dictatorship structure is made realistic by a number of characters under his control. Tygath has minions, or muscle men who do his dirty work for him. Kossil, a submissive women controlled by him and her need to make him happy. Ultimately Tygath kills her, which is a lesson in itself to women audience, don't let men hold power over you.
E.M. Foster speaks of the reader of fantasy as being asked to 'pay something extra' to accept not only the conventions of fiction but the implausibilities within those conventions.
Fantasy is a game of sorts, and it demands that one play whole-heatedly, accepting for the moment all rules and turns of the game. The reward for this extra payment is an occasional sense of unexpected beauty and strangeness, a quality which C.N. Manlove, among others, calls 'wonder'.
Lastly, there is a magical spiritual context that defines the text as a Fantasy. Through out the narrative there are snippets of a dream sequence where Sparrowhawk and Tenar meet. This suggests some sort of prophecy Sparrowhawk is destined to achieve, and creates further importance, connection and curiosity towards Tenar. A prophecy is an idea that may not seem believable to all viewers/readers and it is only within the fantasy genre can this idea be made to believe, through narrative, characterisation and contextual elements.
Reference:
Attebery, B. (1980) The Fantasy Tradition in American Literature: From Irving to Le Guin.
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