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However, it is not one that has been consistently accepted and understood. Readers have been disconcerted by the structure and language of long Oates novels such as The Falls 1 which begin in the past, using fairy-tale or mythological language and gradually give way, as the plot chronologically rejoins the present, to a language more resembling realism.
For the author, these different levels of meaning are not at all incompatible. Rather, their juxtaposition mirrors the way the difference between past and present is actually experienced in real life.
Thus, the past can only ever be viewed through a distorting lens, one of which is the fantastic mode. In a world which is indeed our world, the one we know [ The person who experiences the event must opt for one of two possible solutions: either he is the victim of an illusion of the senses, of a product of the imagination—and the laws of the world then remain what they are; or else the event has indeed taken place, it is an integral part of reality—but then this reality is controlled by laws unknown to us.
The fantastic is that hesitation experienced by a person who knows only the laws of nature, confronting an apparently supernatural event. In addition to the incessant existential questioning of her characters, Oates occasionally mentions the theories of actual philosophers. This insistence on the problematic nature of language recalls the work of another philosopher alluded to by Oates, Ludwig Wittgenstein, who believed that our difficulty in deciphering the world around us is intricately related to our problematic understanding of the workings and limits of language.
This article will discuss the way in which Oates uses the fantastic mode as a tool to create gothic effect 2 and convey an instability of meaning that she considers to be inherent to human experience.