hereas MacDonald's realist novels of Scotch country life — David Elginbrod, Alec Forbes, and Robert Falconer — clearly situate themselves in a particular time, place, and class, his great fantasies begin by explicitly leaving this world. From one point of view such abtraction from the here and now seems an evasion of political and social realities. How would you defend MacDonald against such a charge?
Even though writers of fantasy wish to leave the world in which they live behind, certain elements and implications always intrude. Where in Phantastes can you locate such elements?
Last modified 16 October 2002