Dealing with the devil: a critical and creative look at the diabolical pact

This thesis is comprised of three parts: a critical dissertation, a creative work of fiction and a bridge piece that connects the two. The critical work is an examination of the Devil as a satirist in Faustian bargains. Through the usage of the Devil as a literary figure, his character has become a more secular being: a trickster rather than evil incarnate—a facilitator of sin rather than its originator. In the tragicomedy of pacts with the Devil, he acts as a mirror, reflecting mankind’s foibles and vanity, while elevating the reader in the process. The thesis considers the language, tone, purpose and conceits of several versions of the story. While the focus is primarily on American Literature, the influence of English, Scottish, French and German folklore and fiction are recognized as an essential component of the theme’s evolution. In the bridge piece, the pact with the Devil is literalized in a modern context; a corporate business of reaping souls is theorized in which techniques of persuasion are streamlined into an effective formula. Whether immersive or expository in approach, the portrayal of the supernatural depends on the literary principles of science fiction and fantasy in order to manipulate the reader and allow irrational concepts to obey rational laws. Such theories are cited to support how the Devil functions as a believable character. The novel, Could Be Much Worse, relates the story of an egocentric boss and his dependable employee, a scout who disguises himself as a taxi driver and seeks candidates who may succumb to temptation. Passengers’ monologues of desperation and pathos are interspersed throughout the protagonist’s day-to-day narrative. At times, the work is experimental, utilizing irregular storytelling techniques, alternative forms and conceits. Light-hearted, but nonetheless poignant, the story serves as a cautionary tale, illustrating the tedium of a bureaucratic job in a transmundane existence.

Wondrous transformations: rereading and rewriting wonder in contemporary anglophone and francophone fairy tales

This thesis compares contemporary anglophone and francophone rewritings of traditional fairy tales for adults. Examining material dating from the 1990s to the present, including novels, novellas, short stories, comics, televisual and filmic adaptations, this thesis argues that while the revisions studied share similar themes and have comparable aims, the methods for inducing wonder (where wonder is defined as the effect produced by the text rather than simply its magical contents) are diametrically opposed, and it is this opposition that characterises the difference between the two types of rewriting. While they all engage with the hybridity of the fairy-tale genre, the anglophone works studied tend to question traditional narratives by keeping the fantasy setting, while francophone works debunk the tales not only in relation to questions of content, but also aesthetics. Through theoretical, historical, and cultural contextualisation, along with close readings of the texts, this thesis aims to demonstrate the existence of this francophone/anglophone divide and to explain how and why the authors in each tradition tend to adopt such different views while rewriting similar material. This division is the guiding thread of the thesis and also functions as a springboard to explore other concepts such as genre hybridity, reader-response, and feminism. The thesis is divided into two parts; the first three chapters work as an in-depth literature review: after examining, in chapters one and two, the historical and contemporary cultural field in which these works were created, chapter three examines theories of fantasy and genre hybridity. The second part of the thesis consists of textual studies and comparisons between francophone and anglophone material and is built on three different approaches. The first (chapter four) looks at selected texts in relation to questions of form, studying the process of world building and world creation enacted when authors combine and rewrite several fairy tales in a single narrative world. The second (chapter five) is a thematic approach which investigates the interactions between femininity, the monstrous, and the wondrous in contemporary tales of animal brides. Finally, chapter six compares rewritings of the tale of ‘Bluebeard’ with a comparison hinged on the representation of the forbidden room and its contents: Bluebeard’s cabinet of wonder is one that he holds sacred, one where he sublimates his wives’ corpses, and it is the catalyst of wonder, terror, and awe. The three contextual chapters and the three text-based studies work towards tracing the tangible existence of the division postulated between francophone and anglophone texts, but also the similarities that exist between the two cultural fields and their roles in the renewal of the fairy-tale genre.