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The diversity of contemporary French narration renders the canonicaldefinition of  le fantastique  useless. Writers challenge Todorov’s definition thatthe fantastic emerges as the reader hesitates between the supernatural and thenatural explanation for the unlikely event. Léa Silhol (1967), a storyteller ofmythic-poetic-fantastic style, figures among these writers. An inheritor of romanticfantastic storytelling, Silhol delves into the mental and psychic depth oflegendary figures, mostly goddesses and fairies, to make them question theirown identity and observe humans from their perspective. Her feminine anduniversal writing about the fantastic exemplifies the new-generation Frenchfantastic. Like the mythic tisseuse in her tales, Silhol weaves stories with a newtexture, with an imaginary étoffe. Just as the mythic and legendary weavers areassociated with water, she makes use of it to achieve her verbal alchemy, thenarrative rhetoric of which operates from three angles: mythic, structural, andstylistic. Silhol’s transtextual writing of myths from different cultures createsmythic  résonance  of the collective unconscious from linguistic différance. Thenarrative structure of the tales embodies the inversion of vision in Bachelardianalchemy of the imagination. Lastly, a scrupulous analysis of the author’s dictionthat corresponds with the thematic threading of tales and their narrative structurewill illustrate her dominant style of harmonism.

The Narrative Rhetoric in Léa Silhol’s La Tisseuse: Contes de Fées, contes de Failles