Abstract

The importance of the visual aspects of the fantastic reverberates even into theory, as shown by several researchers throughout the last decades. These researchers distinguished themselves from their predecessors, whose definition of the fantastic implied mainly an involvement of the intellect. From the many forms it takes, we will concentrate in this article on the thematic level of the text, or, more precisely, on the use of the mirrors and other forms of reflection as a form of exploration of the self in the fantastic tales of the Belgian writer Thomas Owen. Vision becomes more than a common way of perceiving reality for the writer’s characters, now looking to shed a new light on the unknown and offering an insight on things beyond reason.