Brian Attebery's "strategy of fantasy" include not only the writer'sstrategies for inventing believable impossibiltes, but also the reader's strategiesfor enjoying, challenging, and conspiring with the text. Drawing on a number ofcurrent literary theories (but avoiding most of their jargon), Attebery makes a casefor fantasy as a significant movement within postmodern literature rather than as asimple exercise of nostalgia. Attebury examines recent and classic fantasies byUrsula K. Le Guin, John Crowley, J.R.R. Tolkien, Diana Wynne Jones, and Gene Wolfe, among others. In both its popular and postmodern incarnations, fantasic fictionexhibits a remarkable capacity for reinventing narrative concentions. Attebery showshow plots, characters, settings, storytelling frameworks, gender divisions, andreferences to cultural texts such as history and science are all called intoquestion the moment the marvelous is admited into a story.