Novelist and poet Iginio Ugo Tarchetti (1839-1869) 1 has been widely credited with transplanting the fantastic genre into Italy. Accordingly, critics have tended to measure his racconti fantastici against prominent foreign models, such as Edgar Allan Poe's and E. T. A. Hoffmann's most famous tales, which validate Tzvetan Todorov's influential characterization of the genre as defined by the hesitant, often fearful reaction of characters and readers when presented with seemingly inexplicable or impossible phenomena-the vacillation between a natural and supernatural interpretation of events. 2 By such standards, Tarchetti's work has been often found wanting: both lacking in originality because derivative-in some instances he is even accused of plagiarism 3 -and of scarce import because marginally related to the fantastic genre. Vincenzo Moretti sums up such assessments as follows: "Si può dire che, se con il Tarchetti nasce in Italia il genere fantastico, esso nasce morto, perché diventa subito altro da sé: occasione di esercizi ironici oppure metafora di non troppo chiare e chiarite situazioni psichiche" ("One might say that if the fantastic genre is born in Italy with Tarchetti, it is stillborn since it immediately becomes different from itself: an opportunity for ironic exercises or a metaphor for insufficiently clear and clarified psychological situations"). 4 Different conclusions can be reached if one considers the fantastic not as a discrete genre of anti-realist narrative in nineteenth-and early twentieth-century literature which is strictly defined by structural parameters, but rather as a multiform literary mode which "can grow from any soil" (to borrow a phrase from Calvino's memo on the fantastic imagination) 5 and whose evolution 1 "Iginio" is a variant of "Igino." Some scholars use the latter; Tarchetti, however, signed his letters as "Iginio," and this is the name that also appears in the memoirs of his close friend, Salvatore Farina. For biobibliographical information, see Enrico Ghidetti, "Introduzione," in Tutte le opere, ed.