ABSTRACT
This chapter suggests that Francesca Duranti's relationship with inter-textuality and the fantastic does not end with La casa sul lago della luna, indeed it continues to exist as a trace in areas which concern the question of inter-textual anxiety. It explores how the secondary tropes of the deadly quest, the double and textualisation function as forms of fantastic distance in the text. The chapter examines about female writers: a journalist, a writer of fiction and a writer of cultural history. It examines the trajectory in La casa sul lago della luna from authorial identification with the protagonist to the Severance of that identification and the central role the fantastic and the fantastic treatment of space in particular play in this process. Duranti shows how the male characters perceive themselves as the only subjects in a system which supposes everything else to be a means of exchange — what Luce Irigaray describes as the homosexual economy.
