The metadiscours of the fantastic or how to write after the theory of the genre

Horror fiction has always divided scholars, creating a tradition of theoretical thinking in which contemporary authors have to find their place. In this paper, I will examine two horror novels by North American authors who inserted these different debates in their works. The study of Stephen King's Dark Half and Patrick Senecal's Sur le seuil will allow me to show how the metadiscourse of horror fiction and the metadiscourse of horror writing underline the accuracy of Harold Bloom's questions on the management of literary and theoretical influences in the creative process.