At first sight, humour does not seem to be one of the main characteristics of the Fantastic nor does it seem to enter into easy association with it. Indeed, the contemporary prevalence and dominance of heroic fantasy often gives the impression that the primary relationship between the Fantastic and humour is akin to that of a boggart and laughter in the interpretatio Rowlingensis the latter undoes the former. The Fantastic as a mode, however, never had a problem with humour nor does humour as a mode exclude the Fantastic. The scope of the eight essays in this volume ranges from the investigation of the discrepancy between the perceived reality and the clashing claims made by the fantastic text to the place of humour in relation to the serious (and often frightening) side of the Fantastic as well as the the problems encountered in the attempt to render the humorous elements rooted in English culture and folklore into another language.Contributors are: Virgina Lowe (But Animals cant talk: Young Children, the Fantastic and Humour), Rosalie Sinopoulou (Humour versus Fear: The Bright Side of the Unknown from Cazotte to Borges), Françoise Dupeyron- Lafay (Humour, the grotesque and the fantastic in H.G. Wellss The Invisible Man (1897), Valery Rion (Théopile Gautiers fantastical smile: humour, incongruity and refl exivity), Isabelle Percebois (Humorous Duplicity: Ironic Distance and Fantastic Tension in Villiers de lIsle-Adams Claire Lenoir), Mail Marques de Azevedo (Comedy, Realism and the Fantastic in Everything is Illuminated by Jonathan Safran Foer), Alma Haltof (Why so Serious? On the Humour Translation Strategies of Czech and Polish Translations of Terry Pratchetts Reaper Man), Ewelina Nowacka (Modernizations or Ridicule? Representations of Greek Mythology and the Sacred in Rick Riordans Percy Jackson and the Olympians).