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Drawing on the approaches of discussing the concept of memory within literary studies, as delineated by Erll and Nünning (2005), this paper examines The Buried Giant by Kazuo Ishiguro as a site of 'memory of literature' and as a 'medium of cultural memory'. Reworking the well-known cultural motif of quest, Ishiguro's novel also evokes associations with the medieval literary tradition, especially Sir Gawain and the Green Knight, and contemporary fantasy literature, understood as a mode of writing rather than a formula. It is also argued that by referring to a fictional past of Arthurian romances rather than historiography, the novel comments on the role of literature in creating cultural remembrance, becoming a specific metaphor of its processes.

Abstract. This article examines the effects resulting from the interplay of the domestic and the uncanny in Susanna Clarke's Jonathan Strange and Mr Norrell, a novel that boldly blends the conventions of the novel of manners and Gothic fiction. Analysing the selected key elements of the story, it is argued that while the uncanny is domesticated for a considerable part of the narrative, in the Gothic layer of the novel the mechanism of the uncanny is used to bring to light repressed voices. In the process, the long-established sources of inspiration for fantasy literature are rejected, and the nineteenth-century tradition of women's writing, in both its realistic and Gothic threads, is used to reinvigorate the thematic and structural repertoire of the genre.Key words: uncanny, domestic, Gothic fiction, fantasy literature, Susanna Clarke.A reader of Susanna Clarke's Jonathan Strange and Mr Norrell (2004) is confronted with an extensive three-volume novel that evades straightforward generic classifications and plays with a number of literary conventions. This novel not only reveals traces of such (sub)genres of fantasy as alternative history, historical fantasy, and fantasy of manners, but can also be read as an exquisite pastiche of nineteenth-century literary traditions, especially the novel of manners, characterised by its emphasis on the domestic sphere, and Gothic fiction, from which the supernatural elements of the novel are derived. Interestingly, these two dominant traditions are not juxtaposed against each other but carefully interwoven, which draws critical attention to the interplay of the domestic and the uncanny in the novel, and invites one to examine the effects and meanings resulting from such a unique approach to writing fantasy fiction.First, it should be observed that Clarke's 'signature play' with the realistic and the supernatural, familiar and unfamiliar, evokes connotations with the concept of the uncanny as developed in "The Uncanny" (1919) by Sigmund Freud, who grounds his conceptualization of the term in the lexical ambiguity of the German words heimlich (familiar) and unheimlich (uncanny). Obviously,

Drawing on Paul Gilroy's discussion of postimperial melancholia and conviviality, this article aims to examine Ben Aaronovitch's Rivers of London as a voice in the discussion on British multiculture. Contextualised through a comparison to a popular culture spectacle and discussed within the theoretical framework of urban fantasy, the narrative is read as consciously challenging the "habits of Whiteness" (Young 2016) of fantasy fiction. The analysis focuses on the diversions from the white-centric paradigm by discussing the construction of the mixed-race protagonist, the juxtaposition of postimperial and convivial attitudes and the use of the fantastic to expose various approaches towards difference.