This article has as a starting point the following observation: if the fantastic, as an autonomous genre, as it is understood by some theoreticians like Roger Caillois, Tzvetan Todorov, Gaston Bachelard, Jean-Luc Steinmetz and others, with an ontological status radically different from the realist narration excludes the idea of plausibility, in Mircea Cartarescu's work the things are a little bit different. The Fantastic and the idea of plausibility, of trust in the described facts, intersect each other, even support each other. We are witnessing an upheaval of codes and of the cathegories related to them. The poetics of the novel at Mircea Cartarescu as it implicitly appears in Orbitor and Solenoid and explicitly in some parts of the Journal and in some interviews, is the following: the more the realistic convention is preserved, the more what can be understood as belonging to the fantastic can be felt by the reader as plausible. In addition, the writer is feeding his novels with the diary writings. The continuous transfer of diarist pages into the novel makes it possible to open the self to the other selves in the consciousness' drawers and, at the same time, to the other dimensions of reality including the fantastic. Another issue explored in this study is that of the fourth dimension that proves to be essential in the narrative economy.
