최인훈의 환상성을 반리얼리즘적인 요소라고 치부하여 근대의 산문정신에 위배된 도피 행각이라 여기는 사람이 있다. 하지만 그의 환상성은 오히려 더 능률적이고 자유롭게 현실상황에 접근하고 비판할 수 있는 바람직한 소설기법이라 할 수 있다. 현대소설의 특질인 심리주의적인 의식의 흐름을 통하여 분단조국의 남북을 마음대로 드러내고 중세나 근세에 원활하게 넘나들 수 있을 뿐만 아니라 현실에 훨씬 탄력성 있게 대응할 수 있다. 그리고 그는 지적인 관념의 세계도 드러내고 있는데, 이런 관념적 요소는 그의 폭넓은 사고의 세계와 역사의 방향, 시대의 상황, 그리고 개인의 삶에 대한 그의 관심을 표출하는데 더 효과적이다. 그는 현실을 외면하는 것이 아니라 오히려 더 날카롭고 넓게 현실에 접근하고 참여하였다. 문학작품을 쓴다는 것은 작가의 의식과 언어와의 싸움이라고 할 수 있으며 작가는 자기가 살고 있는 사회에 대해 비평을 행하는 것이고 작가가 현실에서 부딪혀서 일어나는 섬광이라 할 수 있다. 많은 작품에서 최인훈은 예리하게 현실을 비판하고 상황의 모순을 지적하고 있는데 이것은 그의 소설이 거둔 중요한 성과라고 평가할 수 있다.
This article attempts to examine the fantastic features shown in Choi In-hoon`s novels as a whole. Choi has been known as a representative novelist of realism since The Square had a widespread impact on the sociopolitical implication. There after his nonrealistic novels raised the problem of inconsistence that results in the divided commentaries on his work as a whole. In contrast, this article attempts to review his novels in terms of the fantastic feature which is ubiquitous in both his realistic and non-realistic works, in order to reveal the integrated figure of a novelist spirit. First, this study attempts to review the consciousness of the characters of his earlier novels. Various features of fantasy are revealed in these characters such that it sometimes has an utopian nature in the repressive reality and it the reality. Both these realities are the state of affairs that are deficient in their confidence and their objectivity. Everywhere in the Square there appear hallucination, illusion and other false conceptions which, consequently turns into the realistic substance and extend to the phantom of the novel structure. In actual fact, the substance of the hallucination is seagulls which are accompanied by the cruise ship from the very beginning of sail and in turn become the protagonist`s lover and daughter. When the protagonist finds this, he cannot help to hesitate between a natural and supernatural explanation. And this is in turn eventually transfers to the hesitation of the readers so as to display the characteristic function of the fantastic. However, it is worth noting that the fantastic form in this novel does not develop into the marvelous. This is because the understanding of the readers remains in the domain of reality tulle while the protagonist becomes to turn into the supernatural world. Furthermore, fantasy extends its function to the structural aspect of literary work in which the writer develops his thought as shown in those novels known as non-realism. It is no other than `the fantastic` which T.Todorov says. The theme of the fantastic in Cloud Dream of the Nine and Journey to the West is the thems of self. It plays in the perception-consciousness system and it deals with the relation between man and the world. This is the first theme of the fantastic whereby the transformation of time and space, multiplications of the personality, and the collapse of the limit between subject and object occur as the characteristics of the fantastic. In contrast, Journey to the West deals with the second theme, that is, the theme of the other, which is no other than the relation of man with his desire or his unconsciousness, beyond the first theme of the fantastic. The reason that protagonist of this novel headed toward W city (from the South to the North Korea, his homeland) and resulted in failure is based on the writer`s will to enforce to stay himself at the border.