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stands accused of confusing things when it comes to the differentiation between genre fiction and literary fiction (Joshua Rothman, November 6, 2014 9 the new Yorker). After reading A Song of Ice and Fire one might give himself the privilege of assigning its genre as Fantasy for all its key elements are present …nevertheless, these five novels can fit into a subgenre of Fantasy named as high fantasy which normally includes an imaginary world represented by G.R.R Martin through the two continents of Westeros and Essos, nonhuman races impersonated by the white walkers ( Army of the dead ) , magical creatures such as dragons and most importantly the presence of Medieval technology and architecture .
“ASOIAF is a fantasy, but to call it that is an oversimplification, because it is also a story about power, family, ambition and history, on both micro and macro scale, a myth that, however fantastical it can get, always resonates in our temporal world” (Charles Yu, 2018, the New York times magazines, 143). The novels are not as basic fiction like others, in game of thrones danger lies in people not in dragons, in treacherous schemes of nobles that can affect the world’s destiny and be more frightening than the zombies of the army of the dead. Moreover, many have claimed that A Game of Thrones goes in details depicting what made that era disastrous and a terrible time to live which helped the novels to be perceived as historical since Martin was kin in establishing a real violent world where people die because there was no penicillin and use the milk of the puppy as an analgesic then, injecting gradually elements of fantasy. (2018, SHMOOP UNIVERSITY). Another criterion of high fantasy is that adults constitute its target audience and Martin expressed that in an interview where he states:” I don’t have anything against kids’ books or young adult fantasies, there are many wonderful kids’ s fantasies out there—I grew up on that stuff and cut my teeth on it, but there should also be Fantasy for adults. Fantasy is the realm of imagination and romance.” (interview by Lesley Goldberg 2012, THE HOLLYWOOD REPORTER).
While studying the genre of “ASOIAF”, signs of historiographic metafiction can be detected; which is a form that exhibits a contradiction while strongly assuring its artistic fictional state and rooted liaison with some historical facts (Hutcheon, A Poetics of Postmodernism 5). We can notice how the writer