Abstract
The present essay aims to discuss the possible connection between the fantastic literature in Belgium, particularly flourishing on the French-speaking side, and the pictorial tradition of the country, rich in supernatural elements from the Middle Ages and onwards. The debate is illustrated by a concrete example. The Belgian writer Thomas Owen (1910-2002) explicitly mentions the Flemish painter Hugo van der Goes’ The Fall of Man (ca 1470) in two of his short stories. The link between the painting and these texts is further analysed, with a focus on the character of the snake, half-animal, half-human.
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