More reading for CS: Toni Morrison’s little book, The Origin of Others. In chapter 1, “Being or Becoming the Stranger," she spends a long time quoting nauseating 18th- and 19th-century memoirs of slaveowner atrocity. Then she shifts to the present tense:

“I am in this river place -- newly mine -- walking in the yard when I see a woman sitting on the seawall on the edge of a neighbor's garden.”

I'm learning to recognize this kind of fantasia because CS has pointed it out to me in Michelangelo and Winston Link. But in particular, the novelty of fantasia in academic lectures hasn’t worn off for me since I first began reading Lorca’s “Las nanas infantiles” and rediscovered literary criticism.

"En esta conferencia no pretendo, como en los anteriores, definir, sino subrayar; no quiero dibujar, sino sugerir. Animar, en su exacto sentido. Herir pájaros soñolientos."
["In this forum I don't pretend (as before) to define, but to underline; I don't wish to depict, but to suggest. To animate, in the word's literal meaning, to strike dreaming songbirds." (emphasis added)]

More often than not, when CS tries to get me to notice something new, he doesn't say, Here it is: have a look. He says instead, Go over there: see what you find. And in Morrison's lecture, after extended quotation, there's a sudden change of gears to the present tense, “I am in this river place,” that accelerates us into fantasia, a term that CS uses to combine playfulness, imagination, and indolence.

Fantasia makes a point on multiple levels. "I am in this river place..." Overtly, declaratively, Morrison goes on to talk about assumption and appropriation...but she's also deepening our field of view, pulling it out of focus for a moment so we can't razor out of the the lived experience (and poetic understanding) that underlies her metaphor.