In this study, first of all, Kenan Hulusi Koray’s stories with fantastic elements and written in the fantastic genre were determined in the light of Tzvetan Todorov’s fantastic theory. According to Todorov, if the events in the literary work take place despite the laws of nature we are in, the uncanny type emerges; if they take place within the framework of other laws that we do not know, the extraordinary type emerges. The author, who places the uncanny on one side of his scale and the extraordinary on the other, puts the fantastic right between the two. He also states that there are various subgenres and transitions between fantastic, uncanny and extraordinary. Koray’s stories also fit the pattern that Todorov says exists in the plots of fantastic narratives, that there is balance in the beginning, that an imbalance arises as a result of an event that disrupts the established order, and that the balance is re-established. In the stories that start within the limits of the ordinary, an extraordinary event takes place, and the protagonist witnesses the whole process. When the end of the story is reached, the extraordinary ends. In the stories, mostly ordinary, observer heroes, caught in the flow of their destinies, have to face and accept the fact that there are powers superior to themselves and that they cannot control in this universe. In the face of this confrontation, they are sometimes surprised, sometimes scared, and sometimes unresponsive. In the study, the stories determined in the light of Tzvetan Todorov’s fantastic theory were interpreted under the titles of “Fantastic Elements in Known Reality” and “Fantastic Elements in a Reality of Its Own”. While the stories in the first part are closer to the uncanny and the uncanny-fantastic, it can be said that the stories in the second part are closer to the extraordinary and the extraordinary-fantastic.

Kenan Hulusi Koray, fantastic, story.