In the dialogic perspective of Bakhtine’s and Foucault’s works the reach of a discourse that marks the ludic emergence of disorder, as is the case of the fantastic genre, can only be sized as an additional discourse on order that is implied by this play. An analysis of The Sandman illustrates it and shows how the association between forbidden knowledge, transgressive looks and narrative dynamics is part of an interdiscursive configuration, a two-sided episteme of which it represents the dark side.