Less forgivingly, in The Final Solution: A Story of Detection ( 2004), a steely reticence – as in many of the finer Horror novels of recent years – masks any direct confrontation with the malice of the world, in this case Auschwitz, which hovers, unspoken but uncanny with dread (see Holocaust Fiction), in the margins of a text whose protagonist, a barely disguised Sherlock Holmes, is inherently unable to penetrate through ratiocination the underlying terror of the vastation at the heart of the tale. Brian K Vaughan's Michael Chabon's The Escapists (graph 2007) incorporates into individual episodes spoof biographical information about Kavalier and Clay themselves.
A near-definitive coverage of this canon has been assembled as Michael Chabon's The Escapist: Amazing Adventures (graph 2018) with Freddye Miller and Michael Chabon's The Escapist: Pulse-Pounding Thrills (graph 2018) with Freddye Miller, which include many episodes (plus new material). Kavalier and Clay's comics, as here described, became the basis for a Dark Horse comic book, The Amazing Adventures of the Escapist ( 2004-2005), an initial gathering of this material being Michael Chabon Presents: The Amazing Adventures of the Escapist, Volume 1 (graph 2004). The original Golem of Prague literally appears in his most famous novel, The Amazing Adventures of Kavalier & Clay ( 20), though not in animate form and the highly foregrounding "story-likeness" of the New York life-stories he tells here – both Kavalier and Clay are professionally involved in Comics, and their stories clearly echo the Myth of Origin structure of comics biographies – is clearly non-mimetic: but Equipoise holds, especially in passages conveying Chabon's complex sense of the deep horrors of World War Two. (1963- ) US author whose stories and novels frequently invoke and inhabit the fantastic, though most often the sophisticated and fluent Equipoise of his telling of these varied tales prohibits any pigeonholing definition of most of the stories assembled in A Model World and Other Stories (coll 1991) or Werewolves in Their Youth (coll 1999) as Fantasy or supernatural Horror or sf, or aspiring to the aesthetic jostle of Fantastika at the hands of a Mainstream Writer of SF: a label that became decreasingly appropriate in his case.
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