Narrowing the Defining Boundaries of Magical Realism
Latin American author Elena Garro wrote works such as "Recuerdos del porvenir," "Andamos huyendo Lola," "Testimonios sobre Mariana," and "The Day We Were Dogs." The short story "The Day We Were Dogs" (1964) uses events that are questionable to the reader even though the characters do not question. Because these events are questioned by the reader, it is not a Magical Realist story. This story might have been miss identified because it was written by a Latin author.
In "The Day We Were Dogs," the author uses magical elements to help tell the story two sisters and there day as "dogs?". These elements seem to be magical by means of Magical Realist techniques, but becuase the author dosen't make it clear as to whether these two sisters are dogs or if they are pretending to be dogs the reader hestitates. After reading the following passage, the reader might conclude that the two girls are pretending:
Eva got up and disapeared among the plants. She returned running and threw
herself down next to Toni."I told them to cook for three dogs and no people."
I didn't ask anything. Next to Toni the house had lost its wieght. Two
ants were walking on the ground of the day; an earthworm peeked out of a
hole, I touched it with my fingertip and it became a red ring. There were
bits of leaves, little pieces of branches, tiny pebbles, and the black earth
smelled of magnolia water. The other day was off to one side. Toni, Eva,
and I watched without fear its gigantic towers and stationary winds, purple
and mulberry colored."You, what is your name going to be? Look for
your dog name, I'm looking for mine." "I'm a dog?" "Yes we are dogs." (208)
Then readers read this following passage and questions the decision they had made by reading the former passage:
The dogs got to the gate; it was hard for them
to open the door; the bolts were very high. (209)
By making the reader hesitate (Todorov) about whether this is supernatural or real, this story could be placed into the Fantastic genre, but we can't put it into this genre because it also has an element of the Sublime in it.
The Magical Realist technique that the author uses is the closeness or near merging (Faris) two different days. This becomes apparent when the narrator states that it was "a day with two days in it" (206).
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In conclusion, both poems are clear on the perspectives of innocence and the perspectives of experience and while experience lifts the veil of innocence it does not erase the raw belief that there is some place or someone who may just be better or may just be holy in a harsh world that is covered by manmade innocence.
Childhood is a time in one’s life where innocence and experience are seemingly two separate worlds. Only when one becomes an adult, and has been thoroughly marked by experience, one realizes that innocence and experience resides in the same world. Innocence and experience are equivalent to the flipsides of a single coin. William Blake’s Songs of Innocence and Songs of Experience demonstrate that religious doctrine and experience are responsible for destroying and understanding innocence in childhood.
Louise Erdrich’s stories combine wildly dynamic characters with metaphoric language and elements of the supernatural to create tales that challenge the demarcations of cultural reality. In her stories “Plunge of the Brave,” “Scales,” and “Fleur,” Erdrich utilizes magical realism to help mystic elements seem more relatable to readers. The short stories, while otherwise straight-forward, are infused with touches of colorful language and mystic descriptions that, many critics claim, classifies Erdrich as a magical realist author. She uses magical realism in her stories to encourage readers to reconsider perceived ideas and question the determined realities of ethnic or cultural groups. By adding a few elements of the supernatural, Erdrich is actually inviting readers to expand their knowledge of different cultures and perceptions of the world.
...ome home safe that caught them off guard. She appealed to their human sensibilities, especially Mr. Cunningham’s. To him, when she started talking about his legal affairs, he began to see how wrong he would be to run Atticus down. He had a family just the same. The author, in this scene, could be making a statement that the most powerful kind of courage comes from innocence and the innocent belief of humanity in everyone.
Each of us human is alone in our hearts. It is the only place that we are afraid of letting anybody in. We rarely break through the ultimate solitude, but only to reach out to the miracles beyond our world of living, to find out that the strength of love and hope have not abandoned us. Writing about the spectacularity event of life, Marquez could not help stepping in between the magical world and the reality to tell us a tale about “The handsomest drowned man in the world”- the tale of a coastal village interrupted by a man washed up to the shore.
Haas and Flower then provide an example [Page 177], of the differences of a student reader and an experienced reader. The example shows a remarkable difference between the two, the student reader was able to identify the situation and paraphrased what he found out. The experienced reader not only identified the situation, but provided a theory to attempt to explain what the author was trying to do; this is quite different than what the student reader provided. I believe Haas and Flower added the example to emphasize the difference of the conclusions that the student reader and the experienced reader came to. By adding the example, Haas and Flower were also able to support rhetorical reading and the difference it made between the readers. Haas and Flower then state the following: “While the student reader is mainly creating a gist and paraphrasing, the experienced reader does this and more – he then tries to infer the author’s purpose and even creates a sort of strident persona for the writer” [Haas and Flower, 177] The following quote is basically the description of the experiment, and explains the difference in the student reader’s response to the experienced reader’s
Giants and Angels roam the pages of Gabriel Garcia Marquez’s stories, “A Very Old Man With Enormous Wings”, and “The Handsomest Drowned Man In The World”, creating the perfect scene for magical realism. Many of the elements within these stories coincide with each other; this has everything to do with the overall component of magical realism, which binds together similarities and sets apart differences. The theme of each story can be found within the other and can stand by itself to represent the story it belongs to, the settings are similar in location and the ability to change but different in their downsides and the writing style is so similar it is complicated to find any differences. Marquez is a master story-teller whose works of art can only be compared with each other.
Gabriel García Márquez, 1982 Nobel Laureate, is well known for using el realismo magical, magical realism, in his novels and short stories. In García Márquez’s cuento “Un Señor Muy Viejo con Alas Enormes,” García Márquez tactfully conflates fairytale and folklore with el realismo magical. García Márquez couples his mastery of magical realism with satire to construct a comprehensive narrative that unites the supernatural with the mundane. García Márquez’s not only criticizes the Catholic Church and the fickleness of human nature, but he also subliminally relates his themes—suffering is impartial, religion is faulty by practice, and filial piety—through the third-person omniscient narration of “Un Señor Muy Viejo con Alas Enormes.” In addition to García Márquez’s narrative style, the author employs the use of literary devices such as irony, anthropomorphism, and a melancholic tone to condense his narrative into a common plane. García Márquez’s narrative style and techniques combine to create a linear plot that connects holy with homely.
Style: The typical Magical- Realistic story of García Márquez placed in a familiar environment where supernatural things take place as if they were everyday occurrences. Main use of long and simple sentences with quite a lot of detail. "There were only a few faded hairs left on his bald skull and very few teeth in his mouth, and his pitiful condition of a drenched great-grandfather took away and sense of grandeur he might have had" (589).
"Any critical reading of a text will be strengthened by a knowledge of how a text is valued by readers in differing contexts."
While there may be some debate as to whether the Argentinian Jorge Luis Borges was technically a Magical Realist, some may feel that his works definitely do have some of the characteristics of what is considered Magical Realistic literature. Among his various types of works are poetry, essays, fantasies, and short fictions. Often referred to in essays that discuss the history and theory of Magical Realism, "The Garden of Forking Paths" is probably Borges' most popular short story. Published in 1964 in a collection of Borges works entitled Labyrinths: Selected Stories & Other Writings, his short story "The Garden of Forking Paths" appears to have several of the elements of Magical Realism.
In 1789, English poet William Blake first produced his famous poetry collection Songs of Innocence which “combines two distinct yet intimately related sequences of poems” (“Author’s Work” 1222). Throughout the years, Blake added more poems to his prominent Songs of Innocence until 1794, when he renamed it Songs of Innocence and Experience. The additional poems, called Songs of Experience, often have a direct counterpart in Blake’s original Songs of Innocence, producing pairs such as “The Lamb” and “The Tyger.” In Songs of Innocence and Experience, Blake uses musical devices, structure, and symbolism to develop the theme that experience brings both an awareness of potential evil and a tendency that allows it to become dominant over childhood
Obviously the most concise definition of magical realism is that it is the combination of magical and real elements. The magical elements that exist in works of magical realism are; superstitions, exaggerations, dreams that come true, universal humor and the coincidence of bizarre events. All of these Elements are present within Chronicle of a Death Foretold.