To many critics of the genre, Magical Realism is nothing but updated children's tales being passed off as substantial literature, but if we look deeper, the essence of this movement is bared to the viewer. By looking at the history and origins of Magical Realism, as well as the term itself, we can begin to understand the importance of this writing style in today's society.
The roots behind Magical Realism are found in many cultures, but the literature is mainly attributed to South American writers, such as Gabriel Garcia Marquez. The dichotomy of living in a country that your blood ancestors more or less discovered, whose rituals are still practiced to a small degree, while living under laws and religions that were placed upon those same ancestors by colonial invaders has fed and nourished the ability for these South American authors to create a style of literature that holds up the ancient and current as separates while combining them to show intrinsic human ideals. In doing this the author can interest the reader by incorporating fantastic images that also stand as symbols to explain and teach. Marquez demonstrates this in his story “A Very Old Man with Enormous Wings.” A poor, backwater villager discovers a ragged old man in his garden who turns out to be an angel, but since this angel is not the glowing embodiment of glory of which the man and villagers have been informed, they are disinterested and unimpressed with the holy being. By juxtaposing the historic, more survival-based civilization of the villagers, and the angel, a supernatural force that is unnecessary and burdensome to their lives, we are given a perfect example of the theme of Magical Realism. The people of the village have worshiped angels, while farming and struggling with life, but when cut comes to scratch the only use the protagonist and his family have for the angel is as a side-show, money making venture. They fail to realize the greatness of being in the presence of an angel because it lacks the grandeur they were taught to expect. In this way Marquez explores religious ideas while at the same time exploring the indigenous people of South America and comes out with a story that can be grasped by a varied and diverse audience.
This brings us to the term Magical Realism itself. According to Evelyn C. Leeper of the geocities page www.
In magical realism, "the text contains something we cannot explain according to the laws of the universe as we know them" (Faris 167) and the "descriptions detail a stong presence of the phenomenal world" (Faris 169). These quotes explain why one might think that this story is magical realism due to the two different worlds that are going on at the same time. Also, one "experience[s] the closeness or near-merging of two realms, two worlds" (Fari...
...story telling traditions. All storytellers are children of the ones, which came before them and stand on the shoulders of those who have told the tales in the past. Marquez and Anaya did not hesitate to make liberal use of magical realism, both as a way to create tension in their stories and to contact the deeper hearing of their audience. Magical realism was just another tool in their literary boxes, to be used with skill and discretion for the greater benefit of the tale being told. It worked well for the cantadora, sitting in the doorway weaving her basket as she wove her tale and it works equally well today as we pause from our lives, quiet our souls, and prepare to listen as the story unfolds.
Magical realism is a genre in which extraordinary events are incorporated into the ordinary world, usually referred to as realistic fiction. In Latin American culture many authors use this type of literature to describe phenomenal events that occur within our ordinary world. Magical realism can be analyzed through different novels, short stories and movies, for example, Bless me, Ultima, by Rudolfo Anaya, “The Night Face Up,” by Julio Cortazar, “A Very Old Man with Enormous Wings,” by Gabriel Garcia Marquez and the movie Big Fish by Tim Burton. Magical realism is a style of writing used to link the abnormal with the ordinary.
An essential difference, then, between realism and magical realism involves the intentionality implicit in the conventions of the two modes…realism intends its version of the world as a singular version, as an objective (hence ...
Marquez's "A Very Old Man with Enormous Wings" fulfills every characteristic of Magical Realism. His short story contains magic that exists in a realistic background. One can easily see why Marquez is such a forerunner in the field of Magical Realism.
Faris, Wendy B. Ordinary Enchantments: Magical Realism and the Remystification of Narrative. Nashville: Vanderbilt UP, 2004. 24 Sept. 2012. Web. 15 Mar. 2014. 21
Roh, Franz. "Magic Realism: Post-Expressionism." Magical Realism. Theory, History, Community. Ed. Lois Parkinson Zamora and Wendy B. Faris. Durham, N.C.: Duke UP, 1995. 15-30.
At first, German art critic Franz Roh used the term "Magical Realism" to describe a style of painting (Roh 15). Eventually, Arturo Uslar Pietri adapted the term in order to describe a type of literature (Leal 120). While the exact definition of Magical Realism is open to interpretation, it is certain that Magical Realism gives a deeper meaning to ordinary life by unearthing mysteries that hide behind the world (Roh 16-17). In order to uncover these mysteries, Magical Realism combines fantasy with reality (Flores 110-111). Although Magical Realism is now well-known as a genre of literature, Magical Realism extends into "real life" through a treatment in psychology known as Traumatic Incident Reduction.
Delbaere-Garant, Jeannie. "Variations on Magical Realism". Magical Realism Theory, History, Community. Ed. Lois Parkison Zamora and Wendy B. Faris. Durham" Duke U.P., 1995. 249-263.
...tic literature. The magical, or fantastic, elements in "The Circular Ruins" seem to go with the realistic elements. There is no hesitation in the main character making it seem as if the magical elements are normal. Therefore, this story seems to fit into the magical realism category.
Roh, Franz. "Magic Realism: Post-Expressionism." Magical Realism. Theory, History, Community. Ed. Lois Parkinson Zamora and Wendy B. Faris. Durham, N.C.: Duke UP, 1995: 15-30.
The novels I will be comparing are Laura Esquivel's Like Water For Chocolate, Isabel Allende's The House of Spirits, Simone Schwarz-Bart's The Bridge of Beyond, and Toni Morrison's Song of Solomon. All of these novels use magical realism, which adds to the reader's enjoyment while desc...
Magical Realism is the way in which a person views the world through a type of art. Magical realism deals with emotions, and it also discovers what is mysterious and meaningful in life. According to Franz Roh, in painting, is the way a person views the world through art (18, 20). Magical Realism has many characteristics that include many other ideas. Magical Realism can be observed in other subject areas, too, such as the logotherapy of Victor Frankl.
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.
'The formal technique of "magic realism,"' Linda Hutcheon writes, '(with its characteristic mixing of the fantastic and the realist) has been singled out by many critics as one of the points of conjunction of post-modernism and post-colonialism' (131). Her tracing the origins of magic realism as a literary style to Latin America and Third World countries is accompanied by a definition of a post-modern text as signifying a change from 'modernism's ahistorical burden of the past': it is a text that 'self-consciously reconstruct[s] its relationship to what came before' (131). The post-modern is linked by magic realism to 'post-colonial literatures [which] are also negotiating....the same tyrannical weight of colonial history in conjunction with the past' (131).