Magic Realism is a literary genre that is not commonly known by everybody. When asked, many people relate it to fantasy or wonder how magic can be realistic. But Magic Realism is something totally different than fantasy. The setting is always realistic and only few magic elements occur. This essay gives a brief history of the development of Magic Realism and it discusses some features that are used in Magic Realist writing. Next it shows examples of Magic Realist elements in the short story The Day I Sat with Jesus and the Wind Came Up and Blew My Kimono open and He Saw my Breasts by Canadian Author Gloria Sawai and finally offers suggestions why Magic Realism is mostly common in Latin America and why Canadian writers also have similar prerequisites.
Table of Contents
1. Introduction
2. Theoretical Background and Definitions
3. Cultural Influences and Settings
4. Stylistic Features and Techniques
5. Case Study: The Day I Sat with Jesus on the Sun Deck and a Wind Came Up and Blew My Kimono Open and He Saw My Breasts
6. Conclusion
Target Objectives and Themes
The primary objective of this work is to explore the evolution and defining characteristics of Magic Realism, contrasting it with fantasy and traditional realism while analyzing how these elements manifest in contemporary Canadian literature.
- Historical development of Magic Realism from its origins in post-expressionist art.
- Distinction between Magic Realism, fantasy, and literary realism.
- The influence of natural landscapes and indigenous traditions on the genre.
- Technical components such as hybridity, authorial reticence, and ironic distance.
Excerpt from the Book
Stylistic Features of Magic Realism
One stylistic device is ‘hybridity’ (Moore) which means that Magic Realist stories are often set in opposite areas, like city versus countryside, and also “involve issues of borders, mixing and change” (Moore) in order to create “a more deep and true reality” (Moore). Another important feature in Magic Realist writing is ‘authorial reticence’ (Moore). Only by not offering his/her opinion about “the accuracy of events and the credibility of the world views expressed by the characters in the text” (Moore) the author can make sure not to discredit the supernatural world. Also important for the balancing act of discrediting neither the magical world view nor the realistic view is for the author to have ‘ironic distance’ (Moore) from both perspectives. This is hard to maintain as the author still has to ensure that he/she stays credible and does not distance him-/herself too much from either the realist or magic side. The maintaining of ‘ironic distance’ goes hand in hand with ‘authorial reticence’.
Summary of Chapters
1. Introduction: This chapter provides an overview of Magic Realism, highlighting its nature as a genre that portrays a realistic world integrated with magical elements, and outlines the scope of the analysis.
2. Theoretical Background and Definitions: This section explores the origins of the term, tracing it back to the art historian Franz Roh and its subsequent transition into a literary genre.
3. Cultural Influences and Settings: This chapter examines why the genre is historically associated with Latin America, focusing on the roles of natural landscapes and spiritual traditions.
4. Stylistic Features and Techniques: This section details technical literary devices, including hybridity, authorial reticence, and the concept of ironic distance used to blend the magical with the real.
5. Case Study: The Day I Sat with Jesus on the Sun Deck and a Wind Came Up and Blew My Kimono Open and He Saw My Breasts: This chapter applies the previously discussed theoretical framework to analyze how Gloria Sawai employs Magic Realist techniques in her narrative.
6. Conclusion: This chapter reflects on the current state of Magic Realism as a controversial literary term and summarizes its functional role in conveying truth.
Keywords
Magic Realism, Hybridity, Authorial Reticence, Ironic Distance, Post-Expressionism, Franz Roh, Gloria Sawai, The Day I Sat with Jesus, Literary Genre, Supernatural, Realistic Setting, Canadian Literature, Fiction, Narrative Techniques, Cultural Identity
Frequently Asked Questions
What is the primary focus of this paper?
The paper focuses on the definition, history, and technical application of Magic Realism, specifically how it differentiates itself from fantasy and functions within literary narratives.
Which specific themes are addressed?
Key themes include the historical shift from art movement to literary genre, the impact of geography and indigenous traditions on storytelling, and the specific narrative techniques that maintain realism while introducing magical elements.
What is the core research objective?
The objective is to analyze the characteristics of Magic Realism and demonstrate how these features allow a narrative to treat the supernatural as an integrated, factual component of a realistic world.
What methodology is employed?
The author uses a qualitative literary analysis approach, synthesizing theoretical perspectives from scholars like Franz Roh and Bruce Holland Rogers, followed by a practical case study.
What does the main body of the work cover?
The main body covers the etymology of the term, the cultural prerequisites for Magic Realist settings, the mechanics of authorial style, and an applied reading of a short story by Gloria Sawai.
How would you characterize this work through keywords?
The work is characterized by terms such as Magic Realism, hybridity, authorial reticence, and the intersection of the real and the supernatural in fictional narratives.
Why is the short story "The Day I Sat with Jesus" selected for this analysis?
It is selected because it provides a clear, localized example of a "normal" protagonist in a "normal" setting experiencing an extraordinary event, perfectly illustrating the genre's technical requirements.
How does the author define the difference between Magic Realism and fantasy?
The author clarifies that while fantasy operates in an unreal or speculative framework, Magic Realism remains firmly grounded in the phenomenal, realistic world, merely stretching the boundaries of what is considered real.
What is "authorial reticence" in the context of this paper?
It refers to the author's decision to withhold subjective opinions regarding the credibility of supernatural events, thereby forcing the reader to accept them as part of the established fictional reality.
- Quote paper
- Lisa Jensen (Author), 2009, Magic Realism in fictional writing, Munich, GRIN Verlag, https://www.hausarbeiten.de/document/181175
