Magic Realism: A Problem :: Essays Papers

Magic Realism A ProblemMagic Realism is a term used by critics to describe a commix of the mundane with the fantastic. This may seem a straightforward enough approach unless one happens to be a school-age child of postcolonial studies - or at least, a student of postcolonialism should smell a rat. A brief history of the term is required for us to see why the term should be deemed problematical. In 1925 Franz Roh, a German art critic, used the term to describe a new post-expressionistic form that was emerging. Essentially the art described as magic realism was realist but was simultaneously possessed of a strange or dreamlike quality. If one were to seek a literary analog - although it is probably better if one did not - the paintings were a non-verbal equivalent of defamiliarization. Essentially, the magic was derived from the painting technique employed by the associated artists rather than the actual content (ultimately it came to be viewed as a kind of down-market surrealism). L ater, in 1955, nonsuch Flores applied the term (with some modification - he referred to it as magical realism) to Spanish-American writing. Flores put forward Borges as the master of this form and suggested Kafka as a Eurpoean equivalent. In this caase magic realism was distinguished by the fact that its practitioners treated the fantastic as normal, without any sense of surprise or amazement. In epitome one could translate - somewhat tritely - that Flores version of magic realism was Dickens with weirdness 19th century realism dotted with fantastical moments beyond spontaneous human combustion. Gradually Flores description was expanded, yet simultaneously narrowed to include folkloric elements. However, this is an over-simplification of the case - these elements came to be regarded as requirement. With folklore being considered an integral part of the genre, Borges could no longer be considered a magic realist (instead he could only be considered as part of fantastic literatur e - although he is now regarded as an essential if early cog in postmodernisms wheel). Perhaps the novel most commonly described as magic realist is Gabriel Garcia Marquezs One Hundred Years of Solitude. Yet, if one takes the definition as being strictly one which must include folklore, this novel too is shifted into the realms of fantastic literature. Instead, a critic adhering to the term in this way would say that a Garcia Marquez novel such as Chronicle of a Death Foretold, or Love in the Time of Cholera, is a magic realist novel.