By Stephen M. Hart, Wen-chin Ouyang
This new significant other to Magical Realism presents an evaluation of the world-wide influence of a circulation which used to be incubated in Germany, flourished in Latin the United States after which unfold to the remainder of the area. It presents a suite of updated exams of the paintings of writers frequently linked to magical realism resembling Gabriel GarcÃa MÃ¡rquez (in specific his lately released memoirs), Alejo Carpentier, Miguel ngel Asturias, Juan Rulfo, Isabel Allende, Laura Esquivel and Salman Rushdie, in addition to bringing into the fold new authors resembling W.B. Yeats, Seamus Heaney, JosÃ© Saramago, Dorit Rabinyan, Ovid, MarÃa Luisa Bombal, Ibrahim al-Kawni, Mayra Montero, Nakagami Kenji, JosÃ© Eustasio Rivera and Elias Khoury, mentioned for the 1st time within the context of magical realism. Written in a jargon-free type, and with all quotations translated into English, this publication deals a fresh new interdisciplinary slant on magical realism as a global literary phenomenon rising from the trauma of colonial dispossession. The spouse additionally has a advisor to additional examining.
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This new significant other to Magical Realism presents an overview of the world-wide influence of a flow which was once incubated in Germany, flourished in Latin the US after which unfold to the remainder of the realm. It presents a suite of updated tests of the paintings of writers normally linked to magical realism resembling Gabriel GarcÃa MÃ¡rquez (in specific his lately released memoirs), Alejo Carpentier, Miguel ngel Asturias, Juan Rulfo, Isabel Allende, Laura Esquivel and Salman Rushdie, in addition to bringing into the fold new authors comparable to W.
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Extra resources for A Companion to Magical Realism
For Borges, the elusive essence of the real must be approached indirectly, through ‘second degree’ objects like hrönir or his own stories, which do not limit the real because they are strategically removed from it. The universe can only be envisioned, not seen: in Borges’ stories, sight becomes insight only when the visible world is overcome. García Márquez’s Baroque Objects Household objects, in the fullness of their poetry, flew with their own wings through the kitchen sky. Gabriel García Márquez25 23 Borges, ‘La metáfora’, in Obras completas, I, p.
42. 25 Gabriel García Márquez, ‘Light is like Water’, in Strange Pilgrims, trans. Edith Grossman (New York: Penguin Books, 1993), p. 160. qxd 9/21/05 6:16 PM Page 39 SWORDS AND SILVER RINGS 39 Whereas Borges explicitly addresses the visualizing capacity of language within his fictions, García Márquez does not, preferring to leave his readers to wonder whether to believe our eyes. If the idealist Borges refuses the magical content of real objects, preferring to locate his magic in ‘secondary’, Platonic, ‘poetic objects’, García Márquez’s more realistic aesthetic allows for a visible world in which magic does indeed ‘hide and palpitate’ behind the real (to repeat Franz Roh’s phrase).
The clash of disjunctive metaphysics (the ‘real’ and ‘ideal’ worlds of the story) serves Borges’ counterrealist purposes in ways similar to the clash of disjunctive cultures in Carpentier’s fiction. As different as these writers are – and we will be exploring some of the differences below – they nonetheless coincide in dramatizing the interpenetration of seemingly irreconcilable worlds, a drama (again, largely foreign to literary realism) 8 This shift is apparent in the earliest formulations of magical realism as a literary critical term.
A Companion to Magical Realism by Stephen M. Hart, Wen-chin Ouyang