What it is, what it’s not, its origins, characteristics and exponents
Magic Realism is a mode of literature most often associated with Latin American authors, in particular, Isabel Allende and Gabriel García Márquez, and is taken to mean the incorporation of mythical and/or fantastical elements into an otherwise realistic narrative. But this definition doesn’t tell the whole story. The genre is neither exclusively Latin American nor is it escapist fantasy.
Etymology and Origins
The term Magischer Realismus (Magic Realism) was coined in the Weimar Republic in 1925 by German art critic Franz Roh to describe the post-expressionist return to realism, specifically in the study of – and taking renewed delight in – everyday objects to render them fantastic and extraordinary.
Roh’s book was translated into Spanish and soon the term was being applied to European authors among Buenos Aires literary circles. By 1949, French Surrealist, Alejo Carpentier, had defined lo real maravilloso (translated as ‘the marvellous real’) as being peculiarly of the Americas.
The genre found global appeal in the ‘60s, with the release of Gabriel García Márquez’s One Hundred Years of Solitude which has been translated into 37 languages.
Today, the movement of magic realism can be felt in postmodern and postcolonial contexts, such as Midnight’s Children by Salman Rushdie and The Famished Road by Ben Okri, and is found in texts from Europe, Australia, Asia, North America, Africa, the Caribbean, as well as Latin America.
Sourced from Parkinson Zamora, Lois & Faris, Wendy eds. (1995) Magical Realism: Theory, History, Community. London: Duke University Press
Magic realism literature may be characterised as incorporating at least some of the following elements:
- The carnivalesque: the subversion and liberation of assumptions (including temporal/spatial) through humour and chaos. For instance, time does not necessarily happen in linear order.
- Plenitude: an abundance of disorientating detail. Hyperbole.
- Authorial reticence: a ‘deliberate withholding of information and explanations about the disconcerting fictitious world.’
- Hybridity: a confluence and contrast of, for example, Western vs. indigenous; urban vs. rural; folklore/magic vs. the established order; nature vs. anthropomorphism; self vs. society.
- Oral tradition: myths, fairy tales and fables are rendered in a contemporary setting.
- Metaphors as reality: can be used for cross-cultural emphasis.
- Metafiction: a technique which draws attention to the fact that a text is fiction, thereby questioning the relationship between fiction and reality.
 Chanady, Amaryll Beatrice (1985). Magical Realism and the Fantastic: Resolved versus Unresolved Antinomy. New York: Garland Publishing Inc., p.16
This list (alphabetically by author) is not meant to be a complete, all-inclusive list of authors who’ve worked in magic realism. Rather, this is where the works of magic realism authors have touched a chord in me:
- Isabel Allende The House of Spirits
- Angela Carter Nights at the Circus
- Angela Carter The Bloody Chamber
- Angela Carter The Magic Toyshop
- Gabriel García Márquez Love in the time of Cholera
- Gabriel García Márquez One Hundred Years of Solitude
- Günter Grass Tin Drum
- Carmen Maria Machado Her Body & Other Parties
- Toni Morison Beloved
- Haruki Murukami Colorless Tsukuru Tazaki and His Years of Pilgrimage
- Leone Ross Come, Let us Sing Anyway
- Patrick Süskind Perfume: the Story of a Murderer
- Emma Tennant Wild Nights
- Denis Thériault The Peculiar Life of a Lonely Postman
- Scarlett Thomas The Seed Collectors