Magical realism in the works of Latin-American authors

Magical realism in the works of Latin-American authors
Magical realism in the works of Latin-American authors
Latin American literature has grown in preference and popularity from the first half of the 20th century with a great link to a genre called magical realism. The extreme connections to this genre have largely contributed to the international success of the Latin American writings.
Magical realism is a literature concept that depicts the occurrence of some unrealistic supernatural things in the rather realistic and humane setting that is first set by a literature material. Although it is more of a literature genre, it also applies to the use of similar traits in the film industry. (Faris et al,2001)
Latin American writers make use of magical fiction to enhance the captivity of their readers who find themselves literary snares to keep reading on to know what the unexpected magical realities lead to. The authors use different skills and effects to attain the perfect blend of their developed magical reality concepts by integrating the concepts onto the real worlds setting. This means that the authors do not create their own world to place the setting but rather expedite the conception of a magical occurrence in the real world. One of the works that has been globally recognized for this genre is the one done by Gabriel García Márquez whose script, One Hundred Years of Solitude represented the perfect indication of magical realism.
In attaining the real conception of their made up fictional plots, the authors use certain styles to emphasize the possibility of the unrealistic occurrences in their book. One is the use of fantastical elements. By the use of such elements to portray folk tales, myths and fables, the fantasy traits are planted on normal human beings. Octavio (Octavio, p.1), in My life with the wave uses imagery to present super natural powers of the waves of the sea as being able to shout. She explain that the other waves struggled to clinch on the highest wave’s clothes but it managed to stand ahead and take hold of her hands. The wave is depicted as having powers to give advices and to threaten and to be apologized to. The expression some of these things are not those that are mentioned in day to day life proceedings and are all considered as magical realism.
The second mostly used style in manifesting magical realism is metafiction. This style takes advantage of the reader’s role in literature. It achieves this by exploring the various realities and impossibilities in the reader’s environment while exploring the impact that the fiction has on the real world. The major cause of the success in the use of this style is that it gives grounds to support both social and political criticism. (Thiem John, 2007). This style of magic realism is clearly shown in the work of Jorges, “The Gospel according to mark” where the events that are described in the book take place in La Colorada ranch. The ranch shows characteristics of enchantment owing to the foregoing mysteries in the ranch. There is much unrealistic occurrences at the ranch that takes most of the characters aback.
In conclusion, the use of magical reality although does not depict the real phenomena, in some way it makes the reader draw nearer to a real perception making the novels more real than they really are. Proper use of the various other available styles such as heightened awareness of mystery has enhanced political critique and plenitude.

References Cited
Faris, Wendy B. and Lois Parkinson Zamora,() Introduction to Magical Realism: Theory, History, Community, 2001
Octovia paz “My life with the wave” p. 89.
Thiem, Jon, “The Textualization of the Reader in Magical Realist Fiction” from MR: Theory, History, Community. 2007 print
Jorge Luis Borges “The Gospel According To Mark (1970)” 1970 print