Also known as Magical Realism, this idea exists beyond the realm of literature.

Consider the films of M. Night Shyamalan - The Sixth Sense and Unbreakable. Both have a similar structure in trying to present a supernatural idea in a realistic setting. Moreover, both films aim to make the audience's acceptance of the supernatural as easy as possible. For example, in Unbreakble, the audience is subject to watching Joseph Dunn (portrayed by Spencer Treat Clark) pour orange juice. One wonders why waste time making that shot...but the simple reality of it reminds everyone of his/her everyday adventures at the breakfast table.

My most important problem was destroying the lines of demarcation that separates what seems real from what seems fantastic.

- Gabriel García Márquez


"Magical realism" is a term applied to a narrative technique in which realistic and fantastical elements are seamlessly interwoven. The term was originally applied to the fiction of several prominent 20th century South American writers, most notably Gabriel García Márquez and Jorge Luís Borges, but has since been widely applied to fiction and film around the world, perhaps to the point of overuse.

A sense of magical realism is created by a refusal to acknowledge the fantastic. In a magical realism story, very human characters lead very ordinary lives but when fantastic elements begin to creep into the story both the characters and the narrator refuse to take any notice of them, mentioning them offhand and continuing on without further comment. The greatest of the South American magical realism stories is García Márquez's majestic novel One Hundred Years of Solitude.

The term "magical realism" was first coined in a 1925 essay by German art critic Franz Roh, who used it to refer to a certain style of art. The term was first appropriated into the realm of fiction in the 1960s by Venezuelan essayist and fiction writer Arturo Uslar Pietri, who applied it to a very specific South American genre. Since then the term was widely borrowed by critics of all stripes and applied rather haphazardly to all sorts of fictional forms.

In recent years the term has come under some criticism. Some critics contend that the term is too narrow and limiting, a reductionism that unfairly pigeonholes authors, while others have complained that the term is too widely applied, to the point of becoming hackneyed and virtually meaningless. Nevertheless, when judiciously applied, the term "magical realism" remains a powerful concept in literary criticism today.

As a literary term, magic realism has a long and quite distinctive history in Latin American literary criticism, but was first used in a wider post-colonial context. Critics sought to reconcile the arguments of post-war, radical intellectuals in favour of social realism as a tool for revolutionary social representation, with a recognition that in many post-colonial societies a peasant, pre-industrial population had its imaginative life rooted in a living tradition of the mythic, the legendary and the magical.

The term became popularized when it was employed to characterize the work of South American writers widely translated into English and other languages, such as Gabriel Garcia Marquez. It tended to be used indiscriminately during the "Boom" period of the 1960's and 1970' by some critics who saw it as a defining feature of all Latin American writing, in stark contrast to its older, more specific usage in Latin American criticism, a usage that differed in marked ways from the recent rather loose and generalized use of the term.

However, its origins in the 1950's lay in the specific need to wed Caribbean social revolution to local cultural tradition. Mythic and magical traditions, far from being alienated from the people, or mere mystifications, were the distinctive feature of their local and national cultures, andwere the collective forms by which they gave expression to their identity and articulated their difference from the dominant colonial and racial oppressors. They were, in other words, the modes of expression of that culture's reality. Radical social visions of art and culture thus regarded myth and magic as integral. More recently, the term has been used in a less specific way to refer to the inclusion of any mythic or legendary material from local written or oral cultural traditions in contemporary narrative.

The material so used is seen to interrogate the assumptions of Western, rational, linear narrative and to enclose it within an indigenous metatext, a body of textual forms that recuperate the pre-colonial culture. In this way it can be seen to be a structuring device in texts as varied as Salman Rushdie's "Midnight's Children", Keri Hulme's "The Bone People" or Thomas King's "Green Grass, Running Water". In texts like these and many others, the rational, linear world of Western realist fiction is placed against alternative (or alter/native) narrative modes that expose the hidden and naturalized cultural formations on which Western narratives are based.

Although the term has been useful, its increasingly ubiquitous use for any text that has a fabulous or mythic dimension has tended to bring it into disrepute with some critics who suggest that it has become a catch-all for any narrative device that does not adhere to Western realist conventions.


Sources:

- http://www.qub.ac.uk/english/imperial/india/rushdie.htm
- Alexis, J.S. "Of the magical realism of the Haitians." Presence Africaine 8-10, 1956.
- Parkinson, L. and Faris, W.B. (eds.) Magic Realism: Theory, History, Community. Durham, N.C.: Duke University Press, 1995.
- Slemon, S. "Magic Realism as Post-Colonial Discourse". Canadian Literature, 116: 9 - 24, 1988.

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