Magical Realism In Gabriel Garcia Marquez

Magical realism combines two seemingly contrasting elements reality and fantasy. Julio cortazar’s “House taken over” is a good example of magical realism because the house is being taken over by supernatural activity or Natzis. For instance, Cortazar describes the house being old and spacious, “ it kept the memories of great grandparents, our parents and the whole of childhood.”(pg. 37). This is a good example of magical realism because the family seems normal, they’re living in a home where past ancestors also used to live and the house is full of childhood memories. Although he also describes some sort of supernatural activity, “it was eight at night”- “I heard something in the library or the dining room.The sound

Many of the Latino authors in this book, being Americans who left a country in Latin America or who have ancestors who did so, seem to experience what most modern day

Like Water For Chocolate is one of the Laura Esquivel’s books. The uniqueness of this book is that it uses the cooking, or recipe, to tell a story. In the story, she uses the magic realism, which expresses a primarily realistic view of the real world while encompassing a range of subtly different concepts, to reveal her familiar theme ‘love.’ To summarize the book, there is the family tradition that the last daughter needs to take care her mother until mother’s death without the marriage. The protagonist of this book, Tita, is the last daughter of her family, and therefore, she cannot marry with her love. So, there is the conflict between Mama Elena, who wants to keep the tradition, and Tita, who wants to marry with her love, Pedro, even if it forces family tradition. Esquivel utilizes magic realism to expose the passion to keep family tradition, family relationship, and the complexity of love.

“Gary Soto was born in Fresno, California, in April, 1952, to working-class Mexican-American parents. At a young age, he worked in the fields of the San Joaquin Valley. He was not academically motivated as a child, but became interested in poetry during his high school years.” Soto uses his cultural experiences lead him to write about his character how he does and throughout all of his short stories, books, and poems he adds in Spanish words, to show us the kind of environment he grew up in as a Spanish American. Reflecting on the obstacles he had to overcome such as racial discrimination and the ethnic boundaries, to get where he is today.

People are afraid of the unknown and things that they cannot understand. It is something that people spend their entire lives trying to understand, but there will always be an unknown, something people fear. Magic is one of these things, it is something that people do not understand and therefore fear.In the novel, The House of the Spirits, the author includes a dog named Barrabas which seems normal enough in the beginning but quickly grows to the size of a horse. This is an example of magical realism in the novel which is a commonly used device by the author. Through magical realism, Allende explores the idea that Barrabas connects the magical world and reality.

“Bless Me Ultima” by Rudolfo Anaya is about a young boy named Antonio who is trying to find out who he is. On the way he struggles to decide what is right for him and other people. He struggles to be whether a Luna or a Marez, and whether to believe in God or the golden carp. In his search of identity he must choose what is right or wrong. He is helped by a curandera named Ultima who guides his life choices of good and evil. In the story he is encountered by several religions or beliefs like the golden carp, Catholicism, and nature. Anaya uses religions and beliefs like these to create magical realism in the story. The golden carp in this book is magical because it is described as once being a god that is now an enormous, golden carp. When

Julia Alvarez’s How the García Girls Lost their Accents demonstrates the distinct experiences Dominican men and women face entering a foreign country by challenging their respective ideas of themselves. Numerous times during the novel, Alvarez displays the cultural differences the García family have to adjust to after moving from their home country of the Dominican Republic to the United States. They’ve endured sexual harassment, mental breakdowns and a loss of culture due to their immigration to America. These experiences have effectively altered their lives forever, transforming them into new “selves” that may have never came into fruition had they stayed home in Dominican Republic. Throughout their journeys, the Garcías had started their lives with the potential to become one self -- but encounter experiences in the surrounding culture -- that ultimately change them. As a result, they lose their much of their Dominican heritage trying to assimilate to American culture, but never become truly successful in doing so. Alvarez shows these immigrants, who travel to the United States, are neither American or non-American but borderline in between. They exhibit characteristics of both cultures, and thus, belong in a culture of “selves” that places them directly in the middle.

Latin American literature is perhaps best known for its use of magical realism, a literary mode where the fantastical is seamlessly blended with the ordinary, creating a sort of enhanced reality. Though magical realism is practiced by authors from other cultures, the works of authors Salman Rushdie and Toni Morrison, for example, are notable examples of non-Latin works in which magical realism has been used to both great effect and great celebration, it is in the works of Latin American authors where the style has flourished and made its mark on the literary world. Yet even in Latin American works we can find many different kinds of magical realism, all used to achieve a different end. In the works of the Cuban poet and novelist

In her novel So Far From God, author Ana Castillo tells a story which heavily relies on elements of magic realism. What I found to be particularly interesting in the way in which Castillo's novel works is the effect that her heavy focus on themes of magical realism has while working alongside with the style of narration which she chooses to use in her novel. While Castillo's narrative style can often times be confusing, as the focus of her story jumps around between the individual lives of Sofi, Fe, Esperanza, Caridad, and la Loca, as well as a result of the fact that the story is told in a back and forth combination of Spanish and English, Castillo's style of narration along with the constant theme of magical realism work well together in succeeding to make one of the points which it seems she is trying to make. Through her focus on magical realism in the lives of each of her characters, as well as the way in which she chooses to narrate her novel, Ana Castillo is able to successfully show the way in which the women of color which her novel revolves around are put at an incredible disadvantage in the world.

By far, Garcia Marquez's most acclaimed work is Cien Anos de Soledad or One Hundred Years of Solitude. As Regina Janes asserts, "his fellow novelists recognized in the novel a brilliant evocation of many of their own concerns: a 'total novel' that treated Latin America socially, historically, politically, mythically, and epically, that was at once accessible and intricate, lifelike and self-consciously, self-referentially fictive." <4> In it, the totality of Latin American society and history is expressed. Upon first reading, the novel appears to relate a regional history of the town of Macondo and the many generations of Buendias that inhabit it. This local

Gabriel Garcia Marquez’s text depicts the cultural life and setting of Latin America. His inclusion of conventional values portrayed in the novel such as pride and honor influences specific characters such as Pedro

Garcia Marquez has said that "One Hundred Years of Solitude is not a history of Latin America, it is a metaphor for Latin America" (Dreifus 1983:1974). The historical themes include conquest and colonization, settlement and scientific discovery, civil wars, foreign economic intervention, technological change, and finally the decay and disappearance of a long-established way of life.

Magic realism is a writing style in which mythical elements are put into a realistic story but it does not break the narrative flow; rather it helps a reader get a deeper understanding of the reality. Often time’s Latin-American writers utilize this writing technique. It has been speculated by many critics that magic realism appears most often in the literature of countries with long histories of both mythological stories and social turmoil, such as those in Central and South America. Like many Latin-American writers, Gabriel Garcia Marquez used this approach of magic realism, in his book “One Hundred Years of Solitude”, in which he reveals the history of Macondo through the seven generations of the

Okri’s story ‘The Famished Road’ includes several features of magical realism. Precisely, instances of hybridity happen often. The character Azaro wrongly believes a character by the river to be the ferry man of the dead, he acquires that she is in fact a hybrid woman, young in body but ‘with an old woman’s face’. The illustration is also a hybrid of ancient custom and ritual. Also, The Famished Road portrays the theme of political corruption and political struggle. The character Madame Koto is implied in the corruption of modern Nigerian politics. She summarizes the new power herself, rather than its transgression, foreshadowing the country’s Civil War to come. Okri has also used ironic distance in this novel..

Many authors like to write fantasy novels, stories that detached themselves from reality, novels that tell us about magic, parallel dimensions, between others. But even in these fictional stories there is still the presence of the universal themes that can be touched not only in this kind of novels but also in the simpler ones, themes like the fight between good and evil, love, between others.