In the following essay, Simpkins attempts to define magic realism and argues that the genre is hindered by linguistic limitations.
Magic realism seems plagued by a distinct dilemma, a problem arisi...
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In the following essay, Birutė explains similarities and differences among magic realist works of Latin-American and European socialist writers.
The choice of my topic—juxtaposition o...
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In the following essay, Menton discusses the influence of Latin-American magic-realist writers on André Schwarz-Bart's novel Le dernier des Justes.
André Schwarz-Bart's ...
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In the following essay, Foster maintains that D. M. Thomas's novel The White Hotel “stands at one extreme end” of magic realism and therefore encourages a new critical understandi...
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In the following essay, Ji Ji discusses magic realism in the works of contemporary Taiwanese writers.
I
In any age works of literature are created against a unique background with a specific emphas...
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In the following essay, Napier maintains that magic realism in Japanese literature is inherently linked with the Japanese crisis of identity regarding modernity and Western influence.
Akutagawa Ryu...
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In the following essay, Menton discusses the works of Jorge Luis Borges and the difference between magic realism and fantastic, or marvelous, literature.
In the epilogue to the 1949 edition of El A...
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In the following essay, Hart examines Gabriel García Márquez's novel Cien años de soledad in an attempt to simplify and reinterpret the idea of magic realism.
Ce qu...
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In the following essay, Benevento suggests strategies for teaching about magic realism in the works of three preeminent Latin-American writers.
As David Young and Keith Hollaman note in their intro...
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In the following essay, Kaplan discusses sociopolitical events in Latin America and the ways in which they have been interpreted in works of magic realism.
The Peruvian novelist Mario Vargas Llosa ...
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In the following essay, Wheelock explains the notion of “magical causality” in the works of Jorge Luis Borges and Julio Cortázar.
Fifty-two years ago Jorge Luis Borges wrote an...
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In the following essay, Connell argues against the use of the term “magic realism,” maintaining that it serves to stereotype the works of certain writers as primitive and “Third W...
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In the following essay, Mills examines magic realism in Gabriel García Márquez's novella Eréndira and his screenplay for the film.
“Magic realism” is a ter...
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In the following essay, Leal presents an overview of magic realism in Latin-American fiction.
In his article on “Magical Realism in Spanish American Fiction,” Professor Angel Flores p...
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In the following essay, Alter provides an overview of Israeli novels containing elements of magic realism.
Until the publication in 1986 of David Grossman's spectacular second novel, See Und...
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In the following essay, Moss discusses Salman Rushdie's self-referential parody of magic realism in his novels.
Magic realism is in danger of becoming what the Australian novelist Peter Care...
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In the following essay, Rabinowitz examines magic realism in works by American minority women.
I write as an outsider. As a woman, I will always be an outsider within patriarchal culture, as a whit...
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In the following essay, Bayles argues that Toni Morrison's use of magic realism led her to ignore her greatest strengths as a novelist and caused her work to be mediocre at best.
Eighteen ye...
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In the following essay, Saldivar traces the magic realism in the works of Ntozake Shange to both Latin-American and Afro-Caribbean influences.
It is probably true that critics of African and Afro-A...
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In the following essay, Foreman provides a feminist reading of the magic realism in works by Isabel Allende and Toni Morrison.
The storyteller takes what [she] tells from experience—[her] ow...
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In the following essay, Aizenberg contends that magic realism as it appears in Ben Okri's The Famished Road, as well as the works of other writers, frequently comments on social ills.
My top...
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In the following essay, Hart provides a feminist interpretation of Isabel Allende's Eva Luna.
Magic used to show the reader what equality between the sexes should be is a key technique emplo...
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In the following essay, Gaensbauer describes Leonora Carrington's works of magic realism as “subversive voyages of self-discovery.”
Surrealism has always been associated with t...
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In the following essay, Perricone briefly discusses magic realism in Isabel Allende's novel El Plan Infinito as a natural element of her characters' lives.
Isabel Allende's lat...
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In the following essay, Clark discusses magic realism in works by women writers of the Riverplate region of Argentina and Uruguay.
The Riverplate region of Argentina and Uruguay witnessed a floweri...
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In the following essay, Davidson argues that the magic realism in Alice Hoffman's novels is characterized by Romantic individualism.
When I was a child and hours inched with gargantuan infin...
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In the following essay, Hayes describes the magic realism of Gloria Naylor's novel Mama Day and the writing of other African Americans as “postmodern subversiveness at its best.
Three...
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In the following essay, Goh explores magic realism, feminism, and postmodernism in Angela Carter's short story collection Fireworks.
The work of deconstructing and dismantling “orient...
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In the following essay, Andrews argues for a revision of definitions of magic realism in Canadian literature based on Ann-Marie MacDonald's lesbian feminist novel Fall on Your Knees.
Magic r...
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In the following essay, Long-Innes explores the psychoanalytic implications of Mia Couto's use of magic realism in Voices Made Night.
Where does this black sun come from? Out of what eerie g...
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In the following essay, Ude examines magic realism in the works of early American writers.
A nation's literature cannot be studied only through the examination of content; a history of liter...
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In the following essay, Kinzie comments on elements of both magic realism and horror in the works of Steven Millhauser.
“Sinbad shifts in his seat.” So reads a sentence from a remarka...
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In the following essay, Hamblin discusses magic realism in the baseball stories of W. P. Kinsella.
As Robert Francis's well-known poem, “Pitcher,” persuades us, the actions and...
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In the following essay, Maillard discusses magic realist elements in Susan Kerslake's novel Middlewatch.
I read Susan Kerslake's first novel, Middlewatch,1 in the spring of 1977. I fo...
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In the following essay, Hancock provides an overview of magic realism in Canadian writing, arguing that Canada's vast wilderness and archeological history encourage a sense of the marvelous in ...
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Nobel Prize-winning novelist Gabriel Garcia Marquez returned Wednesday for the first time in a quarter century to his birthplace and inspiration for the fictional town Macondo, immortalized in his ...
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Nobel Prize-winning novelist Gabriel Garcia Marquez returned Wednesday for the first time in a quarter century to his birthplace and inspiration for the fictional town Macondo, immortalized in his ...
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Iran on Sunday condemned Britain's decision to knight Salman Rushdie, the author who was forced into hiding for a decade after the leader of the Iranian revolution ordered his assassination.Iran Fo...
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Benjamin Bratt, one of the stars of "Love in the Time of Cholera," says filming a work by Gabriel Garcia Marquez was a challenge of a lifetime.The movie, directed by Mike Newell, is the first major...
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Colombia celebrated the 80th birthday of Nobel Prize-winning novelist Gabriel Garcia Marquez on Tuesday with a vow to rebuild the author's childhood home in the banana-producing town of Aracataca a...
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It was the mighty Kenneth Tynan who said that among the things he could live without in the theater are Everyman characters with pretentious names like “Mr. Adam” or “Mr. Zero....
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Manhattan declared war on Brooklyn on Sept. 16, and the first casualties are Jonathan Safran Foer and Nicole Krauss. Writing in The American Scholar (www.theamericanscholar.org), Melvin Jules Bukie...
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A strikingly shot tale of Sicilian villagers seeking a better life in America, "Golden Door" is so minimalist, it's practically a silent film.There's little dialogue beyond what's needed, but then ...
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Takeshi Kawamura, Japan's avant-garde director and writer,
brought his production, ''Aoi/Komachi,'' to New York audiences for a
three-day run to highlight Noh as part of the Japan Society's
...
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Everyone remembers the blowhard on the movie line in Annie Hall. But almost nobody remembers that some of what he says is right.
“We saw the Fellini film,” he begins, and forget the bl...
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