By Stephen M. Hart, Wen-chin Ouyang
This new better half to Magical Realism presents an review of the world-wide influence of a circulate which used to be incubated in Germany, flourished in Latin the US after which unfold to the remainder of the area. It presents a suite of updated exams of the paintings of writers regularly linked to magical realism similar to Gabriel GarcÃa Márquez (in specific his lately released memoirs), Alejo Carpentier, Miguel ngel Asturias, Juan Rulfo, Isabel Allende, Laura Esquivel and Salman Rushdie, in addition to bringing into the fold new authors comparable to W.B. Yeats, Seamus Heaney, José Saramago, Dorit Rabinyan, Ovid, MarÃa Luisa Bombal, Ibrahim al-Kawni, Mayra Montero, Nakagami Kenji, José Eustasio Rivera and Elias Khoury, mentioned for the 1st time within the context of magical realism. Written in a jargon-free variety, and with all quotations translated into English, this publication deals a fresh new interdisciplinary slant on magical realism as a global literary phenomenon rising from the trauma of colonial dispossession. The significant other additionally has a advisor to extra interpreting.
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Additional resources for A Companion to Magical Realism
Example text
This character, like Funes the memorious, suffers from a visual dysfunction. His mind’s eye is blinded by a single material object, as Funes is blinded by an infinite proliferation of objects. If ‘Tlön, Uqbar, Orbis Tertius’ takes idealism to its logical (and absurd) extreme, ‘The Zahir’ and ‘Funes the Memorious’ do the same with pragmatism. Recognizing this play of extremes, I would suggest – I already have – that it is the impossible, idealizing language of Tlön to which Borges himself aspires, and the utterly specific language of Funes that he works to subvert in all of his fiction.
See Fernández’s essay in this volume, ‘La doble cuerda: Franz Roh, teórico y fotógrafo’, p. 13. 4 Leipzig: Klinkhardt and Biermann. 5 Franz Roh, Realismo mágico, post expresionismo: problemas de la pintura europea más reciente, translated from the German by Fernando Vela (Madrid: Revista de Occidente, 1927). In fact, the essay version of Roh’s text published in Ortega’s magazine omits the term post expresionismo altogether. Revista de Occidente, 16 (April, May, June 1927), 274–301. 6 From the preface to Realismo mágico, post expresionismo; see Wendy B.
Objects, it seems, may magically change their form and substance according to the world they occupy, but Borges’ narrator remains nostalgic for Tlön’s ideal objects and repelled by its real ones. I would propose that Borges, like the idealists in Tlön, is a universalizer who must confront the same problem as they: he must write about ideal worlds in material terms, and describe universals in the relentlessly specific medium of language. Recall that the speakers of Tlön have devised a strategy for dealing with this problem by undermining the specificity of language: they create ‘poetic objects’ by combining adjectives that circle around the thing itself but do not name it.