At one moment a character is standing in a room in his or her own house at the next moment, a specter arrives and engages in dialogue. Its relationship to realism is different from the gothic’s, in that the boundary markers between mimesis (Greek for "realistic imitation") and antimimesis in magical realism are far more fluid and permeable. Magical realism comes to us first from Latin America, though it has also taken strong root elsewhere, and carries with it a particular ideological resonance that identifies it closely with postcolonial politics. In this essay I look at the gothic alongside its more overtly politicized sister form, magical realism - with which it is interacting increasingly - to consider to what extent the terrain that lies on the blurry boundary between these two modes of writing shifts in response to a larger political impetus that rejects the world of confidences and its political tricksters. But is this because, given its emphasis upon the interior (including the interiority of psychology and pathology), we seal our gothic reading away from our everyday political concerns? I think not. For it remains the case that the gothic, a form of literature and culture wedded to anachronism, the interior and its claustrophobic secrets, the pathological and its sick desires, continues to enthrall ever new generations of Western readers. Our literary appetites, however, seem to move in the opposite direction to those of our politics. One might also argue that, in literary terms, clarity is associated most clearly with the transparency of literary realism, for in setting up a mirror to life, the realist text purports to eschew the dark corners in which secrets lurk. Such transparency is, for the Western world, redolent with democratic ideals.
4, The Visionary Impulse: An American Tendency, CAA, JSTOR, 1985.We live today in a world of transparency and open-access information systems: global communication, transglobal travel, freedom of information requests, and twenty-four-hour digital communications. "Magic Realism: Defining the Indefinite." Art Journal. "Salman Rushdie on Gabriel García Márquez: 'His world was mine.'" The Telegraph, April 25, 2014. "Magical Realism: Definitions." Arizona State University, May 23, 2002, Tempe, AZ. "Paraspheres: Extending Beyond the Spheres of Literary and Genre Fiction: Fabulist and New Wave Fabulist Stories." Paperback, Omnidawn Publishing, June 1, 1967. "Block magic: categorization, creation, and influence of Francesca Lia Block’s Enchanted America." UBC Theses and Dissertations, The University of British Columbia, 2004. Faris, Duke University Press, January 1995. "Magical Realism in Spanish American Literature." Lois Parkinson Zamora (Editor), Wendy B. "The Buried Giant." Vintage International, Paperback, Reprint edition, Vintage, January 5, 2016.
2, American Association of Teachers of Spanish and Portuguese, JSTOR, May 1955. "Magical Realism in Spanish American Fiction." Hispania, Vol. "The Origins of Gabriel Garcia Marquez's Magic Realism." The Atlantic, April 17, 2014. "Our Lives Became Unmanageable." The Omnidawn Fabulist Fiction Prize, Paperback, Omnidawn, October 4, 2016. "Review: Kazuo Ishiguro's 'The Buried Giant' defies easy categorization." The Washington Post, February 24, 2015.
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