Zamora and Faris, "Magical Realism:Theory, History, Community" (Book Note)

 

Ever since its emergence in Germany in 1925, the term "magical realism" has undergone a dynamic history, experiencing significant shifts in fortune and geographical influence. While it may have lost some of its luster among Latin American authors and scholars who once brought it to prominence in the 1960s, magical realism continues to maintain broad and enduring appeal. This volume, "Magical Realism: Theory, History, Community," skillfully navigates the complex currents that define magical realism's history. The editors, in their Introduction, openly advocate for the transformation of magical realism into an "international commodity," recognizing its continued resonance in the post-colonial world and metropolitan centers.

 

Compiled and executed by two accomplished comparatist scholars with strong Latin Americanist backgrounds, the volume provides a meticulous review of the term's history. The decision to thoroughly revisit the term's evolution adds authority to the editors' efforts. However, there are two notable errors in Latin American literary facts within the volume, specifically regarding Carpentier's novel and the authorship of "El mundo es ancho y ajeno."

 

Out of the 23 essays, ten present new and unpublished material, while the remaining thirteen are reprinted, either in revised or unrevised form, from diverse sources. The opening section features these reprinted essays, including Franz Roh's original 1925 essay and Alejo Carpentier's manifesto from the 1940s. The editors' intention to widen the scope of magical realism is evident in the essays' diverse approaches and the inclusion of primary texts from Europe, America, Africa, and Asia. Essays by John Erickson on French-African novels and Susan Napier's exploration of modern Japanese fiction showcase the volume's effort to extend magical realism beyond its traditional Latin American context. While Latin American boom texts receive less attention, there is a deliberate shift toward examining "post-colonial" literatures, particularly from former British colonies.

The volume organizes its essays into four main sections: Foundations, Theory, History, and Community. While these categories aim to comprehensively explore the subject, the editors acknowledge the challenges of neatly compartmentalizing the diverse facets of magical realism. The "Foundations" section serves as a functional and objective introduction, while the "Community" section reflects the editors' strategic interests. Paradoxically, the "Theory" section often delves into the literary history of magical realism, while the essays in the "History" section incorporate strong theoretical perspectives into their discussions of historical contexts.

 

"Magical Realism: Theory, History, Community" does not claim to offer definitive solutions to the theoretical and historical challenges posed by the term. Some essays suggest that magical realism might simply refer to works following the style of Gabriel Garcia Márquez's "One Hundred Years of Solitude." However, certain essays are criticized for reducing magical realism to a purely textual phenomenon. The most compelling essays, in contrast, are those that strive to specify and diversify the concept. They identify various kinds and strands of magical realism, recognizing the local and concrete uses and functions of magical realist elements. Noteworthy contributions in this regard come from essays by D'haen, Delbaere-Garant, and Parkinson Zamora.