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Magic Realism By Sriparna Mukherjee

Since the 1980s, expressions like "magic realism," "magical realism," and "marvellous realism" have proliferated and grown absurd. These terms appear to be made up of contrasting words. It is required and mandatory to fill out a form that illustrates the relationship produced by these mutually incompatible phrases. Of the three words described above, "magical realism" has grown in popularity in recent years.

The ability to explore many reality-based approaches in western philosophy is what a narrative method actually provides. These ideas are embodied in numerous post-colonial and non-Western fictional works, including the works of renowned authors like Gabriel Garcia Marquez. No literary style has, to yet, been as well-liked by average readers, but critics and writers are concerned that the phrase has degenerated into a "obscure cliché."

The term "magical realism" can be described in two different ways: 1) as a methodology for presenting a tale, and 2) as a strategy for telling a story based on a certain perspective on reality. According to the definitions given above, this school is more than just a method; rather, it is a type of belief in reality, a world that is more intricate and enigmatic than it first appears to be. Together actuality, this school is a concoction of tales, folklore, and legendary components mixed in with everyday life.

According to this definition, in this school, improbable occurrences take place inside the framework of a narrative that appears to be true, but these events may only appear improbable, unrealistic, or false from the viewpoint of the reader. These occurrences are within the realm of possibility for the author and the story's characters. This distinguishes magical realism from other types of storytelling. In a survey of the history of storytelling, we find that the terms myth, fables, romance, social realism stories, science fiction stories, and fantasy stories all have distinct definitions for the events that look real and the events that originate in the mind and are unlikely. There is no distinction between fantasy and reality in magic realism, as real elements mix with imaginary elements to become realistic.

The majority of stories have aspects of fiction, yet the sheer presence of these elements does not qualify a story as magical realism. Magical realism allows for an unbelievable phenomenon to take place in a realistic context because it "does not entirely belong to the domain of imagination and not to the world of reality and experience, but it has an independent feature."

This school's emergence and rapid expansion in Latin America are linked to the long-term repression of colonial governments and domestic self-dictatorships, the study of Indian myths and cultures by western anthropologists, the strong desire of this people to recount historical events, and the pressure of these events on the country and writers who ultimately were not permitted to express reality freely. A specific type of realism was developed as a result of all these aspects. In order to stimulate public thought, latin American authors have opted to express themselves in this manner, which may be seen as a unique approach of the school of realism. Of fact, this institution is regarded as a particular one designed especially for the developing globe.

Additionally, it examines the remote connections between these societies primordial minds, which are wholly foreign to western culture. This university is concerned with how native myths appear in Latin American realities. While being unique to each country, it has established its own world; in the future, its combined consequences might also manifest.

Sriparna Mukherjee
Amity University, Kolkata


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