Why Magical Realism in Spanish American Fiction is a Point of Reference for Many Literary Writers?

It is widely acknowledged that Magical Realism in Spanish American fiction has made a tremendous contribution to the world literature in general due to the reason that this particular trend later manifested itself in the works of other prominent writers. The essence of the literary masterpieces written in the genre of Magical Realism consists of a combination of features that manifested themselves in the presence of magical or rather fantastic features in realistic settings. The beginning of Magical Realism is believed to be connected with the name of Gabriel García Márquez and his novel One Hundred Years of Solitude. He was the first one to depict reality by ingraining the "magical" features into the plotline and was later followed by the contemporary writers. Presumably, the Magical Realism has stimulated increasing interest owing to the peculiar way of representing Latin American reality, thus becoming a point of reference for many literary writers.

Magical Realism aimed at drawing the links between Latin American mythic traditions and the real life. These particular links constitute a vivid example of literature that took into account the past myths and traditions. The Latin Americans were marked by the unconditional belief in the good and evil that was displayed in Gabriel García Márquez"s creative writing (Margolis 50). Among the contemporary writers that stick to the traditions of Magical Realism, one may find Bulgakov, Haruki Murakami, Salman Rushdie, etc. It is obvious that the main reason for using the tendencies of Magical Realism consist in its masterful way of representing reality. The matter is that with the help of "magical" features the potential reader is able to comprehend the reality as it is. According to Ahmad and Afsar, "Magical realism allows metafictional self-reflexivity work in an equilbrium with literature and history" (21). Seemingly, the works written in accordance with the traditions of Magical Realism become the points of reference due to the fact that they have a rich historical and mythical background. Stanford puts an emphasis on the assumption that Spanish American Magical Realism is "The product of revolutions, uprisings, repressions and conquest, it is violent and beautiful, native and cosmopolitan" (57). Being a point of reference, Magical Realism stands for the literary way of representing a social protest and the anti-colonial moods in Latin America. Unfortunately, not all the modern writers can approach this genre properly, as in the context of Spanish American fiction it is a mixture of revolutionary ideas.

To sum up the foregoing, Magical Realism that was commenced as a genre by Latin American writers is still a point of reference nowadays. Its popularity and relevance manifest itself in the endless occurrence of social protests all over the world. Magic Realism serves as a way of preservation of cultural traditions by means of mythical depiction of reality.

Works Cited

Ahmad, Mustanir, and Ayaz Afsar. "Magical Realism, Social Protest and Anti-Colonial Sentiments in One Hundred Years of Solitude: An Instance of Historiographic Metafiction." Asian Journal of Latin American Studies 27.2 (2014): 1-26. Print.

Margolis, Mac. "Is Magical Realism Dead?" Newsweek (Atlantic Edition) 139.18 (2002): 50. Print.

Stanford, Amanda Theresa. "Outsized Reality: How 'Magical Realism' Hijacked Modern Latin American Fiction." British Library EThOS. 2013. Web. 30 Oct. 2014.

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