This is the most succinct explanation of magical realism that I have seen lately:
Magical realism is when the world is about 95% normal, but 5% magical/mystical and that magic is a totally natural part of the world.
@MadmoiselleClel (Clelia Gore on Twitter)
If you’re looking for a literary agent on Twitter you will find many agents and editors asking for magical realism in children’s books at the moment. They are also complaining that they’re not getting enough of it. When an author says, “Hey I’ve got some for you!” it’s not magical realism at all.
The characteristics as listed by Wendy B. Faris are sometimes used by academics:
Wendy Faris’s Five Characteristics of Magical Realism
- An irreducible element of magic;
- A grounding in the phenomenal world, i.e., the realistic world;
- The production of unsettling doubts in the reader because of this mixture of the real and the fantastic;
- The near merging of two realms or worlds; and
- Disruptions of traditional ideas about time, space, and identity
Agent Michelle Witte has a much more detailed series of blog posts defining exactly what magical realism is and is not.
Essentially, magical realism is:
Real-world setting + fantastical elements = magical realism
In visual terms, think of it as a photo that’s blurred around the edges to give it an ethereal, almost otherworldly quality. It has the feel of magic—that anything is possible.
Magical realism focuses on ordinary people going about the humdrum activities of daily life. Everything is normal—except for one or two elements that go beyond the realm of possibility, whether it be magic or fate or a physical connection with the earth and the creatures that inhabit it, but always in a way that celebrates the mundane.
FABULISM OR MAGICAL REALISM?
Bear in mind that the definition of magical realism varies, depending on who you ask. Here is another point of view:
Michelle Witte argues that in fact magical realism did not originate in South America:
Despite the common misconception, magical realism didn’t originate in South America. Instead, German art critic Franz Roch coined the term “magical realism” in 1925 to describe the New Objectivity style of painting. A few years later, the concept of magical realism crossed the ocean to South America, where it was adopted and popularized by Latin American authors throughout the twentieth century as lo real maravilloso, the marvelous real. Notable writers include Jorge Luis Borges, Gabriel Garcia Marquez, and Isabel Allende, among numerous others.
While Hispanic writers were—and still are—a major influence in modern magical realistic literature, the style is not limited to a specific time or place. In fact, writers from across the world have adopted and adapted magical realism to fit their own cultures and within their own frame of reference.
Fifty years on, One Hundred Years of Solitude is still providing profound insights into our evolving human tale where horrors co-exist with wonders, where absurdities don’t provoke a blink.
One Hundred Years of Solitude is 50. Its magic realism is immortal, from Scroll.in.
This Vox article does a great job of summarising the debates around the term magical realism, and who may use it.
Here’s a list of magical realist children’s books, which I am calling ‘fabulism’ to be safe: Fabulism In Children’s Literature
And here’s a discussion which begins with the question: The genre magical realism came to be in the German language. Yet, Latin American has had a home for the genre. Why is this?