In this regard, surrealism sees experience and perception as operating on a spectrum, with reality on one end and unreality on the other end. Surrealism and magical realism may be said to differ also in their conceptions of ‘unreality’: 9 While magical realism was not informed by a clear statement of aims as appeared in the surrealists’ manifesto, it appeared to Roe and other commentators that the artists they identified as exemplars of the mode in 1920s Europe were seeking to engage with material reality and with physical objects in the real world. 8Īlthough similar in their rejection of scientific rationalism, surrealism and magical realism therefore differed radically from the outset in how they viewed ‘reality.’ By unleashing the creative potential of the unconscious and invoking dreamlike experiences, the surrealists aimed explicitly in their art and literature to pervert and distort reality. 4 Melissa Stewart summarises how the antinomy has been variously conceived in terms of ‘antagonistic struggle’ 5 or ‘collision’ or ‘merging’ or ‘intersecting’ or of magic ‘extending’, or ‘expanding’, or ‘growing out of’ the real: 6 She concludes that all these descriptions are valid, indicating that ‘the potency of magical realism lies in its capacity to explore the protean relationship between what we consider rational (what is knowable, predictable, and controllable) and irrational (what is beyond our complete understanding and control).’ 7 The artist/writer’s creative ‘oscillation’ between the worlds or realms is fundamental to the understanding of magical realism. 3 John Erickson explains the relationship between the ‘magic’ and the ‘real’ with reference to two ‘diametrically opposed ontologies’ that are viewed as ‘coexisting’ on equal terms. Whereas surrealism is most commonly associated with painting and film, magical realist fiction has predominated to the extent that the mode’s origins in art have tended to be obscured.Ī key difference is that whereas surrealism projects a singular irrational and dream-like world, magical realism presupposes twin worlds or realms, one real/rational and the other magic/non-rational. 2 The difficulty of comparing one with the other is compounded by the existence of different literary and artistic forms. While surrealism is generally considered an artistic and literary ‘movement’ originating in France in 1924, 1 magical realism is more usually referred to as a ‘mode’, having evolved in a variety of forms over a longer time-frame in different geographical locations in a complex inter-relationship.
The progressive potential of magical realism to encourage reflection and reframe debates on current societal problems. The extent to which our own original fiction and artistic work can be considered ‘magical realist’. How far any revival of interest in magical realism in contemporary art and fiction is a reflection of political crisis and loss of confidence in western liberal democracies.
The representation of magical realist metaphors and similes in visual images. The representation of magical realist fiction in visual images.
Is magical realism more ‘real’ than realism? hereĤ. Was Marx a magical realist? Are magical realists Marxists? hereģ. How far can magical realism be considered an artistic and/or literary movement in its own right, distinct from other genres such as surrealism and fantasy? hereĢ. We explore the progressive potential of magical realism to encourage reflection on current social and environmental issues.ġ.
We consider how far any revival of interest in magical realism in art, fiction and academic commentary reflects political crisis and loss of confidence in western liberal democracy. We discuss theoretical questions and investigate the enduring appeal of magical realism in representations of fact and fantasy in contemporary society.
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