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- How much could/should a genre intersect with real-world society, politics, and/or geography?
- What groups write magical realism? What groups should?
- What is the difference between magical realism and modernism?

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- What other magical realism have you read for school(s)? Where have you come across magical realism outside of classes directly about it?
- How does this reflect and/or contradict the map/timeline?
- Do you think the genre is represented well? Why or why not? What might you add/remove/change?
- How might reading these works in an educational/academic setting change your interpretation of these works?

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Lastly, try coming up with your own magical realist story!

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Lastly, try coming up with your own magical realist story!

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- What did you take inspiration from?
- What was the "magic"? What purpose did it serve?
- What felt easier to express through this genre? What felt harder?

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Where does magical realism appear at CSW?

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Where does magical realism appear at CSW?

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Examples of magical realist books I have read for CSW classes:
- Like Water for Chocolate by Laura Esquivel (Food and Culture)
- Ascent to Omai by Wilson Harris (WAR 2)
- Beloved by Toni Morrison (Toni Morrison)
- 100 Years of Solitude by Gabriel Garcia Marquez (100 Years of Solitude)

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This is based on a real history of banana companies and a real Banana Massacre

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This is based on a real history of banana companies and a real Banana Massacre

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Footnotes:
1. "Magical Realism," Postcolonial Studies at Emory, accessed April 22, 2021, https://scholarblogs.emory.edu/postcolonialstudies/2014/06/21/magical-realism/.
2. Fernando Sdrigotti, "What We Talk about When We Talk about Magical Realism," Los Angeles Review of Books, last modified October 2, 2020, accessed April 22, 2021, https://lareviewofbooks.org/article/what-we-talk-about-when-we-talk-about-magical-realism/.
3. Liam Connell, "Discarding Magic Realism: Modernism, Anthropology, and Critical Practice."
4. Toni Morrison, Beloved (1987).
5. Gabriel Garcia Marquez, One Hundred Years of Solitude (1967).

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Sources for Who Are We - Magical Realism

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[Many] magical realist works present nonfictional events and societal behaviors as less believable than the "magic", identifying aspects of the modern world that cannot be explained with "where we are from" alone.

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[Many] magical realist works present nonfictional events and societal behaviors as less believable than the "magic", identifying aspects of the modern world that cannot be explained with "where we are from" alone.

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"He did not believe the version of the massacre or the nightmare trip of the train loaded with corpses traveling toward the sea either. The night before he had read an extraordinary proclamation to the nation which said that the workers had left the station and had returned home in peaceful groups." (5)

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The Famished Road is often regarded as an important/influential magical realist book. Why might it be so low on this list? What importance do the blank countries on the map have?

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"I remember a review of Sula in which the interviewer said, 'One day, she', meaning me, 'will have to face up to the real responsibilities, and get mature, and write about the real confrontation for black people, which is white people,' as though our lives have no meaning and no depth without the white gaze; and I have spent my entire writing life trying to make sure that the white gaze was not the dominant one in any of my books." (4)

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Colombia, Cuba, India, Japan, and Peru (and all countries represented by a single book) are entirely represented by one author.

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- What do you notice about the map? About the timeline?
- What geographical, social, and/or political similarities and/or differences might appear between these locations? What conclusions could/should you draw from this?
- Are there correlations between historical events and the timeline? (Keep in mind books can take a couple years to write)
- What information is missing? How does the source (Goodreads) factor into what you take away from this data?

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What are the pros and cons of a genre being so heavily defined by one work/creator?

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The actual definition of magical realism is up for debate. With what you know, how would you define it? Should it be defined?

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- Do you agree with these arguments? Why or why not?
- What pros and cons are there to an "authentic" culture of global influences, and/or of designating specific cultural backgrounds?
- If magical realism is about the union of these "opposites", should we analyze magical realist works by separating these cultural backgrounds? How else might one analyze them?

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100 Years of Solitude, as well as its author, Gabriel Garcia Marquez, have been very influential in the movement of magical realism and its place in Latin American literature.

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Timeline: When the 50 books were published

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Timeline: When the 50 books were published

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Goodreads: Favorite Magical Realism Novels - Top 50 Books by Author's Place of Birth and Year of Publication

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#15 on the list
Author born in the U.S.

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#145 on the list (not on the map)
Author born in Nigeria

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#1 on the list
Author born in Colombia

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Blue: Questions for Thinking / Discussion

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Magical realist works (unintentionally) leave academics to designate different aspects of the narratives to specific cultural backgrounds.

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Magical realist works (unintentionally) leave academics to designate different aspects of the narratives to specific cultural backgrounds.

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This creates a notion of an "authentic" part of Latin American culture defined by its global influences.

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This creates a notion of an "authentic" part of Latin American culture defined by its global influences.

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"It aims to seize the paradox of the union of opposites; for instance, it challenges binary oppositions like ... the pre-colonial past versus the post-industrial present." (1)

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"This is a label but also a demand: the demand that Latin American literature fit the label. ... As Jorge Volpi puts it, ... it has 'erased, with a single [stroke], all of Latin America’s previous explorations … and it became a choke-chain for those writers who didn’t show any interest in magic.'” (2)

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"James Clifford has argued, in The Predicament of Culture, that interest in "traditional" art forms tends to locate such art production as anterior, as existing prior to, and without reference to, the modern world. Not only does this obscure the fact that art is still being made by such peoples, but it also serves to 'locate 'tribal' people in a nonhistorical time and ourselves in a different historical time'." (3)

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Red: Arguments

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Purple: Quotes

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Orange: Information

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Magical Realism: Inclusion of magical or surreal elements in a realistic setting

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"William Spindler, in 'Magic Realism: A Typology' (1993), offers a definition of what he calls 'anthropological Magic Realism' ... [which] Spindler says, 'presents two contrasting views of the world (one rational, modern and discursive; the other magical, traditional and intuitive) as if they were not contradictory'. For Spindler, the first of these views is clearly associated with Europe, the second with non-European folk-culture." (3)

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Popular Magical Realist Novels Around the World

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Popular Magical Realist Novels Around the World

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This map shows the top 50 books on Goodreads' "Favorite Magical Realism in Novels", organized by the authors' countries of birth. (Each book is given a score determined by member votes, which then determines the book's place on the list.)

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Goodreads: Favorite Magical Realism Novels - Top 50 Books by Authors' Countries of Birth