Introduction
Magical realism is essentially a literary style. Its name and definition combine two significant elements: magical and real. Specifically, the characteristics of this combination include realistic settings, critique, magical elements, limited information, and a unique plot. All these parts come together to create unique pieces of literature, such as “The Gospel According to Mark” by Borges (1981).
In fact, Borges was one of the pioneers of the genre, who established its distinct qualities and elements. Therefore, his work presents a good case study of magical realism. “The Gospel According to Mark” offers a practical definition of magical realism through its retelling of biblical stories.
Magical Realism in “The Gospel According to Mark”
Borges’s work contains all the essential elements of magical realism. First, the story features a unique plot development in the form of a twist, specifically the crucifixion. Second, this plot twist is possible mainly because the limited information provided to the audience helps maintain the mystery.
Third, the theme of crucifixion was chosen intentionally by Borges, as he intervenes in societal critiques by writing about such a significant event in human history. He raises questions about human nature, loyalty, and generosity, prompting the reader to think critically. At the core of his work, however, lie magical elements in the form of divine power and familiar realistic settings of the everyday world. By synthesizing these elements, Borges establishes the definition of magical realism in his work, the genre that mixes the magical and the real.
Comparison of Borges’ Magical Realism with Other Works
Due to the nature of magical realism, which combines magic and reality, this genre differs significantly from others, including realism and modernism. The distinction between magical realism and realism is straightforward. According to Chanady (2019), while realism aims to faithfully portray reality in all its details, magical realism is free to incorporate magical elements as part of its narrative.
Realism of Anna Karenina vs. Magical Realism of Harry Potter
For example, the famous work of realism, Anna Karenina by Tolstoy and Gerasimov (1969), can be compared to the modern book of magical realism, Harry Potter by J.K. Rowling (2008). The first one is talking about the tragic life of a woman, sticking to the standard rules of reality, and showing the grim picture of how little women could do during that time.
On the other hand, the second story is about a young wizard struggling with his newfound powers and revelations about his past. This book does not shy away from incorporating magical elements and strays from reality to convey its core message. Thus, the main distinction between the works and genres is the presence of magical things.
Modernism of The Great Gatsby
Magical realism is also distinct from the genre that emerged after realism, modernism. One of the most popular books of modernism, The Great Gatsby by Fitzgerald (1925), can serve as a good example for comparison. The work incorporates several unique characteristics of modernism, which are absent from magical realism. These characteristics include experimentation, absurdity, and symbolism. The lavish world of Gatsby brings absurdity to the table, contrasting the relatively simplistic nature of magical realism works, as Rajabi et al. (2020) point out.
In “The Gospel According to Mark” and “Harry Potter,” characters lead relatively simple lives. The events around them, even though magical, seem to be in tune with their world and story. On the other hand, in “The Great Gatsby,” people often use symbolic language. The story and the world are highly unique to the post-apocalyptic setting. Therefore, modernism differs from magical realism in its elements and characteristics.
Conclusion
Magical realism is a literary genre distinct from others in its elements. These main elements are magical things set against the backdrop of everyday, familiar reality. This makes magical realism stand out among other genres, including realism and modernism, as the former lacks magic and the latter – a realistic setting. Due to the limited information, other possible elements of magical realism works are unique plot points, critique, and mystery.
References
Borges, J. L. (1981). The Gospel According to Mark. Collected Fictions, 397-401. Web.
Chanady, A. B. (2019). Magical realism and the fantastic: Resolved versus unresolved antinomy. Routledge. Web.
Fitzgerald, F. S. (1991). The Great Gatsby (1925). Amerlit. Web.
Rajabi, A., Azizi, M., & Akbari, M. (2020). Magical realism: The magic of realism. Rupkatha Journal on Interdisciplinary Studies in Humanities, 12(2), 1-13. Web.
Rowling, J. K., & Lauer, G. (2008). Harry potter. London: Bloomsbury. Web.
Tolstoj, L. N., & Gerasimov, V. (1969). Anna Karenina. Cambridge: BHB. Web.