I am rereading 100 Years of Solitude by the phenomenal Gabriel García Márquez, and what strikes me from a craft point of view is the delicious “intrusions,” for lack of a better word, of an element of fantasy or magic. Dubbed “magical realism” by the literary establishment decades ago, Marquez’s style (along with that of other well-known Latin American writers) seems like realistic prose at first, but then there are superhuman or unnatural elements introduced. I don’t need to elaborate here, for readers are certainly familiar with García Márquez’s works (Love in the Time of Cholera is another marvelous novel.) But this has led me to think about literature and art that takes us out of the ordinary realm–something that feels necessary when so much modern fiction is based in reality and personal experience. Have we lost our ability to think, to imagine, to go beyond the ordinary?
Outside of genre fiction and fantasy fiction, which are indeed thriving, we do have some noteworthy authors who do not write strictly realistic fiction: Salman Rushdie and Margaret Atwood immediately come to mind. I feel we need to encourage writers to do more of this, to create worlds, go beyond the pedagogical cliché of “write what you know.” Perhaps that tenant has done more disservice to fiction writing, and would be best rephrased as, “write what you understand.” There is a significant difference: knowing implies a familiarity with a situation, a body of knowledge, a certain mastery of the topic. Understand implies an innate knowing, what one grasps, and one may have acquired that knowledge in different ways or simply through intuition.
In music, think about the phenomena of glam rock as well as 80s new wave bands, who were the former’s successors. In both genres, there is an exaggeration of appearance, of form, of fashion. Though he was later the Thin White Duke, David Bowie’s 1970s Ziggy Stardust was a unique creation, an alien alter ego who was not clad in Doc Martens and jeans. Even Led Zeppelin, who were certainly much more real and not glam rockers, brought an element of the mystical and poetic to their performance–after all, they sang about Viking raids as though they were a common occurrence. We see this continue today, with artists like Janelle Monáe or Lady Gaga (whom I feel is derivative and unoriginal and does best when interpreting others’ works, such as in her excellent performance in “A Star Is Born.”) A lot of ambient music and electronica has an ethereal or unearthly quality to it. Some of it is easier and more enjoyable to listen to than others. We cannot conclude without mentioning Icelandic visionary Björk, who is a mistress of reinvention and truly beyond the ordinary. Each incarnation she becomes is more revolutionary than the last, and we never know what will come next. Her music is almost impossible to categorize, and that is wonderful.
Painter Salvador Dali challenged us with his revolutionary surreal artwork. Why should there be an eyeball in a random place? Who cares; it is what it is, perhaps what our subconscious understands. Francis Bacon’s grotesqueries are certainly unique and far from ordinary: distorted faces and gaping mouths. David Hockney might be painting ordinary scenes of men and swimming pools or fields with flowers, but his use of color takes us out of reality into a vivid, multi-hued world. In the world of fashion, we have the bizarre brilliance of the late Alexander McQueen, who clothes were really more like costumes rather than typical runway or off the rack wear. Issey Miyake also creates works of art with fabric that just happen to be things one can wear on one’s body.
To be able to imagine and create in fantastical ways brings us back in touch with a part of ourselves that we had so strongly in childhood. Why be prosaic all the time, realistic, ordinary? These artists and more have challenged us to see and feel in a different way and have all created an aesthetic of their own. The best artists always do this, and that’s why we love them so dearly.
2 thoughts on “A Necessary Dose of Magic in Our Lives?”
Actually, Marquez used magical realism a political device: “When writers find it difficult to express their views and ideologies during oppressive regimes, they often choose magical realism. Magical realism has become a popular narrative mode because it offers to the writer wishing to write against totalitarian regimes a means to attack the definitions and assumptions which support such systems (e.g. colonialism) by attacking the stability of the definitions upon which these systems rely.”
I find it interesting that you discuss painting in relation to this term because it first evolved from early 20th century painters and then was appropriated by poets and other writers.
Finally, I think Americans are currently gravitating towards realistic fiction (and nonfiction) because of the crises that are facing our nation and the world are facing–this situation may be similar to realistic fiction that was both written and consumed during the 1930s, also a time in which democracy was at great threat. (Thus teens enjoy reading dystopian fiction as it reflect the world they see around them.) On the other hand, I am currently reading George Saunders and am learning that writing can be both a blend of fantasy and realism and still be utterly powerful. In short, I believe that writers tap into the pulse of the times and write accordingly.
Most importantly, thank you for discussing Marquez’s great novel! I think I will suggest this one for August’s discussion.
Your words and insights are fantastic, Todd! I did not know it evolved from early 20th century painters, but it seems like it is a natural parallel. And you are very wise in saying how what we choose to read reflects the circumstances we are in. Many thanks for your wonderful comments.