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By Stephen M. Hart, Wen-chin Ouyang

This new spouse to Magical Realism offers an evaluation of the world-wide impression of a move which used to be incubated in Germany, flourished in Latin the US after which unfold to the remainder of the area. It presents a suite of updated exams of the paintings of writers normally linked to magical realism similar to Gabriel García Márquez (in specific his lately released memoirs), Alejo Carpentier, Miguel ngel Asturias, Juan Rulfo, Isabel Allende, Laura Esquivel and Salman Rushdie, in addition to bringing into the fold new authors corresponding to W.B. Yeats, Seamus Heaney, José Saramago, Dorit Rabinyan, Ovid, María Luisa Bombal, Ibrahim al-Kawni, Mayra Montero, Nakagami Kenji, José Eustasio Rivera and Elias Khoury, mentioned for the 1st time within the context of magical realism. Written in a jargon-free kind, and with all quotations translated into English, this ebook deals a clean new interdisciplinary slant on magical realism as a global literary phenomenon rising from the trauma of colonial dispossession. The spouse additionally has a consultant to extra examining.

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H. Beck, 1969), p. 479. I am indebted for this reference to Irene Guenther, ‘Magic Realism in the Weimar Republic’, in Magical Realism: Theory, History, Community, eds Lois Parkinson Zamora and Wendy B. Faris (Durham, NC: Duke University Press, 1995), pp. 34, 64, n. 15. See also Christopher Warnes, ‘ “Eternal Crevices of Unreason”: Magical Realism in its Historical and Cultural Contexts’, unpublished manuscript. , Franz Roh: teórico y fotógrafo (Valencia: IVAM Centro Julio González, 1997), p. 9.

In either case, we can fruitfully 14 José Ortega y Gasset, ‘The Dehumanization of Art’ (1925), trans. Helene Weyl, in The Dehumanization of Art and Other Essays on Art, Culture, and Literature (Princeton: Princeton University Press, 1968), p. 28, my emphasis. E. Hulme, Speculations: Essays on Humanism and the Philosophy of Art, ed. Herbert Read (New York: Harcourt and Brace & Co, 1936), p. 126. 16 Borges, ‘La metáfora’, in Obras completas, p. 382, my translation. Borges is describing the kennings of the Icelandic poet Snorri Sturluson, as we will see shortly.

See also Beret E. Strong, The Poetic Avant-Garde: The Groups of Borges, Auden and Breton (Evanston: Northwestern University Press, 1997). 18 Jorge Luis Borges, with Margarita Guerrero, ‘Fauna of Mirrors’, in The Book of Imaginary Beings, rev. and trans. Norman Thomas di Giovanni (London: Penguin, 1974), pp. 67–8. 19 Borges, ‘Pascal’s Sphere’, trans. Suzanne Jill Levine, in Selected Non-Fictions, ed. Eliot Weinberger (New York: Viking, 1999), p. 352. qxd 36 9/21/05 6:16 PM Page 36 LOIS PARKINSON ZAMORA These objects are ‘secondary’ in the same sense that all visual and verbal representations of material objects are secondary, but the narrator tells us that hrönir, themselves replicas, may also replicate themselves endlessly, each copy thus progressively removed from its ‘real’ object.

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