Elements Of Magical Realism In Gabrielle Zevin's Elsewhere

Christian Rossetti utilizes a unique insight into her works of ‘Maude Clare’, ‘Goblin Market’ and ‘Amor Mundi’ to express the struggle of religious values of the Victorian era. Throughout the three passages Rossetti uses devices such as alliteration, repetition and symbolism in order to express sentiment.

Accused witches were forced to admit to various practices believed to be witchcraft. Details from the French Court of Rieux and the insanity that ensued are jaw dropping by today’s standards. Suzanne Gaudry’s judgement confession was no different, being forced and tortured into confessions including having given herself to the devil, renouncement of God, lent and Baptism. Moreover, Gaudry was also forced to confess that she had cohabited with the devil as well received the devil’s mark on her shoulder and being at dances. Of note however, the judgement confession seems to acknowledge Gaudry having technically only confessed to having had killed by poison, Philip Coine’s horse. Nevertheless, Gaudry’s confession was made

Marie de France, supposed author of the series of Lais, recounts her stories through short texts, which are centered on women and their place in the 12th century. There are several supernatural elements throughout her work, which are mainly and explicitly present in ‘Guigemar’ and ‘Yonec’. This can be defined as ‘events or things that cannot be explained by nature or science and that are assumed to come from beyond or to originate from otherworldly forces.’ It is not however the only narrative device she has used in her written pieces. It is with the combination of the supernatural with the self-propelled ship or the transformation of the hawk into a knight, and the natural, the symoblisation of the stick and the rossignol, that Marie de France explores human relations between her characters.

Bone Gap by Laura Ruby takes readers on a journey of magic realism in the small town of Bone Gap, Illinois. This young adult novel features brothers, Sean and Finn O’Sullivan, as they struggle through feelings of rejection and loneliness due to continuous abandonment. When the beloved Roza mysteriously disappears, it only adds to the previous loss of their father and desertion of their mother. As the novel progresses, the line between reality and fantasy blurs while a determined Finn strives to find Roza. Unfortunately, Finn cannot remember the face of the kidnapper. Despite this, Finn continues his quest to deliver Roza from the dangerous kidnapper, but while doing so, Finn uncovers a magical secret. This magical secret questions truth

There are many perspectives and definitions on art, an abstract topic. In the world of books, nothing is considered art unless the novel can engage the readers through the author's use of emotions and stylistic syntax. Using Groen's essay “Books Still Win” tragic realism is seen in Joshua Ferris' novel “Then We Came to the End.” Tragic realism is evident in Ferris' novel through the fact there is both good and bad within a person, that life improves with struggles and that sadness is always evident.

As Peter S Beagle says, “You ever want to see real witchcraft, you watch people protecting their comfort, their beliefs.” This quote is saying if you want to truly understand someone, learn about what they believe in. It all began in Salem, Massachusetts in 1692. The accusations toward people who were thought to be witches was on the rise. These would not be the kind of witches a person would think about in today 's world, but women and men who were put on trial for witchcraft hysteria, which in turn caused mass hysteria. Based on the excerpts from Carol Karlsen and Laurie Winn Carlson, there are two main theories about the Salem Witchcraft Hysteria. One theory about the “witches” was crafted and explained by Carol Karlsen. She believed

Latin American literature is perhaps best known for its use of magical realism, a literary mode where the fantastical is seamlessly blended with the ordinary, creating a sort of enhanced reality. Though magical realism is practiced by authors from other cultures, the works of authors Salman Rushdie and Toni Morrison, for example, are notable examples of non-Latin works in which magical realism has been used to both great effect and great celebration, it is in the works of Latin American authors where the style has flourished and made its mark on the literary world. Yet even in Latin American works we can find many different kinds of magical realism, all used to achieve a different end. In the works of the Cuban poet and novelist

Magical realism is a type of writing where two views of reality come together. There are numerous of ways magical realism is expressed in Latin American writing. A very common one amongst stories is open-ended conclusion in which we the readers just have to accept it. Usually magical realism is used as a metaphor for something more meaningful. One story that conveys a lot of magical realism is The Third Bank of The River by João Guimarães Rosa. The story is about the narrator's dad who was quite the quiet man, who one day bought a boat fit for one. He entered the river and never spoke a word to another soul again. The son is the only one who stays at the house in case of the father's return. He leaves food out for him so that he will survive, until one day he makes an offer to his father, and ends up fleeing in terror.

Imagine, every morning you wake up to the sound of the rooster singing. Not to the normal crow a rooster makes, but to a beautiful sonata that wakes your soul up from a deep slumber. It may not sound too realistic in our real word, but to a writer, this can bring special emphases to the story’s meaning. This literary practice is called magical realism. The Merriam-Webster dictionary defines magical realism, or magic realism as they put it; 1) painting in a meticulously realistic style of imaginary or fantastic scenes or images; and 2) a literary genre or style associated especially with Latin America that incorporates fantastic or mythical elements into otherwise realistic fiction. It is the second definition that author Laura Esquivel, incorporates magical realism into her book, Like Water for Chocolate. Many of the themes and emotions in the book are emphasized with the use of Magical realism.

The literary movement of realism addresses material in an accurate way that is true to life, regardless of the moral boundaries which may be broken. Several authors have undertaken efforts to define this movement in the most accurate and concise way possible. Theodore Dreiser, in “True Art Speaks Plainly”, strives to identify those components which are necessary to literature that is classified under the realism movement. William Dean Howells’s “Editha” is a literary work that reflects this definition of realism. Dreiser’s arguments regarding the presence of immorality in literature as a precondition for artistic honesty find an example in the actions of the protagonist of Howells’s story. Theodore Dreiser’s “True Art Speaks Plainly” defines realism as literature that speaks the truth regardless of its moral substance, and this definition is observable in Howells’s “Editha” through the corrupt motivations of the protagonist, the critical portrayal of nation states at war, and the ugly manipulation utilized by the protagonist.

Obviously the most concise definition of magical realism is that it is the combination of magical and real elements. The magical elements that

    The book Of Love and Other Demons (1994), written by the Columbian Gabriel Garcia Marquez, has more characteristics of sublime literature than of magical realist literature. Magical Realism and the sublime are so closely related that distinguishing between the two is hard. They are more closely related than magical realism and the fantastic.

Self reflexive writing is a method used by authors where they write about writing. It is often an abstract concept, and the way that David Arnason uses it in his narrative “A Girl’s Story” adds a unique perception to the story. Throughout the story it is made clear that, at times, things may be entirely different than they appear to be at first glance, and how, in general, meanings are not absolute. The piece of writing “A Girl’s Story” is a story about a writer, writing a story about a girl who is having problems with her fiancé as she feels unfulfilled. It is supposed to be a somewhat cliché short story, as the writer even acknowledges that himself. He does this by stating why he made various decisions when constructing the main character such

Many authors like to write fantasy novels, stories that detached themselves from reality, novels that tell us about magic, parallel dimensions, between others. But even in these fictional stories there is still the presence of the universal themes that can be touched not only in this kind of novels but also in the simpler ones, themes like the fight between good and evil, love, between others.

Okri’s story ‘The Famished Road’ includes several features of magical realism. Precisely, instances of hybridity happen often. The character Azaro wrongly believes a character by the river to be the ferry man of the dead, he acquires that she is in fact a hybrid woman, young in body but ‘with an old woman’s face’. The illustration is also a hybrid of ancient custom and ritual. Also, The Famished Road portrays the theme of political corruption and political struggle. The character Madame Koto is implied in the corruption of modern Nigerian politics. She summarizes the new power herself, rather than its transgression, foreshadowing the country’s Civil War to come. Okri has also used ironic distance in this novel..