A Quote by Fred D'Aguiar
Magical realism as a declaration in the text is usually when someone can't speak and then they must be magically reinvigorated in some way.
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I gravitate much more toward realism, realism in the work that I do, but magical realism got me hooked on film. I think it was my first time realizing that there was something besides popcorn movies.
The Americans only like things they can label, even if it kills them. Think of those poor Latin American writers. Some of them are very good. But the "magical realism" label has absolutely ruined them. The critics are like tourists who return from a trip saying they've "done" Machu Picchu: "Okay, we've done magical realism," so now we can throw it out.
Some people, who are deeply involved in an organized, traditional religion, find it very difficult to accept that their way isn't the only way. And that their sacred text isn't the only text and it must be taken literally.
As you see, I bear some resentment and some scars from the years of anti-genre bigotry. My own fiction, which moves freely around among realism, magical realism, science fiction, fantasy of various kinds, historical fiction, young adult fiction, parable, and other subgenres, to the point where much of it is ungenrifiable, all got shoved into the Sci Fi wastebasket or labeled as kiddilit - subliterature.
At the end of the day, it's about the reader's attachment to and belief in the magical elements that make or break magical realism.
I think being raised within a Mexican Catholic family made magical realism a very natural part of who I am as a person and as a writer. My parents always told us great stories that often had magical elements and roots within Mexican folklore. Also, I remember my father reading a book to me, when I was very young, about the lives of saints. Those were crazy scary stories! Maybe he was trying to scare me into being a good person. In the end, magical realism offers me untethered freedom to explore human frailty and the way we clumsily cobble together our lives on this strange planet.
Set your fantasies in the here and now and then, if challenged, claim to be writing Magical Realism.
I love 'Exit West' by Mohsin Hamid. It's a magical realism retelling of the refugee experience, where people find these magical doors that transport them to another country.
With Orff it is text, text, text - the music always subordinate. Not so with me. In 'Magnificat,' the text is important, but in some places I'm writing just music and not caring about text. Sometimes I'm using extremely complicated polyphony where the text is completely buried. So no, I am not another Orff, and I'm not primitive.
Without U.S. forces in the country, there is a strong possibility Afghanistan could host a reinvigorated Taliban allied to a reinvigorated al Qaeda.
When you speak words that are relevant to people, they automatically shut up and you know you are in the presence of some very magical words. It's a gift when someone can listen and be quiet and not interrupt.
Like Woody Allen actually does this a lot in his movies, its kind of called magical realism where he has just kind of an everyday, these kind of everyday experiences and all the sudden something magical or supernatural will come into to and I just, I love that and I think everybody can kind of - everybody wants that at some point in their life.
Colin [Farrell] I talked to several times on the phone, and I said, remember, we have only twenty-five days of doing the movie [Miss Julie], so you must know some of your text. I was a little un-feminist, I didn't want to say [bossy voice] "learn your text!" But when he came, he knew all his text.
I have a magical work in a magical way. I give magical service for magical pay.
I see comments occasionally about the way I speak but it goes straight over my head. You speak the way you speak and it is a silly thing to judge someone on.
I wrote some weird magical realism stories that are probably on some hard drive somewhere, and if I ever uncover that hard drive, I'll burn it. I tried to do a little bit of writing while I was in Iraq, but it wasn't the really greatest space for creative production.
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