Patriarchy And Power In Magical Realism

"Although the term magic(al) realism appeared in 1925 in pictorial art in Germany, it became well-known with the boom of magical realist fiction in Latin America in the 1960s. Since the 1980s, it has become one of the popular modes of writing worldwide. Due to its oxymoronic and hybrid nature, it has caught the attention of critics. Some have called it a postcolonial form of writing because of its prominence in postcolonial countries, while others have called it a postmodern mode because of the time of its emergence and the techniques applied in these kinds of novels.This book discusses how magical realism was used in the works of three contemporary female writers, Indigo or, Mapping the Waters (1992) by the British Marina Warner, The House of the Spirits (1982) by the Latin American writer Isabel Allende, and Fatma: a novel of Arabia (2002) by the Saudi Arabian Raja Alem. It shows how, by applying magical realism, these writers empowered women. Using revisionary nostalgia, these works changed the process of history writing by the powerful, showed the presence of women, and gave voice to their unheard stories. Even the techniques applied in these novels presented the clash with patriarchy and power."

Although the term magic(al) realism appeared in 1925 in pictorial art in Germany, it became well-known with the boom of magical realist fiction in Latin America in the 1960s. Since the 1980s, it has become one of the popular modes of writing worldwide. Due to its oxymoronic and hybrid nature, it has caught the attention of critics. Some have called it a postcolonial form of writing because of its prominence in postcolonial countries, while others have called it a postmodern mode because of the time of its emergence and the techniques applied in these kinds of novels. This book discusses how magical realism was used in the works of three contemporary female writers, Indigo or, Mapping the Waters (1992) by the British Marina Warner, The House of the Spirits (1982) by the Latin American writer Isabel Allende, and Fatma: a novel of Arabia (2002) by the Saudi Arabian Raja Alem. It shows how, by applying magical realism, these writers empowered women. Using revisionary nostalgia, these works changed the process of history writing by the powerful, showed the presence of women, and gave voice to their unheard stories. Even the techniques applied in these novels presented the clash with patriarchy and power.

This study contextualizes magical realism within current debates and theories of postcoloniality and examines the fiction of three of its West African pioneers: Syl Cheney-Coker of Sierra Leone, Ben Okri of Nigeria and Kojo Laing of Ghana. Brenda Cooper explores the distinct elements of the genre in a West African context, and in relation to: * a range of global expressions of magical realism, from the work of Gabriel Garcia Marquez to that of Salman Rushdie * wider contemporary trends in African writing, with particular attention to how the realism of authors such as Chinua Achebe and Wole Soyinka has been connected with nationalist agendas. This is a fascinating and important work for all those working on African literature, magical realism, or postcoloniality.

An Iranian woman forges her own path through life in this “stylishly original contribution to modern feminist literature” (Publishers Weekly). After her father’s death, fourteen-year-old Touba takes her family’s financial security into her own hands by proposing to a fifty-two-year-old relative. But, intimidated by her outspoken nature, Touba’s husband soon divorces her. When she marries again, it is to a prince with whom she experiences tenderness and physical passion and bears four children—but their relationship sours when he proves unfaithful. Touba is granted a divorce, and as her unconventional life continues, she becomes the matriarch of an ever-changing household of family members and refugees . . . Hailed as “one of the unsurpassed masterpieces of modern Persian literature” (Iranian.com), Touba and the Meaning of Night explores the ongoing tensions between rationalism and mysticism, tradition and modernity, male dominance and female will—all from a distinctly Iranian viewpoint. Defying both Western stereotypes of Iranian women and expectations of literary form, this beautiful novel reflects the unique voice of its author as well as an important tradition in Persian women’s writing. “Parsipur’s novel carries the reader on a mystical and emotional odyssey spanning eight decades of Iranian cultural, political, and religious history . . . rewarding and enlightening.” —Booklist “A sweeping chronicle of modern Iranian history and a study of the plight of twentieth-century Iranian women . . . [displaying] deft utilization of magic realism and Persian myths . . . rich and well-crafted.” —Library Journal

Las raíces del realismo mágico en los escritos de Borges y otros autores de América Latina han sido ampliamente reconocidos y bien documentadas produciendo una serie de estudios críticos, muchos de los cuales figuran en la bibliografía de este trabajo. Dentro de este marco, este libro presenta a los lectores una variedad de escritoras de grupos étnicos, conocidas y menos conocidas, y las coloca en un contexto literario en el que se tratan tanto a nivel individual como escritoras así como a nivel colectivo como parte de un movimiento artístico más amplio. Este libro es el resultado del trabajo realizado en las universidades de Sheffield y la de València y representa una valiosa investigación y una importante contribución a los estudios literarios.

Les arrels del realisme màgic en els escrits de Borges i altres autors d'Amèrica Llatina han estat àmpliament reconeguts i ben documentades produint una sèrie d'estudis crítics, molts dels quals figuren en la bibliografia d'aquest treball. Dins d'aquest marc, aquest llibre presenta als lectors una varietat d'escriptores de grups ètnics, conegudes i menys conegudes, i les col·loca en un context literari en el que es tracten tant a nivell individual com a escriptores així com a nivell col·lectiu com a part d'un moviment artístic més ampli. Aquest llibre és el resultat del treball realitzat a les universitats de Sheffield i la de València i representa una valuosa investigació i una important contribució als estudis literaris.

This New York Times Book Review Notable Book of the Year from the author of the Reese Witherspoon Book Club pick, On the Rooftop, is "a powerful tale of racial tensions across generations" (People) that explores the depths of women’s relationships—influential women and marginalized women, healers, and survivors. In 1924, Josephine is the proud owner of a thriving farm. As a child, she channeled otherworldly power to free herself from slavery. Now her new neighbor, a white woman named Charlotte, seeks her company, and an uneasy friendship grows between them. But Charlotte has also sought solace in the Ku Klux Klan, a relationship that jeopardizes Josephine’s family. Nearly one hundred years later, Josephine’s descendant, Ava, is a single mother who has just lost her job. She moves in with her white grandmother, Martha, a wealthy but lonely woman who pays Ava to be her companion. But Martha’s behavior soon becomes erratic, then threatening, and Ava must escape before her story and Josephine’s converge. The Revisioners explores the depths of women’s relationships—powerful women and marginalized women, healers and survivors. It is a novel about the bonds between mothers and their children, the dangers that upend those bonds. At its core, The Revisioners ponders generational legacies, the endurance of hope, and the undying promise of freedom. "[A] stunning new novel . . . Sexton’s writing is clear and uncluttered, the dialogue authentic, with all the cadences of real speech . . . This is a novel about the women, the mothers." ―The New York Times Book Review