Set your fantasies in the here and now and then, if challenged, claim to be writing Magical Realism.
Magical realism allows an artist like myself to inject layers of meaning without being obvious. In American culture, where there is freedom of expression, this approach may seem forced, unnecessary and misunderstood. But this system of communication has become very Iranian.
I am not into the unrealistic realm of magic realism where birds talk.
My mother learned that she was carrying me at about the same time the Second World War was declared; with the family talent for magic realism, she once told me she had been to the doctor's on the very day.
India went through a dramatic revolution after the '90s when our economy started opening up for the first time and Indians were now experiencing the Western life, if you will. Drugs and sex and a lot of those influences came in as the economy stabilized, and we were growing up and experiencing that. The Indian writing market was very small at that time. Our literature was very attuned to what Western audiences were interested in, so everybody was writing about the slums in India and magic realism or stories about Hindus and Muslims and partition.
I have always loved magic realism as a form of writing. I have also been fascinated for a long time with the intersection of science and religion.
People don't like to say Fantasy they say Magic Realism which means Fantasy written by somebody I went to university with.
Magic Realism is not new. The label's new, the specific Latin American form of it is new, its modern popularity is new, but it's been around as long as literature has been around.
All things in my novels are real for me. Some western critics said that Garcia Marquez's novels are magic realism. However, I believe that Marquez must have experienced everything in his novels.
I'm fascinated by the magic realism used by many writers. I think it goes hand-in-hand with the Indian experience. It's a very different way of viewing the world.
A masterwork. A particularly American magic realism that touches the heart of race and childhood in our country; it's 100 Years of Solitude for an entire generation of American Baby Boomers, and deserves the widest possible audience.
Hawthorne has given us a tradition that some people refer to as Yankee Magic Realism, and I do think there is a certain quality to the landscape that definitely leads into the dark woods.
When people use the term magic realism, usually they only mean 'magic' and they don't hear 'realism', whereas the way in which magic realism actually works is for the magic to be rooted in the real. It's both things. It's not just a fairytale moment. It's the surrealism that arises out of the real.
Well, I really want to encourage a kind of fantasy, a kind of magic. I love the term magic realism, whoever invented it – I do actually like it because it says certain things. It's about expanding how you see the world. I think we live in an age where we're just hammered, hammered to think this is what the world is. Television's saying, everything's saying 'That's the world.' And it's not the world. The world is a million possible things.
Magic realism - somebody used that phrase the other day that is familiar with South American literature. That rang a bell. It resonates with me.
Life is very mysterious and there are many things we don't know. And there are elements of magic realism in every culture, everywhere. It's just accepting that we don't know everything and everything is possible.
The core of the film [Hunt for the Wilderpeople] is that relationship. Whether they're getting on or whether they're not. If that relationship works, then everything else works as well. And you kind of almost, sort of, gives into a realm of something like New Zealand magic realism... There is no world in which social work is actually pursues some kid into the woods in this manner.
or simply:
