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Magic realism is a description of a certain sub genre that combines realism with fantastic and dreamlike elements. This term may be thought as a paradox- magic is not real- but such novels do not create a new world such as fantasy novels do, but suggest that the world is filled with secrets. These magical elements are not questioned and are simply apart of that reality. The mysterious, the beautiful and the amazing are expressed as magical, and perhaps are magical to the human perception of the world. Magic realism and its associated elements and techniques are displayed in Isabel Allendes novel Eva Luna. This novel displays realism alongside magical components that are seen as normal to the characters. It experiments with plot and style, and blurs traditional reactions to subjects. Materials from fairytale-like stories are used, political/social subjects are explored, time is represented as circular, and the paradox of the union of opposites is explored. All these characteristics of magic realism prove Eva Luna to be magic realist literature.
Magic realism uses sharply etched realism in representing ordinary events and descriptive details, according to Abrams Glossary of Literary Terms, and such a feature is displayed in this novel. Realism is where things are portrayed as they actually are, without idealisation, and this can blur the lines between good and bad. They paid little attention to Consuelo, who was growing up scorched by the sun, poorly nourished on yucca and fish, infested with parasites, bitten by mosquitoes, free as a bird. In an ideal world, she would have been clean and healthy, but is portrayed more realistically as dirty and unhealthy, yet still happy and free. A more powerful example of realism in the text is where the new, seemingly true love between Eva and Rolf doesn't last. …we loved each other more modestly until that love wore thin and nothing was left but shreds. It shows a painfully more real ending that most relationships dont last. This feature is expressed throughout the novel, proving the realism part of magic realism.
Magic realism involves the inclusion of fantastic and dreamlike elements in an otherwise realistic plot and setting, and this is found in Eva Luna. It clings to reality, but express the magic in that reality.
When she talked about the past, or told her stories, the room filled with light; the walls dissolved to reveal incredible landscapes, palaces crowded with unimaginable objects, faraway countries… She reduced me [Eva] to the size of an ant so I could experience the universe form that smallness; she gave me wings to see it from the heavens.
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The fantastic elements have an escapism effect, where you are taken to a new world with new rules and amazing features, but these elements stay close to reality. Consuelo simply tells stories that are transformed into breathtaking adventures through the imagination, but interpreting it on such a level is not necessary- we feel like Eva actually does travel across landscapes and is transformed into animals. This is perhaps the most obvious clue that this novel is magic realism.
The magic is part of the atmosphere of the setting in magic realist novels, and is an important aspect of it. The setting for the beginning of Eva Luna is a missionary surrounded by tropical jungle. It is a real setting, but a magical dimension is added to it. …on piles driven into the mud of a river of opalescent waters whose banks evaporated in the reverberating light. The dwellings seemed to drift amid silent canoes, garbage, carcasses of dogs and rats, and inexplicable white blossoms. Evocative words like opalescent and reverberating light create the image of sunlight sparkling on top of clear water, reflecting everywhere. It is a fantastic and amazing scene that could be described as magical. The second sentence adds a different atmosphere, describing garbage and carcasses, but strangely there are beautiful flowers growing amidst this. Beautiful life is able to prosper in filth, expressing the magic in reality. The use of setting in this novel portrays it as magic realism.
The magical elements in magic realist novels are never found to be strange by the characters, they are simply apart of the world, and this is true for Eva Luna. Magic realism aims to show something common or daily in something unreal or strange.
…and the Palace of the Poor, which for thirty seconds materialised like a hallucination at one side of the road…; Someone [had] ordered the guardia to remove the interlopers, with firearms if necessary, but the officials became lost along the way. They could not evict the occupants because the palace and everything inside had become invisible to the human eye; it had entered another dimension where life continued without aggravation.
The Palace of the Poor is casually described as a building that appears and disappears, that it becomes invisible and enters another dimension. These strange, magical elements do not surprise the inhabitants of this world, they are simply there. This proves that this novel can be described as magic realism.
Magic realist novels violate, in various ways, standard novelistic expectations by experimenting with narrative elements and styles of writing, as is done in Eva Luna. The novels plot wonders, going everywhere without a set central conflict and meaning like most novels. There is no main problem, but many that are resolved one after the other. It is more like a journey, containing many highlights and lessons, closer to a fictionalised autobiography than a novel. This experimentation with style and plot is typical of magic realist literature, demonstrating that Eva Luna can be classified under this sub genre.
Magic realist literature can blur traditional distinctions between what is serious or trivial, horrible or ludicrous, tragic or comic, and Allende does this in Eva Luna. One such example is Elviras coffin. She feared a paupers death, that her bones would be tossed into a common grave, and to avoid posthumous humiliation she had bought a coffin on credit, which she kept in her room. Allende uses assonance, describing posthumous humiliation to add humour into a usually serious topic. The idea of keeping ones coffin in the bedroom is very eccentric, blurring the distinction between the serious and humorous. Displaying this feature proves Eva Luna as magic realism.
Texts with magic realism also contain materials derived from myth and fairy tales, and such material is shown in Eva Luna. At the beginning of the novel a quotation from A Thousand and One Tales of the Arabian Nights is cited Then he said to Scheherazade Sister, for the sake of Allah, tell us a story that will help pass the night…. Scheherazade tells a cruel king stories to entertain and distract him from killing in vengeance of his wifes adultery, and succeeds in doing so for a thousand and one nights. This relates to Eva Lunas ability to tell stories. She tells Rolf a story of his past, where all his pains were changed into happiness. By giving Rolf a new life, reshaped to remove his terrible childhood, he is transformed much like the king in A Thousand and One Tales. By containing material from a tale, Eva Luna is further established to be magic realism.
Politics, revolution and social changes are often explored in these novels, and are sometimes used to make political statements. The many descriptions of the political turmoil in Chile are obvious examples of this. The tribal chieftain - motivated to cooperate after the Army had swept through her village leaving a swath of burning huts, gutted animals, and raped girls - had agreed to take the men [guerillas] across the river and lead them through the jungle. Allende describes the cruel and evil actions of the army, positioning the reader to feel anger against the government and righteousness in the guerilla movement. By exploring politics and revolution, her novel fulfils a trend of magic realist literature.
Time is a common subject, which is frequently displayed as cyclical instead of linear, in magic realist novels such as Eva Luna. Characters that Eva meet earlier on in the novel return again near the end. Elvira, Huberto and Melesio/Mimi reappear in such a manner, suggesting the circular, repetitive nature of time. She revisits Riad Halabi after many years of leaving her father figure/lover. He was exactly as I remembered him, not a minute older… I saw a girl [his wife] who was probably no more than fourteen… this man had rejected me because I was too young. Even events for Riad have been re-occurring, now with another young lover. Eva Luna can be defined as magic realism because of this display of circular time.
Magic realism also concentrates on the paradox of the union of opposites, and in Eva Luna the opposites mainly referred to are life and death. This also relates to time travelling in circles, life and death being a continuous cycle. Once such example is when Eva is conceived when her father was about to die. …soon he tumbled her over and embraced her with the urgency dictated by the proximity of death… And that is how I was conceived, on my fathers deathbed. The close relationship between life and death is examined, as when death comes, it is necessary for us to reproduce and achieve a form of immortality. Another union of these two opposites is when Elvira is saved by her coffin, using it as a raft during a flood. Imagine…all that sleeping in the box so that when death came for me, Id be ready, and then what came for me was life.… The coffin had saved her life. The paradox of being saved by an object that signifies death is obvious. By displaying this feature of magic realism, Eva Luna is proved to be described as such.
Eva Luna displays all the basic elements and trends of magical realism. Sharp realism is shown, portraying things, such as relationships, as they actually are without idealisation. Fantastic and dreamlike elements, entwined with a real setting, are seen as normal to the characters. The novel violates standard novelistic expectations with its wondering plot and autobiographical format. Allende blurs traditional distinctions of what is serious or humorous with Elviras eccentricities. Materials from tales are used and related to, politics, revolutions and social changes are explored, and time is shown as circular. Finally Allende concentrates on the paradox of the union of death and life, binary opposites, fulfilling all magic realist novel expectations and proving that Eva Luna can indeed be described as magic realism.
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