Robertson, Natalie, "The 10 Predicaments of Maui: Notes on Tricksters", Brian Butler ed., Volume 1, Auckland:Artspace & Clouds, 2008. 16-28
Magic Realism. Encyclopedia of Speculative Fiction. 13 November 2006. 25 August 2009. http://encyclopedia.wizards.pro/index.php/Magic_realism
As a child attending church and being force-fed ancient biblical stories of some dude, his 12 mates and a God who killed lots of people was an arduous process made tolerable by lollies, felt-tips and colourful bits of paper. The mythology of the Bible was true because I was told it was. Although, it was something I could never relate to... and they didn’t have lightsabers back then.
Contemporary interpretations of biblical stories is common practice in the teaching of the Christian doctrine, a similar process to that which Natalie Robinson has used in her piece discussing the work of Francis Alys. She states that “...in my opinion these Tricksters demonstrate the kind of attitude that I think contemporary artists can learn from” (Robertson, 20). The difference being that Robertson’s motivation is far more self-reflexive and less ideologically driven. Mythologies that sit in the genre of “magic realism” have had traditional retellings and interpretations throughout history (20) and now the Trickster is getting a particular post-modern reading in the context of contemporary art.
Being a child of the global western culture neither seemingly absurd religious stories nor mythologies of indigenous cultures have had a particularly large impact on my increasingly sceptical mind. Although, the genre of “magic realism” seems to still be relevant in our culture. For myself growing up it was the Star Wars saga in which the magic of the force, practiced by the Jedi order, existed in synchrony with the fictional universe. A more recent incarnation of magical realism is the Harry Potter series. Suzanne Baker’s description fits well: “Normal, plausible, everyday events co-exist on the same level as supernatural, extraordinary and even fantastic events whose authenticity is never questioned” (24). Neither of these examples fall under the strict use of the literary term of “magic realism” so, while I use the term broadly (http://encyclopedia.wizards.pro), I am more interested in how these stories incorporate a use of magic into their mythology.
The fictional experience of everyday events involving the use of magic is a large contributing to the popularity and success the Harry Potter stories. The relevance of the “magic realism” treatment in contemporary culture is obviously still relevant as can been seen from the success of the Star Wars, Lord of the Rings and Harry Potter franchises. Although, the motivations behind the retelling of them do not seem to be only religious and traditional but also motivated by profit.
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I also am questioning the relevance of "magic realism" (or rather fictional enterprises such as Harry Potter) while it seems like it gives an effect and I enjoy reading them It does not change the way we view society other than its basic moral messages of accepting people for who they are (warts and all).
ReplyDeleteIt is interesting that these "magical" tales so often come with an ideological framework. Rowling has stated that it surprises her that the religious connotations of her work were not more widely realised than they were, and it is fairly common knowledge that Tolkien was a Christian. Reading the opening portion of his Silmarillion gives an imaginative reworking of the Biblical creation narrative.
ReplyDeleteIt seems that often those who are not determined to see the world solely in terms of what can be explained or hypothesised by science want to believe that there is wonder and mystery in the universe and that there is a point to existence after all (and I don't mean only human existence).
-Nathaniel