|Posted on Thursday, June 29, 2006 - 03:26 am: |
Magic(al) Realism is described here:
Fiction that creates fiction from reality, e.g. 'Shalimar the Clown' by Salman Rushdie.
I think my division between this and Magic(al) Fiction (coined in this context?) has not been stated before. Fiction that creates reality from fiction.
My earlier experimental thoughts into this are shown here: http://weirdmonger.blogspot.com/2006/04/fiction.html
I intend to write an essay (or book!) about this division - concentrating on the work of Thomas Ligotti, Salman Rushdie, Susanna Clarke, HPL, Elizabeth Bowen, Anita Brookner, Rhys Hughes, Mark Samuels, Jeff VanderMeer, Jonathan Swift, Marcel Proust, William Blake, Charles Dickens...
But I need some brainstorming feedback first.
He had left no crumbs. In fact, he had no crumbs to leave.
The paradise garden is a magical place. We can only dream when there, but we cannot dream of it.
|Posted on Friday, June 30, 2006 - 03:51 am: |
The New Magic (a better term than New Weird)?
|Posted on Saturday, July 01, 2006 - 01:46 am: |
More brainstorming on this topic here:
|Posted on Thursday, July 13, 2006 - 12:47 am: |
I used the expression ‘Magic Fiction’ as a sort of obverse of a more common expression: 'Magic Realism'. I think the greatest exponent of the latter is Salman Rushdie. Giving real world historic and contemporary events a magic quality that only fiction can accomplish.
But then, I recently read ‘Jonathan Strange & Mr Norrell’ which I consider to be a major work of something quite different from Magic Realism. Somewhere in this massive book (a passage I can never re-find!) is a section about fiction itself being used as a magic weapon in a war. And I saw magic not as the usual ‘occult’ or ‘mysticism’ or ‘fantastical’ or a book of spells like anything ending –omicon. It was fiction magic … magic fiction. This is what I’m trying to tease out as a discrete and new element in fiction. Nothing weird, nothing paranormal, nothing thaumaturgical. Perhaps (hopefully) a New Magic that is quite rational.
This Road to Damascus was coupled and 'inspired' by my own work on "dream sickness" in my 2005/6 novels, and all the paradoxes that that experience created reinforced my desire to use fiction as a battle against, say, ‘bird flew’.
It’s worked so far!