Magic Realism. Although it may sound like a contradiction in terms, Magic Realism is a unique literary model that author Jeanette Winterson takes full advantage of in her novel The Passion. Winterson’s magic realist text uses a dialectic between the magical and reality to explore truth, juxtaposing concepts that are blurred, leaving the reader questioning which elements are which and what is the greater truth of the narrative. Winterson intertwines some historical events of the Napoleonic era with magical elements in order to disarm the audience. Habib, Cuddon, Velickovic, Fiske, Dines and Birchwood elucidate that the magic realism model features “mingling and juxtaposition of the realistic and the fantastic or bizarre…convoluted and even labyrinthine narratives and plots…expressionistic…description, arcane erudition [and] the element of surprise”. This text uses these features to highlight the perspectives of those often suppressed within society, the outsiders, and promote their viewpoint as valid and valuable. This is what Winterson’s narrative does when describing Napoleon’s exploits in attempting to conquer Europe, through the perspectives of the lowly army cook and the web-footed boatman’s daughter. Henri, the army cook represents the lower ranks as a soldier, dispensable to his emperor. Villanelle, the boatman’s daughter is bisexual and forced into prostitution for the army. Both these protagonists represent outsiders in society, with Villanelle possessing a physical manifestation of her nonconformity in the guise of her webbed-feet. Winterson however, much like other narratives that abide by the magic realist model, then begins to cast doubt on our narrators, causing us to question whether they can truly be trusted. This can be seen in the way that Henri describes Napoleon’s unnatural appetite and eating habits and his strange description of the stable hand; they seem both exaggerated and fanciful. Then there is Villanelle, who weaves magnificent and fanciful tales about literal hearts in jars and web-footed boatmen walking on water in the city that constantly evolves and changes. Though her tales seem to be outlandish, we want to believe in the magic of which she speaks. These tales are presented as fact to the reader. Add to this, that our seemingly average narrator Henri who only seems guilty of slight exaggerations is then proposed to be insane, an accusation he vehemently denies; and a declaration definitively made by our other narrator, who was talking about magical elements being a given in their reality. These twists so expertly used by Winterson cause the reader to question reality within the narrative, and hopefully question their own reality as well, a sentiment emphasised in the refrain, “I’m telling you stories. Trust me”. Magic Realism, in contrast to other supernatural fictions or the more general science-fiction genres, tries to intentionally mess with the audiences mind, so that they can never be truly sure of facts in the fiction. For further information about the works referenced: Habib, M. A. R. Cuddon, J. A. Velickovic, Vedrana Fiske, Shanyn Dines, Martin Birchwood, Matthew. Dictionary of Literary Terms and Literary Theory. : Wiley, 2012. ProQuest Ebook Central.
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