Mots pluriels
    no 13. April 2000.
    https://www.arts.uwa.edu.au/MotsPluriels/MP1300ash.html
    © Andrea Schwieger Hiepko


    BOOK REVIEW BY ANDREA SCHWIEGER HIEPKO

    Jean-Pierre Durix
    Mimesis, genres and post-colonial discourse. Deconstructing magic realism

    London : Macmillan press Ltd. and New York :St. Martin's Press, Inc., 1998, 206 pages, HB (Pounds) 42.50.


    The imaginative notion of magic realism is inextricably linked with the name of Gabriel García Márquez and the literary school of Latin-American writers who question the European premises of literary realism and its connection to reality. The overwhelming success of these novelists since the 80s has incited a tendency to include literatures from more and more different cultures to this movement. This however has the disadvantage of an inflationary usage, making it impossible to determine clear and helpful definitions and criteria of the movement's generic substance. Nonetheseless, the inclusion of the supernatural within a fragmented novelistic form remains the lowest common denominator. For many authors this appears to be the inscribed expression of an oral tradition in text form despite the hegemony of the written word inherent in literary discourse. In the volume discussed, Jean Pierre Durix attempts to subject to revision the writings of the authors of magic realism. He is a Professor at the Université de Bourgogne in Dijon, translator of works from authors such as Wilson Harris, Witi Ihimaera and Albert Wendt and Editor of the journal "Commonwealth". A specialist in post-colonial literatures in English and, for quite some time now, he has been attempting to introduce these authors to the French literary audience. Through his comprehensive knowledge of the literatures in the former colonies, he is able to open a path for comparative analysis of those authors writing in English, Spanish and French. In this way he is able to extend the concept of magic realism as a literary phenomenom located within a special historical and geographical context - the Latin-American experience with its simultaneous existence of premodern, modern and post-modern structures - to a concept of hybrid aesthetics which he detects, especially in authors such as Edouard Glissant and Wilson Harris.

    In his view, magic realism is the post-colonial genre per se and he justifies this approach by emphasizing the statement that the colonial process has engendered ideological and imaginary representations which are often comparable throughout the colonized territories. In his choice of texts from authors as diverse as Gordimer, Ihimaera or Rabie, he tries to analyze their different relationship to mimesis, reality and the fantastic. He also mentions classical writers of magic realism, such as Asturias and Carpentier whom he compares with the European surrealist movement and describes the establishment of the literary genre. Nevertheless, it is Rushdie and Mårquez to whom he attributes the central works of magic realism on the grounds of their proximity to Rabelais and the carnivalesque. Durix does not deconstruct the problematic term of magic realism as he suggests in his sub-title, but rather operates with the terminology of the Bakhtin School towards a theory of hybridization.

    Within his underlying model of history, he transposes the literature of the periphery into an historical configuration of the creative European Renaissance, marked by unstable boundaries of both the oral and written form. Thus, in this age of globalization, it re-emerges and flows like a stream of cultural consciousness from the periphery to the centre, triggering a revival of realism which confronts the highly intellectualized conception of the novel form in the West: a form with its own transformed, realistic tradition. With his presentation of a post-colonial counter-discourse, he establishes once again the binary opposition of a decadent and unimaginative European society trapped in its essentialist conception of the world: one which can only be cured by the inventive and revolutionary creativity of textual production by subaltern individuals from former colonies. In the author's description of a new, heterogenous, fragmented and magic realism, the post-colonial magic realism seems to be able to transcend the metropolitan artistic stagnation as well as outdated premises of realism and the universalization of their values.


    Andrea Schwieger Hiepko

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