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Plot and/or Characterization are Essential in Creating a Magical Realist…

- - - - Allende writes, “Bernal had taken possession of her thoughts; she could not bear how time stopped when she was away from him” (Allende 50).
        
        These fictional elements, in conjunction with some elements of magical realism, make this story magic realism. The inner conflicts brought about by the man vs self plot accentuated the magical realism elements of love, impossible events, mixture of fantasy and reality, and strange characters/situation. Elena was having inner conflicts throughout the story about her love for Bernal, which came about through a trance she was put under by Bernal himself, showing the mixture between fantasy and reality and impossible events. The setting was fully realistic, as it mainly took place inside a hotel where nothing out of the ordinary happens (because of the setting). Characterization makes use of strange characters as well, as the mystery behind Bernal and his trance enhances the magical realism of the story. Lastly, point of view definitely helps the magical realism aspects of the story as the narrator is therefore able to explain the different elements of magical realism by describing the characters' feelings. For example, the narrator explains the drastic change in relationship and love (both elements of magical realism) through the characters' thoughts and emotions, making the third person, omniscient point of view essential for the development of magical realism.
  - - - “After that night, Elena saw Bernal through new eyes. She forgot that she had detested his brilliantine, his toothpicks, and his arrogance, and whenever she saw him or heard his voice she remembered the songs he had sung the night of that impromptu fiesta and again felt the flush on her skin and the confusion in her heart, a fever she did not know how to put into words. She watched him when he was not looking, and little by little noticed things she had not at first appreciated, his shoulders, his strong, muscular neck, the sensual curve of his heavy lips, his perfect teeth, the elegance of his long, fine hands” (Allende 40)
  - - - “Bernal had taken possession of her thoughts; she could not bear how time stopped when she was away from him” (Allende 41)
- - - - For example, Allende writes, “Antonia stepped up to him with her hands on her hips, determined for the first time in her life to keep the old vulture from getting his way. Her husband made a move to whip off his belt to give her the usual thrashing, but before he could complete the gesture, she started toward him with such ferocity that he stepped back in surprise” (Allende 132).
        
        These fictional elements combine with elements of magical realism in order to make the story fully magical realism. The dynamic characterization combines with the magical realism element of extreme polarization, adds a degree of fantasy to an otherwise realistic story. The characters, thanks to the characterization in the story, almost don't feel real and therefore enhance the magical realism of the story. The setting, in addition, has some fantastical elements as well, as the entire town operates under this unbreakable code that absolutely nobody can go against. This gives it a very fictional feel, as this isn't what you would find in a typical city. Therefore, the author's use of setting also adds to the magical realism of the story, and some would say it is essential.
  - - - “In Agua Santa they could tolerate a man who mistreated his family, a man who was lazy and a troublemaker, who never paid back money he borrowed, but gambling debts were sacred” (Allende 105).
- - - - Allende writes, “He lived a torment of overpowering emotions: specific jealousy of any and all men; a perennial melancholy—the fruit of despair—and the hellfire that bedeviled him at the hour of the siesta, when he would imagine the girl, naked and moist, summoning him with lewd gestures from the shadows of the room. No one ever knew his tormented state of mind” (Allende 196).
  - - - “From his vantage atop the truck roof, he had stared at her until she was out of sight, convinced that she was a vision brought on by swamp fever and the elation of victory; but as that night, when it came his turn, he found no consolation in the arms of a bride-for-the-moment, he realized he would have to search for that girl, if for no other reason than to determine whether she was a mirage” (Allende 193)
        
        The fictional elements of plot and point of view interact with the impossible in this story to make it magical realism. The man vs self plot was used by the author in order to develop this strange, trance-like attraction toward this young girl. In addition, the author utilizes the omniscient narration by describing Sanchez' experiences in the past, where they describe a time when he used native herbs to cure his fatally wounded friend in a very short amount of time. This specific example ties together the point of view and the impossible events element of magical realism. Using the narration of the story, the author is able to develop the impossible magical detail that are the magical herbs.
- - - - “It took Claveles Picero and her grandfather Jesús Dionisio Picero thirty-eight days to walk the seventy kilometers between their village and the capital... Jesús Dionisio Picero was the best-known artist in the province; in a long life he had won a fame he never boasted of because he believed that his talent was a gift in God’s service and that he was but the trustee” (Allende 267-268).
        This quote shows how the story starts by describing the walk toward the capital, but then soon cuts to a description of the grandfather's life and continues the story from there. This shows how the author describes the story and develops the plot in a very nonlinear fashion.
        
        The fictional elements described develop the magical realism of the story in conjunction with certain elements of magical realism such as implausible events, realistic setting, nonlinear sense of time, and authorial reticence. The plot works very well with the nonlinear sense of time, as the story progresses in a cyclical fashion, ending off where it began. At the end of the story, the readers are unsure whether the boy is even still alive, which is the author utilizing authorial reticence to enhance the magical realism in the story. The setting does as well, as without the setting the plot doesn't exist. In addition, the setting adds a realistic setting element of magical realism, making the other fantastical elements in the story amplified. Thus, both plot and setting develop the magical realism of the story in big ways.
  - - - “Don’t be selfish now, Grandfather; think of what’s best for the boy. Don’t you see that he would have everything up there? You don’t have the money to pay for his treatment; you can’t send him to school. What will become of him? The poor kid doesn’t even have a father” (Allende 285)
- - - - Beginning of story:
        “He had forgotten his mother’s kisses, even the music of the mass. He did not always have cause to fight, because during brief periods of truce there were no adversaries within reach of his troops; even in those times of forced peace, however, he lived the life of a corsair” (Allende 372).
        End of story
        “Tadeo Céspedes took her hand and softly kissed her palm, wetting it with his tears” (Allende 382).
  - - - “She knew she would never be able to carry out the revenge she had planned, because she was in love with the assassin, but neither could she silence the Senator’s ghost” (Allende 384).
        
        These fictional elements, working together with various elements of magical realism, help to develop the magical realism in the story. The dynamic characterization, in conjunction with polarization and implausible scenarios, work to develop the magical realism by creating a situation that wouldn't happen in real life. Someone as destructive and violent as Tadeo doesn't just change his ways at the sight of a single girl. Characterization played an instrumental role in this development of magical realism. Lastly, the recurring themes helped in this regard as well, as they set the stage for this dynamic characterization by introducing the central ideas that would eventually turn into the magical realism. The abrupt love that Tadeo had for Dulce (and vice versa) would not have been meaningful without love and revenge as recurring themes. These themes are what made the fantastical elements important and all the more confusing, which is what I believe the author intended. Thus, these fictional elements were definitely instrumental in developing the magical realism in the story.
- - - - "He foresaw a tragic end for himself. His friends were ready and waiting, like vultures, to peck at his flesh" (Piñón 3).
        
        This story is magical realism for obvious reasons. First of all, a boy can't become that fat that quickly, especially when taking into account the diets that he went on in order to stop it. In addition, the author goes into quite some detail and reveals that he is in fact physically transforming into an actual meat turnover which is impossible. The fictional elements work to develop the meaning of this magical realism portrayed throughout the story, and they do so with the help of a realistic setting, impossible events, and authorial reticence. The man vs self plot helps to establish his struggles with himself being so fat, which in turn leads to him giving up and actually becoming a meat turnover. That probably wouldn't have happened if he wasn't having so many internal conflicts. This works with impossible events, as he wouldn't be able to physically turn into a meat turnover, but also he wouldn't have been able to be so fat so quickly, thus the magical realism is being developed. In addition, the dynamic characterization allows for the reader to have a better understanding on the extent that Oscar has fallen, and elaborates on the already pretty magical story. This dynamic characterization works together with authorial reticence in order to leave the readers questioning whether he would actually eat/kill his mother or not, as that is how far gone he is from actual sanity. Lastly, the entire story happens within a realistic setting, cementing this story as magical realist. Thus, the fictional elements described were instrumental in making this story magical realist.
  - - - Beginning of Story
        "The neighbors called him 'meat turnover.' And his mother tenderly repeated: 'My beloved meat turnover.' The nickname came from the obesity that Oscar never successfully fight off, despite rigorous diets" (Piñón 1).
        End of Story
        By the age of thirty, Oscar was fed up. It was his turn now to eat anyone who suggested a turnover. He had been willing to play this role for so long a time that he demanded human flesh to sate his appetite" (Piñón 4).
- - - - In this story, plot worked in conjunction with some elements of magical realism in order to make the story magical realist. These elements of magical realism include mystery, time, and realistic setting. The man vs self plot worked very well with the mystery element, as due to his mental anguish God interfered with the story and "the hand of god" was introduced. This is very magical realist as this doesn't happen in real life and definitely adds a ton of mystery into the story. Throughout the story, especially with time stopped, the author tells introduces the events in a very nonlinear fashion, with the sequence of things happen in a sort of dream-like way. This is the author using an almost metaphysical sense of time, further developing the magical realism. Lastly, this story took place in a realistic setting (a concentration camp in Nazi Germany), making all the magical events all the more mysterious, thus further developing the magical realism. The man vs self plot worked together with all of these elements of magical realism very well as the inner conflicts of the main character led to the introduction of these magical elements, and then increased their impact on the story when he finally did finish his play but not have the opportunity to enjoy the fruits of his labor. This sudden ending leaves the readers wondering how his mental anguish was resolved, adding more and more mystery into the story.
      - "Before the day set by Julius Rothe, he died hundreds of deaths, in courtyards whose shapes and angles defied geometry, shot down by changeable soldiers whose number varied and who sometimes put an end to him from close up and sometimes from far away. He faced these imaginary executions with true terror (perhaps with true courage)" (Borges 2).