Magical Realism In Bless Me Ultima

As a literary genre, Magical Realism stands with its own methodology. Not adhering to a set of certain rules, realities appear distorted, demonstrating that this style of literature strays from conventional standards of writing. With this, reality conforms to a degree wherein characters behave naturally amidst their environment, despite exposure to the seemingly surreal. Within the genre of Magical Realism, one finds that a variety of elements constitute it, each warping the text in a way of its own. By exploiting this aspect of Magical Realism, authors communicate a broader message than what is written in the text.
Of the known elements, metamorphosis stands to be among the exceptionally used. Authors integrate metamorphosis throughout their

Author Rudolfo Anaya handles this specific feature in Bless Me, Ultima, throughout the entirety of his novel. One particular example can be found in Antonio’s innermost thoughts after his exchange with his father, where he states that “the tragic consequences of life can be overcome by the magical strength that resides within the human heart” (Anaya, 249). The novel, filled with an abundance of surreal occurrences, does not revolve around that certain aspect. On the contrary, the story gives a larger inclination towards the growth of Antonio and his battle with his innermost conflicts. Anaya gives power to an entity already present in the real world, rather than glorifying the supernatural items existing in the work. Likewise, Gabriel Marquez portrays the being of an angel in deplorable conditions in A Very Old Man with Enormous Wings: A Tale for Children. The angel, albeit an uncommon sight, is not a wholly unnatural creature discover. The short story instead concentrates on the old man’s treatment and exploitation, describing that “his only supernatural virtue seemed to be patience” (Marquez, 8). Despite his heavenly origin, the only thing accounted for as being impressive is his ability to withstand the constant abuse by others. Marquez accentuates on what is considered mundane and dismisses any real phenomenal traits attributed to his form as a way to berate the people around him. The townspeople leave the angel in abhorrent conditions, only interested in their own well-being, and it is this which Marquez tries to emphasize. In spite of retaining no real magical power, the villagers seem to behave with greater abnormality than that of the