Magical Realism: The Power of Symbolism

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by Gabriella Watson


Defined as “a literary or artistic genre in which realistic narrative and naturalistic technique are combined with surreal elements of dream or fantasy,”[1] magical realism manifests itself throughout the novels of Gabriel Garcia Marquez’s Crόnica de una muerte anunciada and Angela Carter’s The Bloody Chamber. Written in the same epoch – with Carter’s novel published in 1979 and Marquez’s in 1981 -  each novelist portrays the surreal using similar approaches while, at the same time, nuancing it in significantly different ways. Predominantly, both writers use symbolism in the presentation of magical realism but for patently different purposes. While Carter employs symbolism to communicate a message in that temptation is a detrimental flaw to humanity, Marquez, by contrast uses symbols to foreshadow the pinnacle of the novel; the death of the protagonist. However, although the intentions are evidently converse, both Carter and Marquez use symbolism to allude to biblical references, focusing on the influence of scripture and religion on their novels; another typical trait of magical realism. Superstition is also employed by each novelist as Carter and Marquez emphasise the role of the mother by way of telepathic abilities. Yet, while Carter uses superstition to protect the life of the protagonist, Marquez implements irony with telepathy; presenting a notable difference. Finally, both authors use magical realism to shape the mundane and ordinary nature of death into an extraordinary and fantastical manifestation. Notably, however, although Carter’s novel was published prior to the release of Marquez’s, narrative critic, Veronika Šimunková, has suggested that her inspiration stemmed from “the highly appraised Latino writer Gabriel Garcia Marquez”[2], revealing the foundations of magical realism over her own work.

Symbolism is arguably one of the most fundamental characteristics of magical realism which features heavily throughout both novels. Unlike Carter, who employs inanimate imagery, Marquez makes extensive use of animalistic symbolism. The cockerel becomes a prophetic omen in Crónica de una muerte anunciada to predict not only the death of Santiago Nasar but also the barbaric destruction to his body following the autopsy.[3] The bishop’s aberrant tradition of using the cockerel’s crests and destroying the rest of the animal’s body in order to make soup is expressed through the description of the “los huacales de gallos bien cebados”[4] (well-fattened roosters) who await their impending destiny of being sent to the slaughter. By contrast, whereby Carter uses symbolism to communicate the message that curiosity is a fatal flaw in human nature, Marquez uses this to foreshadow the fate of the protagonist. Here, his use of symbolism enshrines the Christian faith, substantiating the observations of critic Matt Mikalatos who noted that, “traditional magical realism will bring in Christian symbology.”[5] By using an application of animalistic symbolism, the author is perhaps making a biblical allusion to the death of Jesus Christ and the subsequent betrayal from one of his best loved disciple. Christ’s prediction that Peter would deny knowing him as a subsequent consequence to the crow of the cockerel reflects the betrayal of the local townspeople to Santiago who neglected the multiple opportunities to warn him about the plot to take his life.[6]


While Carter also uses symbolism to present the surreal, her intentions are very different to those of Marquez. She strives to prove that temptation is a negative human trait, therefore revealing a key distinction between the objectives of the two novelists as she uses it to convey a moral message. This upholds the claim of critic, Helen Simpson, who noted that Carter, “used fantasy to discuss ideas.”[7] This is particularly revealed after the anonymous protagonist has been emphatically told by her husband that the entirety of the castle is at her disposal, save for “the lock that this single key fits.”[8] Yet curiosity supersedes the intentions of the main character and she is desperate to explore the forbidden chamber. As a result, she is left with a "heart-shaped stain"[9] of blood permanently engraved onto her forehead[10] as a reminder of her blatant disobedience. Unlike Marquez, Carter uses this inanimate motif of blood to serve as a symbol of guilt from one who disobeys the commands of her husband. Through this use of symbolism, the novelist incorporates elements of the supernatural by having the smear of blood permanently inscribed into the flesh of the protagonist, an act seen as almost farcical, thereby illuminating the genre of magical realism. However, in common with Marquez, Carter could also be using the “heart-shaped” symbol as an allusion to biblical stories, with a particular focus on the Old Testament and the foundations of Original Sin. The intent desire of the protagonist in her quest to discover forbidden knowledge is comparable to the actions of Eve, who, similarly unable to quell her curiosity, ultimately led to her own damnation, along with the creation of evil and sin. This reference substantiates the claim of reviewer, Stephanie Carrol, who explained that, “Despite the definition of blending magic with reality, the magical element can also be one of religious influence.”[11] This idea substantiates the claim of Robert Kidd who, commenting on Carter’s novel argued that with “temptation there is a moral paradox…the pursuit of knowledge is a positive aspect of human endeavour”[12]. Yet, the use of symbolism, via means of the surreal, in this novel suggests that curiosity should ironically be condemned rather than praised.

Superstition, through the medium of telepathic dreams, pervades both novels in the predestination of the characters’ fate from the very outset. Remarkably, however, both authors assign superstitious traits to the maternal figures in each plot. This is evident from the narrator’s perspective of Santiago’s mother who is described as having “una reputacion muy bien ganada de interprete certera de los suenos ajenos”[13] (a well-earned reputation as an accurate interpreter of other people’s dreams). This supernatural telepathic ability is a typical Marquesan trait, lending itself to the uncanny. Yet, it is therefore perhaps ironic that “no habia advertido ningun augurio aciago en esos dos sueños de su hijo”[14] (she hadn’t noticed any ominous augury in those two dreams of her son’s) and therefore could not predict the death of her own son. This contrasts with the role of the mother in The Bloody Chamber who uses this surreal capability to save her child’s life. Yet, as critic, Rubén Pelayo, has suggested throughout this novella, Marquez “uses irony…to tell something serious”[15] and the ironic twist that the protagonist’s telepathic mother does not have the capacity to predict his own death portrays an almost- comical atmosphere, inspiring as it does, a humorous tone. The importance of dreams in a text, shaped by magical realism, is strengthened from the perspective of reviewer Gaylard who identifies dreams and visions as the "nowhere land" which do “not follow the laws of logic” [16]. He suggests that they serve as “reflective lessons” furthering their significance in Crónica de una muerte anunciada as they appear to be vain under the most critical circumstances, such as the use of predictive dreams towards the death of the protagonist which could have had the potential to save his life.

Similarly, the denouement of The Bloody Chamber is greatly influenced by the clairvoyant ability of the protagonist’s mother who, without being informed, senses that her daughter is in danger and desperately endeavours to save her life as she awaits decapitation by her husband. Later in the novel, her actions were put down to “the maternal telepathy”[17] showing that, unlike the character of Santiago’s mother, this supernatural capacity enabled her to protect her child. This strong influence of telepathic abilities on the outcome of the novel, therefore depicts Carter’s focal point on the surreal and the significance of the role that it plays throughout the novel. It also stresses Robert Kidd’s observation who remarked that Carter frequently transgresses normality in which the “ordinary is displaced by the extraordinary”[18] as magical realism features heavily in the novel. This is made apparent in the actions of the mother who uses her supernatural inclinations to safeguard the existence of her daughter, which in turn moulds the conclusion of the narrative. Kidd furthers his comments through more observations in that “the bizarre and unfamiliar in The Bloody Chamber conflict with the controlled, the economical, the everyday and the familiar”, revealing Carter’s intent, which is analogous to that of Marquez, on blurring the borders between reality and fantasy through the application of telepathic abilities with natural maternal inclinations. It could be argued, therefore, that both novelists aim to depict the significance of the maternal role, via means of magical realism, as they each focus on the surreal abilities of the mother to shape the conclusions of the novel. 
Death is also a predominant feature which both Marquez and Carter utilise with a view to encapsulating surreal characteristics in the everyday. Both magical realist novelists present an unrealistic and fantastical manifestation of death, lending each narrative evocative and unusual twists. As Helen Simpson noted throughout The Bloody Chamber “Carter’s subversive take on traditional fairy stories in The Bloody Chamber is as shocking today as when the collection first appeared in 1979” [19]and this could be attributed to the use of graphic imagery, which is also vividly presented in Crónica de una muerte anunciada, in the depiction of violence and death. After the protagonist enters the chamber she is confronted with a distressing sight of women’s bodies littering the floor; all of whom have died traumatic deaths at the hands of the commander. The particular description of the slaughter of the Romanian countess who was “pierced…not by one but by a hundred spikes”[20] which led to a “forming a pool”[21] of her blood is both unusual and interesting. The use of the present participle “forming” highlights the genre of magical realism, given that pragmatically, the blood of the countess would have congealed and hardened shortly following her death, illustrating the fictitious nature of her demise. Carter’s narrative style is embedded into the work of Kirstine Marie Kastbjerg who wrote that her “inherent provoking of unease and…limit of grotesqueness”[22] not only underlines the Gothic nature of the novel but also foregrounds the author’s intentions of taking something very real and inescapable, such as death, and approaching it from a very surreal and extraordinary angle.

Comparably, Marquez also uses magical realism to describe the violent and brutal nature of the death of Santiago. The unrealistic description of the character, after being ruthlessly stabbed multiple times by the Vicario twins, as he is left “sosteniendo con las manos las visceras colgantes”[23] (holding his hanging intestines in his hands) shows Marquez, like Carter, to be obfuscating the borders between the real and absurd. Similarly, Marquez also employs the use of the present participle “sosteniendo” (hanging) to ensure that the graphic representation of his death is more immediate and dramatic. However, the death of Santiago had been anticipated throughout the novel as the fate of the protagonist is revealed from the beginning “el dia en que lo iban a matar”[24] (on the day they were going to kill him). In this instance, the use of magical realism almost seems comical as, although the narrator appears to accept this happening as an objective truth, in reality, the notion that a dead man could be walking around carrying his own organs would be seen as risible. It therefore shapes a humorous atmosphere, presenting a clear difference in the stylistic techniques of the novelists as Carter explicitly attempts to avoid humour by creating an overtone tinged with sobriety and gravitas. However, again, unlike Carter, Marquez could be using this experience to refer to Christianity as it is perhaps redolent of the resurrection of Jesus Christ, who like Santiago, was brought back to life and proceeded to walk the earth. This particular use of biblical intertextuality has been made more explicit by John. S Christie who wrote that the protagonist “has obvious Christ-like characteristics”[25], indicating that the author is drawing parallels between the characters and Jesus by bringing him back to life; a typical quality of magical realism which Carter does not instil in her depiction of violence and death.

Michelle Witte observed that there is an “overarching theme of destiny or fate within Magical Realism.”[26] This notation certainly appeals to the work of both Carter and Marquez who utilise mundane ideals with the objective of portending significant events in the novels. In particular, the weather plays a key role throughout Crónica de una muerte anunciada as Marquez uses nature to, again, prognosticate the death of Santiago. The description of the “tiempo (como) fúnebre, con un cielo turbio y bajo y un denso olor de aguas dormidas”[27] (the weather (as) funereal, with a cloudy, low sky and the thick smell of still waters) reveals the novelist to be intertwining pathetic fallacy with magical realism through the reference to “funereal”. It instantaneously foreshadows Santiago’s death as the choice of the adjective allows Marquez to draw parallels between the ordinary nature of the weather with the unrealistic notion of prophesising the death of the protagonist. In this instance, the use of sibilance not only reflects the stationary motion of the water but also intends to mimic the silence of the atmosphere, moments prior to the assassination, ensuring that the pinnacle of the novel is undoubtedly more dramatic. Additionally, the adjective “still” perhaps also makes an allusion to the future state of Santiago’s body following his murder as he lies “de bruces en la cocina”[28] (face downward on the kitchen). These techniques illuminate the critique of Harold Bloom who noted that the, “complex mirroring of past and the future, of prediction and narration of the past, of freedom and destiny” [29]portrays this novel as an interesting read in its presentation of magical realism. Similarly, Carter also uses foreshadowing throughout her work as a predominant feature of magical realism. However, unlike Marquez, Carter avoids the use of pathetic fallacy to foretell the fate of the characters and instead focuses on using the tangibility of jewellery to predestine the future of the heroine. The gift of the ruby necklace “bright as arterial blood”[30] is explicit in its predetermination of the attempted murder of the protagonist and, akin to Marquez, shows Carter to be selective with the choice of the simile and reference to “blood”. Here, the use of plosive alliteration emphasises the image of death and destruction to further illuminate the foreshadowing of the character’s decapitation. These literary techniques from both novelists, which foretell the future of the characters, elucidate Bruce Holland Rogers’ observation who suggested that “It's critical to…use foreshadowing, so that the magical elements don't seem out of place”[31]. Subsequently, both Carter and Marquez base the foundations of their novels around the predetermined future of their characters which lends itself to the genre of magical realism as it incorporates elements of the surreal with the non-viable principle of predetermining the fate of the characters.

Both Marquez and Carter attribute a significant weight to symbolism in their presentation of magical realism. However, the difference in intentions is apparent.  While Marquez utilises the cockerel to prophesise the death of the protagonist, Carter implements symbolism to allude to the detrimental consequences of temptations and transgressions. Yet, each novelist employs symbolic figures to represent biblical intertextuality, making reference to scripture; a typical characteristic of magical realism.  Both authors also explore the role of superstition in shaping their narratives, with a particular focus on the role of the mother. Although Carter uses the telepathic abilities of the maternal figure to protect the life of the heroine, Marquez couples it with irony proving harmful to the protagonist whose destiny was determined from the outset. Arguably, however, the key similarity between the two narratives is the way in which Marquez and Carter use the leitmotif of the extraordinary and fantastical to shape the more mundane and inevitable manifestation of death, highlighting another fundamental trait of magical realism, ultimately equating both novels.



[1] Simpson, J., & Weiner, E. (1989). Magic realism. Oxford English Dictionary. Oxford: Oxford University Press.https://en.oxforddictionaries.com/definition/magic_realism
[2]Šimunková, Veronika.2011. Reimagining the Fairy Tale in Angela Carter's Earlier Fiction. https://is.muni.cz/th/262009/ff_b/Bachelor_Diploma_Thesis.pdf
[3] Hart, Stephen. 1994. Critical Guides to Spanish Texts.
[4] García, Márquez Gabriel. 1981. “Crónica de una muerte anunciada”. Page 23.
[5] Mikalatos, Matt.2006. Magical realism and Christianity http://www.mikalatos.com/2006/07/magical-realism-and-christianity.html
[7] Simpson, Helena. 2006. Femme fatale: Angela Carter's The Bloody Chamber     https://www.theguardian.com/books/2006/jun/24/classics.angelacarter
[8] Carter,Angela. 1979. “The Bloody Chamber”. Page 18.
[9] Carter,Angela. 1979. “The Bloody Chamber”. Page 36.
[13] García, Márquez Gabriel. 1981. “Crónica de una muerte anunciada”. Page 9.
[14] García, Márquez Gabriel. 1981. “Crónica de una muerte anunciada”. Page 10.
[16] Hosking, Tamlyn. 2005. The Language of Dreams: A Study of Transcultural Magical Realism in Four Postcolonial Texts. http://citeseerx.ist.psu.edu/viewdoc/download?doi=10.1.1.1003.6249&rep=rep1&type=pdf
[17] Carter,Angela. 1979. “The Bloody Chamber”. Page 41.
[19]Simpson, Helena. 2006. Femme fatale: Angela Carter's The Bloody Chamber     https://www.theguardian.com/books/2006/jun/24/classics.angelacarter  
[20] Carter,Angela. 1979. “The Bloody Chamber”. Page 28.
[21] Carter,Angela. 1979. “The Bloody Chamber”. Page 28.
[22] Kastbjerg, Kirstine Marie. 2013. Reading the Surface: The Danish Gothic of B.S. Ingemann, H.C. Andersen, Karen Blixen and Beyond.  https://digital.lib.washington.edu/researchworks/bitstream/handle/1773/25006/Kastbjerg_washington_0250E_12515.pdf?sequence=1
[23] García, Márquez Gabriel. 1981. “Crónica de una muerte anunciada”. Page 136.
[24] García, Márquez Gabriel. 1981. “Crónica de una muerte anunciada”. Page 9.
[26]Witte, Michelle. 2015. Elements of Magical Realism.
http://michellewittebooks.com/2015/09/elements-of-magical-realism/
[27] García, Márquez Gabriel. 1981. “Crónica de una muerte anunciada”. Page 10.
[28] García, Márquez Gabriel. 1981. “Crónica de una muerte anunciada”. Page 137.

[29] Bloom, Harold. “Gabriel Garcia Marquez Updated Edition”. 2009.

[30] Carter,Angela. 1979. “The Bloody Chamber”. Page 6.
[31]Mathew, Rose. 2016. What Is Magical Realism in Literature? https://pensoferdington.files.wordpress.com/2016/10/magic-realism-notes1.pdf

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