Saturday, October 31th 1:00 – 2:30

Session Room: Miss Lou’s Room

1) Amy Klemm, Indiana University of Pennsylvania

While in some ways Magic Realism has become a ubiquitous term, to describe various contemporary works, a certain ambiguity surrounds it. I will be focusing on three magic realist novels within British Commonwealth writing. These works are structured around multiple layers of reality. Like many modernist movements, however, magic realism rejects nineteenth-century positivism, returning instead to mythologies, folklore, and mysticism. This in no way represents an abandonment of history; in fact, the representation of historical  conflict is central to magic realism, and I would argue that in contemporary literature magic realism presents a way of restoring a historical dimension  to the post-modern novel. The disconcerting multiplicity of realities in magic realism emphasizes rather than denies the historical dimension of these narratives. The exploration of the quotidian in early magic realism increasingly gives way to the representation of conflict, which is often, but not exclusively generated by, a crisis of national/cultural identity resulting from the overlap of several layers of history and culture within a given geographic area.

In this paper I will be exploring Alan Garner’s "Red Shift," Peter Carey’s "The Unusual Life of Tristan Smith," and Richard Flanagan’s "Death of a River Guide." All three works explore national/regional identity, both in real and also imagined, or dystopian lands. The central characters of the works are dealing with a feeling of displacement from their homes, families, and countries. They must learn to use their ‘minority’ status in order to challenge the hegemonic structures at work in their lives. Language plays an equally important role in each work, and in conjunction with identity, I will attempt to show the importance that both have within the genre of Magic Realism, and in particular, the works from Garner, Carey, and Flanagan.

2) Ruth Oldman, Indiana University of Pennsylvania
Sensory Depictions of Nationalistic Fervor and Historical Bloodlust in The Wallace.

The relationship between Scotland and England during the Late Middle Ages was often accented by outbreaks of violence and bloody struggles for independence. In the late 13th century, William Wallace led the Scots against the English in what came to be known as the Wars of Scottish Independence.

Although much about his life is vague and unknown, he has entered into modern memory as one of the most iconic patriots of Scotland. Blind Harry’s The Wallace is partially, if not mainly, responsible for the creation of this reputation. The account depicts William Wallace’s life as one of valor and heroism through the use of highly graphic and embellished language, realistically describing the horrors of battle and torture. The degree to which Blind Harry illustrates the violence of war and the injustices committed against the Scots by the English creates a lasting Scottish patriotic impression despite historical inaccuracies and blatant fabrications.

I will argue the purpose behind the graphic nature of The Wallace reflect the author’s desire to entice the audience through sensory appeal as well as spark Scottish emotions in relation to contemporary events. Written in the mid-15th century, The Wallace can be read as a commentary on the political relations between England and Scotland during the reign of James III, a time in which Scotland’s national identity was being debated and shaped. My presentation will draw parallels between the text and the historical context in which Blind Harry was writing, illustrating the author’s desire to stoke Scottish patriotism as a way to manipulate the national narrative in favor of an independent Scottish nation.