by Christopher Agostino

This week I visited a couple of English classes in our local High School to tell some very old folktales. The students are studying the genre of Magical Realism in literature and film. They’d read authors such as Gabriél Garcia Márquez and seen films like Pan’s Labyrinth. I went a little more old school on them to tell a 1000 year old Japanese Demon tale  to get their attention (having just seen the Storytelling in Japanese Art exhibit I had to tell a demon tale). We discussed the universal belief of ancient human cultures in a spirit world and what we today would call magic, and how, from a storyteller’s perspective, modern authors include such elements in fiction to tap in to this ancestral understanding that the world is more than what it appears to be, using magic (or science fiction, for that matter) as a vehicle to open up the reader to new perceptions about their own lives.

It is an old device. When Homer wrote the Illiad and the Odyssey (the oldest examples of Western literature) he was already writing about a time that was mythic from his perspective, and using mythological stories as conceptual archetypes in the way a modern Magical Realist might. As a young actor I was in a version of The Odyssey that might be termed “Realist Magicalism” because it reframed the myth as psychodrama, making it the inner psychological journey of Odysseus from adolescence (reckless hero) to maturity (responsible husband) a la Joseph Campbell’s interpretations of hero tales via Freudian (or perhaps more accurately Jungian?) psychology. Continue reading →