Magic Realism

December 12, 2011

http://www.youtube.com/watch?v=KrIiYSdEe4E

I thought this would be related to Atomik Aztex’s magic realistic reality. In Suckerpunch the movie, the protagonist, Babydoll, lives in multiple realities while perceiving different outcomes. This was what I really imagined would happen in Atomik Aztex. It also incorporated focalization throughout the entire film as the audience ultimately finds out that the narrator is not babydoll but a girl in the insane asylum with her.

Magic Realism

December 12, 2011

http://www.google.com/imgres?q=the+monkey+king+transformation&um=1&hl=en&sa=N&biw=1680&bih=949&tbm=isch&tbnid=VLth0xdrPTMeMM:&imgrefurl=http://www.gamereplays.org/heroesofnewerth/portals.php%3Fshow%3Dpage%26name%3Dheroes-of-newerth-nome-blog-the-monkey-king&docid=GM5cycG2XnHawM&imgurl=http://www.gamereplays.org/community/uploads/post-92917-1311076845.jpg&w=509&h=650&ei=pGPlTo3zJOfj0QGt-4HDCA&zoom=1&iact=rc&dur=246&sig=107938493957278668471&page=1&tbnh=138&tbnw=108&start=0&ndsp=50&ved=1t:429,r:0,s:0&tx=34&ty=45

This was how I thought magic realism would have happened. In Chinese literature, there is a particular character with the ability to transform in to hundreds of different entities by magic. He is the monkey king; he just plucks a hair or jumps around and shouts “Change” and he changes shape. He can also alter things around him. He usually changes a hair of his.

Magic Realism

December 12, 2011

I youtubed magic realism to see what would come up and I got a short clip of portraits painted by Rob Gonsalves. I would have thought Rob Gonsalves’ portrayal of magic realism to be closer to Mariquita’s transformations. However I guess it could be considered an alternative impression of magic realistic thoughts. I can see how Rob Gonsalves’ portraits could be considered magic realism. It has elements of a double standard as his pictures can show more than one image much like how SBS cloaking device works.

http://www.google.com/imgres?q=punk+rocker+green+hair&um=1&hl=en&sa=N&biw=1680&bih=949&tbm=isch&tbnid=nGuM57oZP1eUwM:&imgrefurl=http://free.clipartof.com/details/172-Pink-Punk-Rocker-Avatar-Character-With-Green-Spikes-Free-Vector-Clipart-Illustration&docid=Ojd1lapmNeTRIM&imgurl=http://free.clipartof.com/172-Pink-Punk-Rocker-Avatar-Character-With-Green-Spikes-Free-Vector-Clipart-Illustration.jpg&w=2934&h=3200&ei=ZGHlTvamGIq-gAeruPT1BQ&zoom=1

This is what I believe Omaha Bigelow would turn out after Mariquita finds out about the cheating. She’ll cast some “Magic realism shit” and change him to this blobless mass with green hair. I think she’d keep the green hair solely as a reminder of who he is. I thought the image was quite funny and undoubtedly reminded me of Omaha.

Omaha Bigelow

December 12, 2011

http://www.google.com/imgres?q=punk+rocker+green+hair&um=1&hl=en&sa=N&biw=1680&bih=949&tbm=isch&tbnid=nGuM57oZP1eUwM:&imgrefurl=http://free.clipartof.com/details/172-Pink-Punk-Rocker-Avatar-Character-With-Green-Spikes-Free-Vector-Clipart-Illustration&docid=Ojd1lapmNeTRIM&imgurl=http://free.clipartof.com/172-Pink-Punk-Rocker-Avatar-Character-With-Green-Spikes-Free-Vector-Clipart-Illustration.jpg&w=2934&h=3200&ei=ZGHlTvamGIq-gAeruPT1BQ&zoom=1

This is my original impression of Omaha Bigelow. As you can see he has the standard gringo green punk rocker look. However I didn’t expect for the person in the picture to look so mean. I assumed Omaha Bigelow was a coward and timid with the world. The physical portrayal I believe is spot on.

1. What’s up with the names of the characters?

2. Is the Zenzontli aware of his situation with the meat packing factory?
He seems unaware of all the things that go on aside from the meat-packing union.
3. What’s the deal with Zenzontli’s wife in both narratives?
Although she is the same character name wise, she is psychologically different and developed/develops differently in each narrative.
4. Why is the narrative time warped around two different time-space continuum?
I believe that the leader of the Jaguar Unit is based upon during World War II as the Aztex try to take over Europe in place of the Americans who sought to stop the war. Where as the meat packer Zenzontli is based upon a more modern day and age quite possibly the late 1990’s or even the 2000’s.
5. How do drugs play a role in this if it’s not mentioned anymore?

6.Does Zenzontli realize that his mentality is being distorted due to the “other” narrative?

7. What is Zenzontli going to do with the German?

8. What’s the deal with the “prostitutes”?

9. Why were the children mentioned in only one narrative but not the other?

10. What is up with the italics? Do they symbolize anything?

11. Why isn’t there any transition between narrative to narrative?

What is interesting to note in Atomik Aztex is the large quantity of names; Zenzontli, 3Turkey, Weasel, Aztex, Xiuh, etc. They play a subtle role in the narratives as the names act as a representation of the Aztex culture and is portrayed as a defiant identity against the social norm provided by the meat packing industry. This could be seen through the constant obstacles that are symbolized by the American norm i.e. Mark’s meeting with Zenzontli which resulted in Zenzontli being punished with extra shifts and working alone in a room filled with pigs while he may eventually succumb to sickness due to the poor health environment provided by Mark’s agenda against Zenzontli and all that Zenzontli stands for. This is undoubtedly about the possibility of forming an union with Zenzontli as the ring leader of the meat packing industry. This is compared to the other narrative in which Zenzontli is the leader of the jaguar unit and plays a vital role upon the war front at Stalingrad. In that particular narrative, names and rituals also plays a more obvious and important role in society as the Axtex are undoubtedly the rulers of the present day society. What is also interesting to note is the way the names are presented as they are subtley changed to reflect the influence and control the Axtex nation has upon conqueoring the Spaniards; language changes to fit the rulers.

Originally I believed that Atomik Aztex to be a singular and linear narrative however that fails to be the case. I believe that time and space has been distorted in such a manner in which regular order is no longer established. One could reorder the sequence of events and it would not have mattered. This can be seen through the first 70 odd pages of the story. The initial introduction states that Zenzontli believes that he’s getting fucked in the head but as one continues to read he no long acknowledges this. Instead the narrative splits up and integrates seamlessly together albeit with some rough patches here and there. This can be an instance in which time and space is distorted and we as the readers are transported unknowingly and unwittingly in to the eyes of the “other” Zenzontli. Although the character is essentially the same and all of the supporting characters are the same (3 Turkey, Nita, Zenzontli’s Ray, Nakatl, Weasel, etc.) their roles are completely different between the worlds. Zenzontli in the modern sense is the ring leader for the group of meat packers striving for an union where as he is the leader of the Jaguar Unit in the World War II scenario.

The People of Paper contains a multitude of magic realistic elements throughout the entire novel. This can be seen through the various remedies and situation that Plascencia writes about. We can understand the magic realistic elements such as burn/wasp sting collecting, hiding behind lead, sucking on limes leads to death and cavity rot, and people can be brought back from the dead all play a major role in The People of Paper. They are all remedies to help ease the heart and the issues that everyone deals with. The magic realism seems to permeate the entire flow of the story. The very idea of a celestial being that can be both a planet and a person is preposterous by itself but Plascenia incorporates such notions to help the story move along.

Towards the end of The People of Paper, Plascenia becomes a bit creative with his writing. He begins to utilize and distort the very format of standardized book writing. He begins to shift around various thoughts and characters as the people of EMF and Saturn’s companions begin to crowd in and attempt to drive out Saturn from their lives. They all attempt to broadcast their thoughts and their feelings in an attempt to drive out Saturn. This particular strategy by the EMF appears to be quite effective as Saturn’sthoughts begin to retreat towards the margins and ultimately ends up in the corner; barely a sentence or two of thoughts by Saturn. It is quite an interesting notion that Plascenia incorporates in to his writing; that the book itself is a huge think tank in which the characters’ very thoughts can be broadcast upon the very page and even their thoughts can drive out the author from the very book that he is writing. Ultimately the author, Saturn, gets a hold of himself and begins to fight back and ultimately has gained control over the course of the story once more. However his motivation has changed and no longer is he interested in those who live and fight with the EMF, he becomes wrapped upon in his own life and delusions as he begins to search for those that have left him much like how Federico de la Fe and Froggy begin to move past this war and on to their own respective lives.

Not even Baby Nostradamus could stop him. The sadness still circulated through Saturn, clogging capillaries and inflaming his lymph nodes, his liver never able to filer the melancholy, but his body has adapted. At times delibitated by the thought of her, but still able to summon enough strength to press against the columns. Saturn’s weight leaned agaisnt the stucture. At first there was only a single crack at the base of the column. He thought of her, of her perfidy, and then of the others throughout the story: Delilah, Merced, Ida. The lone crack splintered into a web of fractures, buckling the structure and crumbling it to rubble. Once the first support was down the others were easily tipped, all the columns falling, and giving Saturn full control of the story. (Placencia 242)