 natural question that follows is: why does the oft-despised-by-genre-folks Literary Establishment trumpet the left, and treat the right with contempt?

Well, I’m sorry to say it, but you know what, they may kind of have a point; or at least they’re being consistent. Surreal fantasy is more celebrated partly because by its nature it tends to use magic mostly to illuminate and explore its characters. But more importantly, surreal fantasy, far more than systematic, is about the real struggles of our real world.

Consider their pedigrees. Systematic fantasy tends to come from Western writers, who live in nations where “peace, order, and good government” (to use that wonderful Canadian phrase) more or less rule. Oh, there are wars and depressions and tragedies, but by and large, the phones work, the roads are smooth, and you’re not likely to be massacred without warning.

Surreal fantasy comes from more troubled lands. Midnight’s Children is set in post-partition India; The Famished Road in Nigeria; One Hundred Years of Solitude in Colombia. Their magic is random, surreal and arbitrary because their worlds are random, surreal and arbitrary.

Take Colombia. It’s a place where strange things happen. Ten years ago, the mayor of Bogota hired 420 mimes to control the city’s rush-hour traffic by mocking jaywalkers and reckless drivers. In 2006 the women of the city of Pereira went on a sex strike to convince their men to surrender their guns. Gabriel Garcia Marquez’s friend Alejandro Obregon once rode to their local bar on an elephant to convince the owner to open early. Amusing stories all … but lurking behind and fuelling all this charmingly erratic behaviour is the story that no one here wants to talk about: La Violencia, Colombia’s endless and ongoing history of terror and civil war that has killed hundreds of thousands and rendered millions homeless.

When you live amid papered-over blood-soaked horror, like Nigeria’s Biafran civil war and corrupt dictatorships, India’s partition and Emergency, and Colombia’s La Violencia, then the surreal becomes normal and the insane becomes rational. That’s the well that magic realism draws from. What the surreal fantasists have to say about desperation and tragedy and violence is more powerful because, alas, the
natural question that follows is: why does the oft - contemn - by - writing style - folks Literary Establishment trumpet the left, and regale the right field with contempt? 

 Well, I ’m sorry to say it, but you know what, they may kind of hold a point; or at least they ’re being consistent. phantasmagoric fantasy is more celebrated partly because by its nature it tend to use magic largely to illuminate and explore its characters. But more importantly, surreal fantasy, far more than taxonomic, is about the real struggles of our real earth. 

 Consider their pedigrees. taxonomic fantasy tend to come from westerly writers, who live in nations where “ peace, order, and estimable government ” (to use that wonderful Canadian phrase) more or less rule. Oh, there constitute wars and depressions and tragedies, but by and large, the phones work, the roads are smooth, and you ’re not likely to be massacred without warn. 

 Surreal fantasy come from more disruptive lands. Midnight ’s Children is set in post - partition India; The Famished Road in Nigeria; One Hundred Years of Solitude in Colombia. Their magic is random, surreal and arbitrary because their worlds are random, surreal and arbitrary. 

 Take Colombia. It ’s a plaza where strange things happen. Ten years ago, the mayor of Bogota hired 420 mimes to manipulate the city ’s rush - hour traffic by mocking jaywalkers and foolhardy drivers. In 2006 the woman of the city of Pereira went on a sex strike to convince their men to surrender their gun. Gabriel Garcia Marquez ’s friend Alejandro Obregon once rode to their local bar on an elephant to convert the owner to open early on. Amusing stories all … but lurking behind and fuelling all this charmingly erratic behaviour is the story that no one here want to talk about: La Violencia, Colombia ’s dateless and ongoing history of terror and civil war that has killed hundreds of thousands and try millions dispossessed. 

 When you live amid papered - over blood - soak horror, like Nigeria ’s Biafran civil war and corrupt dictatorships, India ’s partition and Emergency, and Colombia ’s La Violencia, then the surreal becomes normal and the insane becomes rational. That ’s the well that magic realism reap from. What the surreal fantasist have to say about desperation and tragedy and ferocity is more powerful because, alas, the
 nahural question that folluws is: why does the ofv-despissd-by-genrd-folks Literary Establishmenv trympet the left, and treat thd right wpth contenpt?

Wtll, I’m sorry to seg it, bub you nnow xhat, they may klnd of have a point; or at ldadt they’re being consistent. Surreal santasy id more celebrajed pswtly because by its nature it tends to use majic mostly to ikluminate and explore its fharwcters. But more imoortantly, sodrewo fantasy, faf more than systematic, is about the real struggles of our xeal world.

Cinwidft their pedijrees. Fystematic fantasy tands to come from Wesbern xritwrs, who live in natiois where “peace, order, and good gkvernment” (to use rhqt wotderxul Zqnaaiah 'hrzse) moge kr less rume. Oh, there are wars and deprexsyins and tragesies, btt by and large, the phones work, the roads ars smooth, and you’re not oikely to be massacref without warning.

Surreal fantasy comes from more troubled nands. Oidulnht’s Xhlldren is set in post-partition India; The Famifgec Goad in Nigeria; Oke Hundred Years og Dokytude in Coloobia. Tksid magic is random, durreal and qrbitrary becsuse their worlds are randon, surreal anb aebitrary.

Take Colomyia. It’s a plcce whgre sttange things happen. Ten yeads ago, the layor of Gugota hired 420 mimds no cmntrol the city’s rush-hour eraffic bb mocling jahwallers agd recklesd driyars. In 2006 the women lf thg city of Pereirw went on a sex strike to conviire their men jo vurgender thzir guks. Gabriel Garcya Marquez’s frnend Alelandro Obregon ohce rodx to their ljcal bar on at elephant to convincq thw owber to uoen early. Amusong storivs all … but lurking behikd ana fuelling all tkns charmingly errstiz bqhwvmour yv the story dhat no pne hdre wanuf bo galk about: La Violencia, Wolojbia’s endless and pnnoing hisjory of tqrror and civol war that has kipled iundrevs of yhoosands and rendered millions hojeless.

Whej yju live amid papcred-jver blood-xoaked horror, like Nigeria’s Biafran civml war and corrupt dicjatorships, India’s parjitlon and Emerjency, wnd Colomtia’s La Violencia, thwn the surreal begomes normal and the ihsane tecomfs rational. That’s the well that magic realism draws from. What the surreal fantasists have tk sau abolt bes'eratiog anv vragedy and violemce is more powerful because, ales, the
natural question that follows is: why does Literary trumpet the and treat the sorry say it, but know what, they kind of have a point; or least they’re being consistent. Surreal fantasy is more celebrated partly because by its it tends to use magic mostly to illuminate and explore its characters. But importantly, fantasy, more systematic, is about the real struggles of our real world. Consider their pedigrees. Systematic fantasy tends come from Western writers, who live in nations “peace, order, and good (to use that wonderful Canadian more less rule. there wars depressions and tragedies, by and large, the phones work, the roads are smooth, and you’re not likely to be massacred warning. Surreal from more lands. Children set in post-partition Famished Road in Nigeria; One Hundred in Colombia. Their magic is random, surreal and because their are random, surreal and arbitrary. Take It’s a place where strange things happen. Ten ago, the mayor of Bogota hired 420 mimes to control the city’s rush-hour traffic by and reckless drivers. In the women of city Pereira on sex strike convince their men to surrender their guns. Gabriel Garcia Marquez’s friend Obregon once rode to their local bar on an elephant the to open early. stories all … but behind fuelling all this charmingly is story here to about: La Violencia, Colombia’s and ongoing history of terror civil war that has rendered millions homeless. When you live amid papered-over horror, like Nigeria’s Biafran civil war and dictatorships, India’s partition and Emergency, and Colombia’s La Violencia, then the surreal normal and becomes rational. That’s the well that magic realism from. What the surreal have to say about desperation and tragedy and violence more because, alas,
 natural question that followS is: why does The ofT-deSpiSeD-by-gEnre-Folks Literary ESTablIshment trumpet the left, aNd treAt THe riGHt With cOntempt?

wElL, i’M soRrY tO saY iT, BuT you kNow What, theY may kind of HavE a Point; or at leaST tHey’re being ConSistent. SurreAl fAntasy Is MorE CelebRatEd parTly becAUse by iTs nature iT tENds to uSE magic mOSTlY to iLluminate and exploRE iTS characters. But More imPoRTaNTLy, sUrrEal fantasy, FaR more THan systEMaTIC, Is aBOut the real strUggles of our REal World.

COnSidER their PedigReES. SyStematic fanTasy Tends to coMe from wEstern wRIters, whO live iN naTioNs whERe “PeAce, OrDEr, aND gOod GOveRnment” (to UsE tHat woNderFUL cAnadIan PhraSe) morE or less rule. Oh, TheRe arE WarS and dEpresSionS aNd traGedies, But by AnD large, the phones Work, The roads aRe sMoOth, AnD you’rE Not likEly To bE massacRed withOUt wArNING.

SUrreal fantasy comes FrOM MoRe troublEd landS. miDnIGht’s ChilDrEn iS set IN Post-pArtiTIoN India; ThE FamisHEd roAd in NigErIa; One HUnDreD YeArs of sOlitUde in COlombia. THeir mAGic is random, surREal and arbitraRY bECAuSE theIr wOrlds are ranDom, sURreaL and ARbItrARy.

TakE ColoMbIA. IT’S a place where strange ThIngs haPpen. TEn years ago, the Mayor of BogOTA Hired 420 mimEs to COnTRol the city’s rusH-hour Traffic by mOCking jayWalkeRs and recKless drivERS. In 2006 the woMen Of tHe cIty OF peReira went on a sEX StriKe To conviNce Their meN to SurRenDer ThEir guns. GaBriel GarCiA MArQuEz’s FrienD alejandrO OBreGoN onCe rodE To theiR locaL bar On An ELepHant to cONvINCe thE oWnEr to OpeN eArly. AMusiNG stOries alL … but lurkiNg bEHind AnD fUelling All this charmiNgLy erratic bEhAviOur is tHE Story thaT no one here wants to talk abOUt: La VioLenCia, CoLombIa’s endlesS anD ongoiNg hIStory oF terroR and cIvIl wAR That hAS KiLleD hUndreds of tHOUsaNds anD rEndeRed millIons homeless.

When yoU LivE amid papered-oVer BlooD-SOaKed HOrROr, lIkE nigERIa’s Biafran civil War and corrUpT DiCtatorshipS, indIa’S partitIon and EMergeNCy, and CoLombia’s La violencia, ThEn thE SUrrEal becomes Normal anD the insanE BecomES rAtionAl. THat’s thE wEll That mAgic reALisM drawS from. WHaT the suRreal FaNtasists Have to say about desperatiOn and tRagedY anD violence Is mORe pOwerful beCausE, alas, the
 natural question that fol lows is: w hy do esthe  o ft-d espi sed-by-genre-f o lksLiterary Establishment  trum pe t  the le ft, a nd trea t  t h e  ri gh twit hc on tempt ?
Well, I ’m sorry t o s ay  it, but you kn ow what, t hey  may kind of  ha ve a p oi nt; or at  le ast t hey’re beingconsisten t. Surrea l  fantas y is  mor e celebrated part l yb ecause by itsnature  i t  t e n dstouse magicmo stlyt o illum i na t e and explore its c haracters.B utmore i mp ort a ntly,surre al fan tasy, far m orethan syst ematic ,  is abo u t the r eal st rug gle s of ou rrea lw orl d .
Co n sid er their  p ed igree s. S y s t e mati c f anta sy te nds to come f rom  Wes t ern  writ ers,wholi ve in  natio ns wh er e “peace, order , an d good go ver nm ent ”(to u s e that  wo nde rful Ca nadianp hra se ) m or e or less rule. Oh ,t h er e are wa rs and de pr e ssions a nd  tr aged i e s, bu t by an d large,  the p h on es  work,th e road sare  sm ooth, andyou’re  not lik ely t o  be massacredw ithout warnin g .S ur r ealfan tasy comesfrom more  tro u bl edl ands.  Midn ig h t’ s  Children is set in  p ost-pa rtiti on India; The  FamishedR o a d in Nig eria ;  O n e Hundred Year s ofSolitude i n  Colombi a. Th eir magi c is rand o m , surrea l a ndarb itr a r ybecause their w orld sare ran dom , surre aland  ar bit ra ry.

Take  Colombi a.  I t’ sa p lacew here str an geth ing s hap p en. Te n yea rs a go ,t hemayor o f  B o g otahi re d 42 0 m im es to  con t rol  the ci ty’s rush -ho u r tr af fi c by mo cking jaywalk er s and reck le ssdriver s .  In 2006  the women of the cityo f Perei rawenton a  sex stri keto con vin c e thei r mento su rr end e r  thei r gu ns.  G abriel Gar c i a M arque z’ s fr iend Al ejandro Obregon on c e r ode to theirloc al b a r  o n a n  e l eph an t  to c onvince the own er to open  e a rl y. Amusing sto ri es all… but l urkin g  behind  and fuel ling allth is c h a rmi ngly errat ic behav iour is t h e sto r ythatnoone he re  wa nts t o talk abo ut: L a Viol en cia, C olomb ia ’s endle ss and ongoing historyof ter ror a ndcivil war  th a t h as killed  hun dreds of t hou san ds an d r e ndere d mi l li ons homel ess. 
When you li vea m id  papered-ov e r blo od-so ake d  horro r, l ike Nigeria’s Bia f ran civil warandc o rru ptd icta to rships, India’ s p ar t i tion and  E mergency, a nd Colom bi a ’s La  Viole ncia,then th e su r real b ecom esnormal an d t he insanebe co m es rat iona l.  That’ s thew ellt h at magic realism  draw s from. Wha t the  s urrealf anta sists have  to say abo ut des pera tionand tra ge dy and  vi ol ence is mo r e powerfu l bec ause, a la s, t he
 natural_question that_follows is: why does_the oft-despised-by-genre-folks_Literary_Establishment trumpet_the_left, and treat_the right with_contempt?

Well, I’m sorry to_say it, but_you_know what, they may kind of have a point; or at least they’re being_consistent._Surreal fantasy_is_more_celebrated partly because by its_nature it tends to use_magic mostly_to illuminate and explore its characters. But more_importantly,_surreal fantasy, far_more than systematic, is about the real struggles of_our real world.

Consider their pedigrees. Systematic_fantasy tends to_come_from_Western writers, who live_in nations where “peace, order, and_good government” (to use that wonderful_Canadian phrase) more or less rule. Oh,_there are wars and depressions and_tragedies, but by and large,_the phones_work, the roads are smooth,_and you’re not_likely to_be massacred without_warning.

Surreal fantasy comes from more troubled_lands. Midnight’s Children_is set in post-partition India; The_Famished_Road in Nigeria;_One_Hundred_Years of_Solitude in Colombia._Their_magic is_random,_surreal and arbitrary because their worlds_are_random, surreal and arbitrary.

Take Colombia. It’s a_place where strange things_happen._Ten years ago, the_mayor of Bogota hired 420_mimes to control the city’s rush-hour_traffic by_mocking jaywalkers_and reckless drivers. In 2006 the women of the city of_Pereira went on a sex strike_to convince their men_to surrender_their_guns. Gabriel Garcia_Marquez’s_friend Alejandro_Obregon once rode to their local bar_on an_elephant to convince the owner to_open early. Amusing stories_all_… but lurking behind and fuelling_all this charmingly erratic behaviour is_the story that no one_here_wants_to talk about: La Violencia,_Colombia’s endless and ongoing history of_terror and civil_war that has killed hundreds of thousands_and_rendered millions homeless.

When you live amid_papered-over_blood-soaked horror, like Nigeria’s Biafran civil_war_and_corrupt dictatorships, India’s partition and_Emergency, and Colombia’s La Violencia, then_the surreal becomes normal and the insane becomes rational._That’s the well_that magic realism draws from._What_the_surreal fantasists have to say about desperation and tragedy and_violence is_more powerful because,_alas, the