Trauma and Memory in Magical Realism: Eden Robinson’s Monkey Beach as Trauma Narrative
The fundamental characteristic of magical realism is its duality, which enables alternative representations of society and history. Its specific narrative devices make magical realism a viable form for rendering traumatic experience and memories. Monkey Beach (2000) by Eden Robinson, a member of the...
| Published in: | [sic] - a journal of literature, culture and literary translation |
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| Main Author: | |
| Format: | Article in Journal/Newspaper |
| Language: | English Croatian |
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University of Zadar
2013
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| Subjects: | |
| Online Access: | https://doi.org/10.15291/sic/2.3.lc.3 https://doaj.org/article/26996661103441abaedded0bb8036cdf |
| Summary: | The fundamental characteristic of magical realism is its duality, which enables alternative representations of society and history. Its specific narrative devices make magical realism a viable form for rendering traumatic experience and memories. Monkey Beach (2000) by Eden Robinson, a member of the Haisla and Heiltsuk First Nations in Canada, is a repository of memories, triggered and fuelled by trauma. Fragmented temporality, mixing of discourses, shifts in focalization, wordplays, repetition, and the magical are some of the devices the novel uses to address the complex landscape of trauma and memory. By unveiling personal memories, Monkey Beach gives way to the unconscious to enter the narrative structure, gradually revealing a much larger issue of the mistreatment of the Haisla people in Canada—and the resulting collective trauma. As trauma cannot be integrated into the narrative, it can only be uncovered indirectly and through a double distancing: firstly through the techniques of magical realism, and secondly, through the seemingly detached point of view of the narrator, who ultimately realises that her life is also encumbered with the dark stain of colonialism. |
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