Answer:
Franz Kafka’s <em>The Metamorphosis</em>
Explanation:
Magical realism is a literary genre that depicts the real world with elements of magic or fantasy. Although it is most commonly associated with Latin American authors, the first example of magical realism is considered to be <em>The Metamorphosis </em>- a novella written by Franz Kafka. It tells the story of a salesman Gregor Samsa, who wakes one morning to find himself transformed into a huge insect and afterward struggles to adjust to his new form.
Some of the elements of stories that belong to the magical realism are:
- realistic setting
- magical elements
- limited information - the magic remains unexplained in order to normalize it as much as possible and make it feel like a part of everyday life.
- critique - magical realism is often used to criticize society.
- unique plot structure - there is often no clear beginning, middle, and end, which provides the reader with an intense reading experience.
Answer:
no his lowest balance so far this month has been $1966.18.
Explanation:
Squanto's experience with the English relates to the pilgrims' first encounter with the Indians in the following way:Squanto was a Native American who was born circa 1580. He acted as a guide to the Pilgrims who arrived by ship. He was captured by the English Explorer Thomas Hunt and taken to Spain where he was sold into slavery. The inverse happened to the pilgrims a couple of months after they landed at Provincetown Harbour. They were attacked by a group of Native Americans who were overcome by musket fire. The Pilgrims later learnt that a group of Native Americans was led into a trap by Thomas Hunt. They were captured and sold into slavery. Squanto was in this group of Native Americans. The Pilgrims were attacked by the Native Americans as a direct result of being led into an ambush by Thomas Hunt and his companions.
This is a short modernist fiction that celebrates the life of the imagination, and points to its shortcomings. As a narrator, Woolf was in the habit of thinking aloud and talking to herself, as well as to her imaginary readers. Here she takes the process one stage further by ‘talking’ to her own fictional creations.
She also shows the process of the artistic imagination at work, raising doubts about its own creations, asking questions, and posing alternative interpretations. She even develops lines of narrative then backtracks on them as improbable or cancels them as invalid, mistaken interpretation, or rejects them as inadequate.
In other words, the very erratic process of ratiocination – all the uncertainties, mistakes, hesitations – are reproduced as part of her narrative. She even addresses her own subject, silently, from within the fictional frame, and reflects on fictional creations which ‘die’ because they are rejected as unacceptable:
