Erika Haber's analysis of the interplay between literature and
culture in the Soviet Union of the 1970s and 1980s breaks new
ground not only in our understanding of this relationship, but also
in our appreciation of the literary genre popularized at that time
by the Colombian writer Gabriel Garcia Marquez magical realism. The
Soviets perceived Garcia Marquez as a Socialist, and they
sanctioned his magical realism when other writing styles were
outlawed as a natural extension of socialist realism. Haber
discusses the use of magical realism in Soviet literature, focusing
especially on two non-Slavic writers: Fasil Iskander, of Abkhazia,
and Chingiz Aitmatov, of Kyrgyzstan. She explores how these writers
used literary tools of subversion and successfully employed magical
realism in rebellion against the prescription of national
conformity in art. In critical readings of Iskander and Aitmatov,
Haber demonstrates how these writers juxtaposed their native myth
with Soviet myth, thus undermining the primary message of socialist
realism by suggesting a plurality of worlds and truths."
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