To analyze the technique magical realism in Exit West we should firstly know that what is magical realism and how many writers have used it in their works before Mohsen Hamid has used in his novel

To analyze the technique magical realism in Exit West we should firstly know that what is magical realism and how many writers have used it in their works before Mohsen Hamid has used in his novel . The term magical realism , this eccentric oxymoron which combines two conflicting constituents , raises to the consolidation of realism and fantasy in art , film and prose. It chains realism and the imaginary in such a way that magical features grow gradually out of the truth depicted.
According to the Dictionary of Twentieth Century Culture: Hispanic Culture of South America, 7 magical realism involves… fiction that does not distinguish between realistic and non-realistic events, fiction in which the supernatural, the mythical or the implausible are assimilated to the cognitive structure of reality without a perceptive break in the narrator’s or characters’ consciousness. (Standish . 156-157) . According to Angel Flores, magical realism includes the union of the actual and the eccentric , or as he claims, that magical realism is the amalgamation of realism and fantasy.
Although magical realism originated with Latin American writers, authors who are not Mexican American/Latin American/Hispanic have also embraced magical realism. The genre has now expanded to include non-Hispanic works, including Toni Morrison’s Beloved, Salman Rushdie’s Midnight’s Children and Mikhail Bulgakov’s The Master and Margarita. Current studies of novels recognized as magical realist, such as these, often revolve around the concept of binarism. As Teya Rosenberg explains in “The Influence of the Second World War on Magic Realism in British Children’s Literature,” “pulling together opposites and balancing seeming binaries are precisely what magical realism does” (Rosenberg, Taya , 77-87). Rosenberg acknowledges that studies of magical realism in adult novels detail the presence of these binaries, yet she points out, in her article “Genre and Ideology in Elizabeth Goudge’s The Little White Horse,” that “children’s literature . . . has not been included in discussions of magical realism, nor have studies of children’s fantasy taken into account discussions of magical realism . . ..” (77) It has been couched in numerous terms coined by three writers in particular: Franz Roh, Alejo Carpentier, and Angel Flores. Its inception as an art movement in 1925 is described in the article “Magical Realism: Post-Expressionism” by German art critic and historian Franz Roh, who originated the term Magical Realism to describe art in which “the mystery does not descend to the represented world, but rather hides and palpitates behind it . . .. ” (16). His creation of the term stemmed from a need to define a painting style that gravitated more toward the real than did the abstract style of the Expressionist paintings that preceded it, although as Irene Guenther points out, “Roh did not place any special value on his term Magical Realism” (34). Flores tells us, the “nucleus” of magical realism, which centered on Borges (with Kafka as his muse), spread to Cuba, Mexico, Ecuador, Chile, Uruguay and Argentina
Magical realism was a span first invented in 1949 by the Cuban novelist Alejo Carpentier to describe the matter _ of –fact mixture of the eccentric and every day in Latin American Fiction. About the same time it was also used by European critics to define a related drift in postwar German narrative epitomized by novels like Gunter Grass’s The Tin Drum(1959) . (German critic Franz Roh had presented the same word in 1925 , but he smeared it only to painting.) Magic realism has now become the typical name for a main implication in current works that stretches from Latin American workings like Gabriel Garcia Marquez’s One Hundred Years of Solitude (1967) to Norte Americana novels like Mark Heparin’s winter’s tale (1983) and Asian Works like Selman Rushdie’s Midnight Children (1981). In all gears the term denotes to the inclination among contemporary narrative writers to combination the magical and ordinary on an complete background of realistic narration.
As lately as 2008, Magical Realism in prose has been defined as a kind of modern literature in which marvelous and fantastical actions are comprised in a account that otherwise preserves the dependable tendency of impartial truthful report. Postcolonial researcher Brenda Cooper explains that “magical realism arises out of particular societies – postcolonial, unevenly developed places where old and new, modern and ancient, the scientific and the magical views of the world co-exist.” 8 (Murad,216). Labelling a propensity of the modern novel to extent yonder the bounds of practicality and draw upon the vitalities robust modern social worth. The fanciful qualities given to characters in such novels, hovering, voyage, mind-reading, and telekinesis are amid the means that realism espouses in order to involve the often surreal party-political facts of the 20th century .
Mohsen Hamid is a Pakistani writer , playwright and brand consultant. His work of fiction are Moth Smoke,(2000), The Reluctant Fundamentalists (2007) ,How to get filthy Rich in Rising Asia (2013) and last is Exit West. Hamid has also inscribed on legislation, painting, prose, travel, and other such topics, most freshly on Pakistan’s inner separation and extremism in an opened for the New York Times.
Such as , In 2013 he was called one of the biosphere’s 100 Foremost Worldwide Thinkers by Foreign Policy magazine . Hamid is undeniably, the most familiar, fashionable English-language Pakistani novelist. The initiation of Exit West has made big waves in fictional spheres of the United States . Fortunate evaluations of the book have acted in all major US newspapers containing the NY Times ,New Yorker and the Washington post.(21March,2017).