"It was as if God had decided to put to the test every capacity for surprise ... to such an extreme that no one knew for certain where the limits of reality lay. It was an intricate stew of truths and mirages that convulsed the ghost of José Arcadio Buendía with impatience and made him wander all through the house even in broad daylight."
It definitely isn't Science Fiction and not quite Urban Fantasy and yet... stuff happens. Unlikely stuff like tchotchkes telling the heroine what to do (Wonderfalls) or the ghost of your father showing up at odd intervals to offer personal and/or professional advice (Due South) or perhaps it's just a quirky vibe that infuses the environment (Northern Exposure or better yet, Twin Peaks).
One of the easiest ways to distinguish magical realism from other genres is the use given to the omniscient/omnipresent narrator device which can be used one way or another. Should the story be told from a first person perspective, then the work in question tends to side more with other genres. Another feature is that the magic which affects reality comes either from a plurality of sources, such as god, black magic, spirits, all at the same time; or from no source at all, being like the weather instead. It might be worthwhile to point that usually there is a strong correlation between magical realism and surrealism.
Magical realism is often intentionally vague, and (as in Kafka'sThe Metamorphosis) it can be hard to determine if the protagonist actually is experiencing magical phenomena, or if he's just going insane. Nonetheless, there can be no doubt that the story takes place in some sort of mostly normal reality. To sum it up, magical realism is a story that takes place in an ordinary setting (this excludes futuristic space colonies, lost ancient cities et al.), incorporating spiritual elements (ghosts, spirits, angels, heavens, etc...) where extraordinary or even impossible things are viewed as normal and thus, nobody really bothers to explain why such things happen.
The use of Magic A Is Magic A typically helps the audience accept the incongruity. Psychic Dreams for Everyone is also widespread.
Among some people, magical realism is sometimes misused as a term to explain why a work they liked is "literary fiction", and thus allegedly somehow superior to "genre fiction" like fantasy and Science Fiction. On the other hand, the inclusion of well-written Magic Realism into the canons of Lit Fic is historically well supported, as Latin America's major 20th-century authors mostly wrote in this genre. Indeed, the literary world outside of Latin America so closely associates the region with Magic Realism that the McOndo movement (for which see below) exists chiefly to prove that no, not everything literary that comes from Latin America involves magic and angels.
When Magical Realism is applied to a long-ago historical setting, compare Demythtification, which involves a "quasi-realistic" retelling of a popular legend in a historical setting. When fantastic elements are more and more outrageous, see The Time of Myths. Not to be confused with a Fractured Fairy Tale, where the fantastic elements may be parodized as Mundane Fantastic.
From another perspective, it's a given that any non-fantasy musical is by definition magical realism, since spontaneously breaking into song with invisible accompaniment gets taken as a perfectly normal thing, although there are a few exceptions where the incongruity is lampshaded, the most notable recent example being Enchanted. (See Musical World Hypotheses for other interpretations.)
Not to be confused with Urban Fantasy. Urban Fantasy is an old genre in a contemporary setting, Magic Realism deals with a different set of genre rules.
Rule of thumb: Say there's vampires in New York.
If the cover gets blown and the protagonists spend a lot of time with vampires, either taking evil ones down, incorporating them into romance stories, etc. it's Urban Fantasy.
If a cop's partner is very pale, very strong, generally acts odd, and come to think of it, he's never been seen in daylight, but the story focuses primarily on just a Police Procedural or the interpersonal relationships, it's Magical Realism.
If the cop just goes through his life as a cop, but his partner is a vampire, is greeted with "Hi, Mr. vampire!" by cheerful little children in the street, and casually drinks blood in plain sight out of transfusion packs during coffee breaks, it's a case of Mundane Fantastic.
In this Corona Commercial the environment shifts between a ski resort and a beach and nobody finds this weird.
Anime and Manga
Kino's Journey portrays what seems to be a normal pastoral world, and in fact much of the technology is very similar to its real-world counterpart. But the show also has a talking motorcycle, a possibly talking dog, and portions of the countryside that move on their own. No one seems to find the unusual parts that unusual. May be set After the End, although this isn't made clear.
Serial Experiments Lain might fit into this category better than Science Fiction. Among other things, it seems that dead people go to (or through) the Wired after they die, computer equipment can grow like vines, and the physical reality is as much "data" as the computer-world and can likewise be programmed by gifted individuals.
And it's perhaps the only cyberpunk, or scienfictionish narrative to convincingly do so. The reason why Serial Experiment Lain might be an example of this trope it's because it basically deals with the digital world, merging with the real world. Thus creating a hybrid where the rules of this reality don't apply. The problem with this theory is that people do seem to take notice of the change; one guy even shots himself in the head because of it.
Perspective is everything. Lain's point of view perhaps flips towards Urban Fantasy in the end, but Arisu's remains in the field of Magic Realism.
Nagasarete Airantou is a comedic first-class example. Ikuto, young man of the modern age and the main character finds himself on an island stuck -culturally, at any rate- in the late 19th century. Normal enough at first but before long he's rationalizing away the more... unconventional aspects of his new home, like magic, talking animals, youkai, etc.
Despite being ostensibly sci-fi, the Aria series incorporates the supernatural whenever cats are involved. This includes time travel.
Asatte no Houkou - The setting is mundane except for the wishing stone that changes Karada and Shoukos' ages.
The over arching plot and background of Haruhi Suzumiya has elements of Magic Realism even though the individual pieces are Urban Fantasy and Science Fiction. This is due mainly to Haruhi's powers being very subtle and especially the lack of certainty about what is really a coincidence and what is outright alteration of reality.
Lucky Star dips into this once when the main character's dead mother visits her family as a ghost.
School Rumble is a normal high school story with normal (if goofy) protagonists. Then Yakumo states that she can magically read people's minds, her older sister can bend spoons with her mind, Dracula helped out with a school festival, Akira may or may not be a secret agent, and Yakumo and Iori the cat once switched bodies. There's definitely odd things going on, but they're not the focus of the story.
The crux of the plot of Death Note is a magical item from another world falling into the hands of an ordinary (albeit with some... personality quirks) human boy in our world and what he chooses to do with it. Aside from the Death Notes and shinigami, the world depicted in Death Note is highly realistic, and much of the plot focuses so heavily on the human characters using real-world methods and technology to try to catch the Villain Protagonist - and the magic itself is treated in such a mundane and almost scientific fashion - that you might occasionally forget that the plot is founded on the supernatural to begin with.
Similar to the example above, Hikaru no Go deals with this. The plot is mostly about a normal Slice of Life exploits of the titular character's Go games - the fact that Hikaru only started being interested in Go is because of a thousand-year-old ghost of a Go master who wishes to continue playing forces him to do so.
CLANNAD is mostly a slice-of-life romance in a realistic, present-day setting...Except for the Genki Girl in a coma somehow astral projecting herself whom only some can see, a cat who temporarily turns into a human boy and can grant one wish, a lonely world no-one can see that exists somewhere between the layers of our own, and the past being rewritten after years of tragedy, finally resulting in a happy ending.
Kanon, another Key anime, is very similar: it's just a normal high school anime, except for the fox that turns into a human girl, the girl with healing powers who fights invisible monsters with a sword, and (yet another) girl in a coma projecting herself and magically producing a happy ending.
To complete the trifecta, Air also does this, with several characters supposedly descended from Winged Humanoids, or possibly just nuts. A distant-past segment has some winged women, yet implies that their wings may have been an embellishment to the story and/or a metaphor for their deaths. The male lead has a doll which he can control seemingly through telekinesis, but it's never explicitly stated to not be just a trick.Near the end, he appears to go back in time and become the bird that was hanging around throughout the series. If he actually did, there's no explanation of how, and it's possible he just went crazy.
Then there's Little Busters, which is a totally normal, happy game about the everyday school life of a boy and his friends. And then there's one unusual girl who doesn't have a shadow but does have a strange doppelganger, and when he starts romancing another girl strange things start to happening such as snow falling in May...Although in the end it turns out to be a bit more of a subtle example than the rest: all of the supernatural things happened because they took place within the dream Kyousuke created to replay the same month over and over to prepare Riki for the events ahead, meaning that the creation of that dream was the only truly magical thing to have happened.
Skip Beat! is a story about a girl who sets out to become a star in the Japanese entertainment industry, and follows her ups and downs, new friendships and possible romantic interests, and her burgeoning career. Said girl also has a demon army that gives her anger and resentment a voice and physical presence, and the resident esper is actually not a fake.
Arguably the existence of personified countries in Axis Powers Hetalia would count, especially when their dynamics are played with.
Helen ESP never explains the nature or origin of Helen's psychic powers, and they don't really change that much about her life.
Da Capo. The main character is a mage who jumps into people's dreams, there's also a magical cherry tree that grants wishes, a reality altering witch, mind readers, cats becoming human, a human sized cat that the girls see around town, and ever blooming cherry trees, and although it's a bit odd, nobody ever questions their reality.
Mawaru-Penguindrum, where the main characters' souls are represented by penguins only they can see, aphrodisiac potions brewed from frogs really work, and key scenes take place on a strange, alternate version of the Tokyo subway all pass without much comment. For extra credit, the show makes several references to other examples of Magical Realism, such as Night on the Galactic Railroad and Haruki Murakami's works.
Twin Spica is a sci-fi series that falls on the high end of Mohs Scale of Sci-Fi Hardness. And there's "Mr. Lion", the ghost of an astronaut who died in a major shuttle accident prior to the events of the story and now mentors the main character. Shuu is implied to have become a Mr. Lion-style ghost as well after his death.
Both Gilbert and Jaime Hernandez's work in Love And Rockets has magic realist elements, although more frequently in Gilbert's. For example:
A character in Gilbert's Palomar stories has premonitions of people's deaths, when he sees images of them sitting under a certain tree.
The supernatural and quasi-magical events surrounding Izzy Ortiz in the "Locas" stories, even after they otherwise become completely Slice of Life.
In Pulp Fiction, Vince and Jules are shot at from point blank range and all the bullets miss. This triggers a theological argument between the two characters. It may be significant that Jules, who accepts it as a miracle and quits his gangster career, is still alive at the end of the movie, while Vincent who rejects it dies.
In Kill Bill, the martial arts master Pai Mei is said to be at least a thousand years old. The credibility of this statement isn't even questioned by any of the characters given that he had can explode people's hearts, being Really 700 Years Old may not be too much to swallow...
Field of Dreams shares the same plot as many fantasy ghost stories: the undead communicate with the living in order to achieve a certain goal. Usually, these stories are in the horror genre and Field of Dreams is obviously a drama but otherwise, it's pretty standard.
David Lynch's films have it both ways. Some of them really do fit the definition of Magic Realism and fit comfortably within the genre, while others are clearly supernatural but are lumped in with Magical Realism because it's an easy way out of the Sci-Fi Ghetto. It doesn't help that the only Lynch film they really can't weasel their way out of acknowledging as what it is, Dune, really was bad.
There is some disagreement over the setting of Eraserhead, whether it's a Magical Realist Pittsburgh or a Post Apocalyptic nightmare land or Purgatory or anything really. Perhaps it would be better to say that there may be some agreements about Eraserhead.
Inland Empire straddles the line of this and Absurdism, but Mulholland Drive IS magical realism.
None of his films are magic realist, actually. They generally fit under surrealism.
A Hard Day's Night. Most of it is realistic enough that viewers have mistaken it for a real Documentary; but there are a couple of segments which just cannot happen in even The Beatles' real life, and (this being a comedy) there isn't even a Hand Wave for why they happen.
The Film of the Book of Being There diverges from its source novel in this manner. Hal Ashby, the director, came up with a different ending than the one scripted as a salute to how believable the actors were - since the audience would already accept Chance the Gardener becoming one of the most important men in the world in a matter of days simply through misunderstandings, then they would also accept the final shot's revelation that he can literally Walk on Water. There's no explanation given as to how, and Chance is as surprised as the audience is; he even tests the depth of the water with his umbrella...but, being who he is, he accepts it right away as just something he can do.
The original script had an ex-girlfriend curse him using a spell she found in a book.
LA Story, written by Steve Martin, applies many of the tropes of Magical Realism. What else can you call a story where a variable-message sign on the highway offers a character advice on his love life?
Stranger Than Fiction. The movie is more or less like this, Harold is struggling with life, and the only magical thing is that he seems to be the main character of a book. The book in question also seems to have Magic Realism elements to it, as his watch becomes sentient for a second.
The 1998 theatrical film based on the Cirque du Soleil show Alegria. It's obvious the world the characters exist in is a little more colorful and eccentric than ours, but possible magic comes in at the end when the manager/ringmaster encounters and converses with his own stage character.
Valerie and Her Week of Wonders is a surreal Czech film based on novel of the same name, in which love, fear, sex and religion merge into one fantastic world.
The revenge western Seraphim Falls verges into magical realism in the third act, when a Magical Native American and a snake oil saleswoman appear out of nowhere to each of the two main characters and engineer a final confrontation between the nemeses. The Native American is named Charon in the credits and the saleswoman's name is revealed to be Louise C. Fair.
Take "magic realism," replace "magic" with "video game," and that's Scott Pilgrim vs. the World. Enemies have unique mystical powers, video game graphics show up and may even be interacted with by characters, and people explode into coins once bested in a duel. But otherwise, you know, just the normal lives of twenty-something Canadians. While these elements appeared in the graphic novel source material, the film revels in it all, maybe just because we see it all in motion.
Big Fish has the main character's father spice up his life story with small magic tidbits every now and then. The main character believes he's making it all up, until the father's funeral, where many of the magical characters show up. He concludes the only way to tell his father's story is the exact manner his father told it.
Don Juan DeMarco: The title character is a mental patient, with delusions of living in a wonderful world full of romance and adventure. In the movie's final sequence, he and a couple friends hop on a plane and go to that world.
Picnic at Hanging Rock: When the girls from a Victorian age Australian girl's school go on a picnic, some odd things happen.
Midnight in Paris. When Gil Pender waits on a certain street corner of Paris at midnight, a car arrives and takes him to famous Paris locales in the 1920s, where he spends his nights with people like Zelda and F. Scott Fitzgerald, Ernest Hemingway, Gertrude Stein and Pablo Picasso. In the 1920s, waiting in a certain spot allows the protagonist to travel to an even earlier era, and so on and so forth.
Several sequences in Come and See are implausible and downright surreal, and intentionally so.
The 1948 film The Boy With Green Hair is about a war orphan who wakes up one morning to find that, well...he has green hair.
Ruby Sparks is about a writer who dashes off twenty pages about his perfect woman in a fit of inspiration. When said perfect woman appears in the flesh in his apartment, at first he freaks out, but soon he accepts it as a bona fide miracle.
P.T. Anderson'sMagnolia features a relatively standard ensemble drama, until the final act, which leads to a rain of frogs all over the town
Raising Arizona could count. The plot is centered around a fairly mundane love story/kidnapping scheme, but it also involves a bounty hunter who may or may not be a demon from Hell. And then there's the main character's tendency to have prophetic and/or clairvoyant dreams, which he doesn't seem to consider unusual.
Life of Pi is a perfect example of magical realism; not only does it use fantastical elements such as the carnivorous island, but it also makes things that really do exist seem fantastic (bioluminescent algae, for example); not to mention the pure unlikelihood of the story, its mundane background, and the possibility of an Unreliable Narrator.
The Odd Life Of Timothy Green is a charming story about the life of a little boy. It just so happens that he has leaves growing from his legs, and that he was born from a box buried in the ground that his parents had filled with their wishes for a child.
There are several elements of magical realism in Chocolat, one of these being the personification of the North wind as the force driving Vianne and Anouk to wander the world.
Ladyhawke: In otherwise normal medieval France, a bishop has cursed a pair of lovers to transform into beasts at alternating times, so that they can never be together.
A pair of Clint Eastwood westerns count as this. Both High Plains Drifter and Pale Rider are typical revenge stories except that it's hinted, very strongly in the case of High Plains Drifter that the protagonists have returned from the dead for their revenge.
Gabriel García Márquez' book One Hundred Years of Solitude popularized the term and is often considered to be the master work of the genre, and one of the most important pieces of universal literature written in the 20th century. A few years of rain, a gypsy who keeps coming back to life, a man who just sits in the basement and doesn't speak, and a couple dozen civil wars are some of the more normal aspects of the book. Marquez' other works also tend to feature this to a greater or lesser degree, such as A Very Old Man With Enormous Wings.
The Tiger's Wife features a lot of fantastical elements (most obviously 'the deathless man', who is exactly what he sounds like), which are being related at second- or third-hand and may or may not have happened.
Magical Realism is very prominent in 20th century Latin American literature. In fact, Magical Realism is so prevalent in Latin American literature that the McOndo movement was formed specifically to distance itself from its clichés.
Mexican Laura Esquivel's Like Water for Chocolate, wherein the protagonist's feelings for her beloved are transferred into the food she is preparing, which her sister then eats, which causes her to literally burn up in passion — she goes to use the outdoor shower and ends up setting it on fire before a soldier of the revolution rides by on horseback, scoops her up, and they have passionate sex while riding away on the horse.
Magical cooking is a popular concept for magical realism and "straight" fantasy both within and without Latin America. See also Chocolat, for instance.
Franz Kafka has this in many of his works, such as having an orangutan transform into a human or a man turn into a giant cockroach, each happening for little or no discernible reason.
Italo Calvino is a famous Italian writer whose works skirted Magical Realism. His book Invisible Cities consisted entirely of Marco Polo describing to Kublai Khan various cities he had visited which become less and less real as the book continues. These include a city where the buildings have washed away leaving only the pipes, a city where the streets are filled with soil instead of air, and a city which is never finished being built so that it cannot be destroyed.
The Illuminatus!! trilogy and most of the other novels by Robert Anton Wilson tend to alternate between this genre and Science Fiction; the world is mostly as we know it, but there's usually some technology that can't exist in the era the stories are set in, such as a sentient computer in Illuminatus!. There are always Psychic Powers as well, some more subtle than others.
The Big One and it's subsequent series, written by Stuart Slade, is an extremely realistic alternate history, which avoids many of the cliches of the genre in favor of a deconstructivist look at the historical implications of World War II-era superweapons. Over the course of the series, however, it becomes increasingly clear that, not only are some or all of SAC's bombers sentient and capable of speaking to their crews, but the Seer, the Thai Ambassador, and several other characters are also nigh-immortal demon-type creatures, who are carefully steering world history.
Writer George Saunders is big on this. In the short story collection CivilWarLand in Bad Decline he has several examples, as most of his stories are very dreamlike. In the title story, the main character works in a Civil War themed Amusement Park where he regularly encounters a family of ghosts who lived on the land during the Civil War. Another story features a man hounded by the ghost of a child who was killed due to his negligence. Other than these elements the stories are grounded in reality (if perhaps an overly bleak version of reality).
Much of Salman Rushdie's Midnight's Children is considered Magic Realism, as the children in the title have various powers and abilities ranging from beauty capable of blinding people to an ability to physically hurt people with words.
A big portion of Etgar Keret's stories. Few examples: A winged man pretending to be an angel, several magicians capable of real magic, soldiers who got turned into body targets, a guy with mind-controlling ability (who uses it to get laid) and a boy who can control ants (and uses them to take the school away).
Snow In August by Pete Hamill pulls out the Magical Realism card in the last few chapters. In order to punish the gang of anti-semitic thugs that beat a Jewish store clerk into a coma, threatened Michael and his friends, beat him up later on, attempted to sexually assault his mother, beat up Rabbi Hirsch, and repeatedly vandalized the temple with swastikas, Michael performs the Golem summoning ritual in the legend the Rabbi told him and actually succeeds. As part of the miracle, all of the gang's victims are also healed, and the Rabbi's wife who was killed by the Nazis is brought back to life.
Philippa Gregory blends Historical Fiction with Magical Realism in her Cousins' War series; several of the main characters are convinced that they can do magic and their success rates, while never unambiguously attributed to magic, do slightly strain the bounds of coincidence.
Michael Bishop's Brittle Innings is a coming-of-age story about a mute teenager who plays on a minor-league baseball team in the Deep South during World War II, when all the 'real' ball players are fighting the war. It's almost an incidental detail that the team's slugging first baseman is Frankenstein.
Interestingly, there may actually be an explanation for it. Rhett Lamb almost never slept, and Hai Ngoc hasn't slept in thirty years. It looks like this can be caused by odd, rare medical conditions, though it's certainly fantastic.
Karen Tei Yamashita's Tropic of Orange proudly parades its magic realism and Gabriel García Márquez influence. Seven main characters in modern-day Los Angeles and Mexico's lives interweave in strange and not-very-satisfying ways when an orange causes a gigantic traffic accident, then firestorm on a major freeway. Meanwhile, another orange that happened to grow on the Tropic of Cancer (which was fertilized somehow by the woman who works on the property) causes the geography to shift completely when... well, it still doesn't make much sense, except there were lots of Author Tracts.
Similarly, her novel Through the Arc of the Rainforest. The plot revolves around a massive field of plastic with seemingly magical properties being uncovered in the middle of The Amazon, and the manner in which the main characters (including an American businessman with three arms, a Japanese railway conductor with a little ball floating in front of his face, and a Brazilian radio evangelist who thinks that the plastic is holy) interact with it.
In Skellig, a la the page quote, the eponymous character is a man with wings who might be an angel and who lives in the young protagonist's garage.
Zenia from Margaret Atwood's The Robber Bride has no provable supernatural abilities, but with her palpable aura of evil she reminds one of a fairy tale witch.
Pretty much the entire output of both Kelley Link and her husband Gavin J. Grant. In almost all of the stories the two have written, really weird stuff happens (ghosts, zombie apocalypse, a handbag that holds an entire town, a stream-of-consciousness television show that appears on random stations at random times) but no one reacts as if it was at all strange.
Amos Tutuola's books depict magic realism in an African setting. The protagonists live in a world where they often come in contact with spirits of the Bush. A good example is The Palm Wine Drinkard.
Grooves: A Kind of Mystery by Kevin Brockmeier has a pretty normal world, but audio messages are encoded in such unusual things as the ripples on rippled potato chips and the texture of blue jeans. The message? "He's stealing the light from our eyes," which is literally what "he" was doing.
There's a whole sub-genre of historical fiction that fits this. Generally the earlier the era and/or the more non-western the culture dealt with, the more likely this is. Common features are prophetic dreams/visions, an individual or group of individuals with mystic knowledge and something like the Australian Dream Time. Often features a clash with a more "advanced" nation that considers the more "primitive" peoples beliefs rank superstition and are usually the bad guys.
Both The Spiral Dance, set during the Great Northern Rebellion in Elizabethan England and American Woman, and account of the Battle of the Little Big Horn and the events leading up to it from the perspective of the white wife of a Cheyenne warrior by Rodrigo Garcia y Robertson. In fact most of Garcia y Robertson's stuff qualifies.
Tananarive Due's The Between in which a man is haunted by the ghosts of his alternate selves who feel that he should have died in their place. Also her African Immortals series which is about a group of Exactly What It Says on the Tin given eternal life by the stolen blood of Jesus. There are also ghosts.
An odd example is David Weber's In Fury Born, which starts off as a typical Weber military space opera, until the Greek Fury Tisiphone shows up. (This is mostly due to the fact that In Fury Born is an expansion of the earlier Path of the Fury, in which Tisiphone shows up about twenty pages in; In Fury Born introduces her around the halfway point.)
Elizabeth Goudge's children's novel Linnets and Valerians rides a boundary very carefully. Certain of the characters believe very much that magic, fairies, and curses exist as verifiable reality. Others don't, seeing only dreams, mystery, and coincidence. While many mysterious events happen over the course of the novel happen that might well be magical in nature, the characters (and reader) never quite get the final confirmation as to which interpretation is correct.
The first part of Justine Larbalestier's Liar is like this. The reader is given subtle hints that Micah is a werewolf but it is never touched on, the majority of the section focusing on Zach's murder. The second part is more explicitly fantasy. (Probably. Given the extreme unreliablity of the narrator, it's very hard to be sure.)
Sharyn McCrumb's Ballad novels, slice of life/mysteries set in rural North Carolina featuring Nora Bonesteel an old woman who has "The Sight". One book also features a ghost.
Happens in two of Jodi Picoult's books. In Change of Heart, Shay Bourne is somehow able to cure one of his cellmates of AIDS and cause water to turn into wine. In fact, a priest specifically sees him as a Jesus-analogue. The main focus of the book, however, is on the ramifications of the death penalty. The trope is in fact double-subverted because some of his miraculous acts have mundane explanations, but then the little girl who he donated his heart to miraculously brings her dog back to life. In Harvesting the Heart, Paige has the ability to draw pictures of people and weave some of their hidden memories or desires into the drawing. The focus of that book is mainly on Paige's problems with being a mother.
While Janet Evanovich's Stephanie Plum series mostly avoids this (except for Morelli's Great Aunt Bella whose curses are a case of Maybe Magic, Maybe Mundane) the holiday oriented subseries feature Diesel (now with his own series), a magical bounty hunter who specializes in chasing "specials" (people with mutant powers) gone bad.
Toni Morrison's classic Beloved has the resurrection of Sethe's unnamed daughter (whose tombstone simply read "Beloved"). How this happened, or why Beloved is as old as she would have been, is never discussed. The ghost in the opening sequence (implied to be the same character as Beloved) would also qualify.
Toni Morrison's earlier novel Song of Solomon is also a good example. Aside from being the fairly mundane story of a dysfunctional middle class African-American family in 1960s Michigan, there's a persistent folk tale about an ancestor of the protagonist who may or may not have discovered the power of flight, a woman who crawled out of her mother's womb as a baby and was inexplicably born without a navel, a few albino animals that mysteriously show up at weird intervals, and one secondhand story about an encounter with a ghost.
Diana Gabaldon's Outlander series, which would be a normal historical romance set in the 18th century if one of the two main characters wasn't from the 20th. Later books in the series throw in ghosts, Indian wise men and woman and slaves practicing Voudoun. Although her Lord John Grey stories are set in the same world they're straight mysteries that, ironically in one story uses a Scooby-Doo Hoax.
Jo Walton's Among Others about a Welsh girl in an English boarding school trying, with the occasional help of the faerie to cope with life and the psychic attacks of her mother, an evil witch.
Michael Chabon's Summerland starts out as this. It revolves around a quirky little island community where it always rains (but always has inexplicably perfect weather at the local baseball field), and includes a Bungling Inventor who builds miniature airships, a teenage boy who's convinced that he's an android, and a 109 year-old retired baseball player. Then the Save The World Climax plot starts, and it makes a Genre Shift into full-on High Fantasy.
Tim Powers' Last Call could be a Donald Westlake story of a gambler in too deep with gangsters except for the tangle of Tarot mysticism, astrology and folk magic that gets thrown in and that the debt the gangster is trying to collect on is the gamblers body.
Kevin Brockmeier's books and stories are almost always this. The fantastic elements are used to illustrate and explore aspects of human nature. (For example, The Illumination deals with how the world would change if physical pain was suddenly manifested as visible light.)
The Thousand Autumns of Jacob de Zoet by David Mitchell is a fairly standard historical drama set around the Dutch trading post in turn-of-the-19th-Century Nagasaki except for the villainous Lord Abbot Enomoto who can drain the life out of small animals and insects and who claims to be six hundred years old thanks to child sacrifice.
His Ghostwritten is a collection of loosely connected vignettes, some which are this. One has a young girl's ghost haunting the narrator's apartment, two others feature a wandering soul that has become detached from the cycle of reincarnation, one of which is told from the souls perspective, the other has it masquerading as a tree spirit.
Cloud Atlas, also a collection of loosely connected stories, this time spread, not only across space but time as well, has reincarnation as a persistent theme and one of the stories features what may either be visions or hallucinations.
Louise Erdrich's Love Medicine and the prequel, Tracks, take elements of this trope. In Tracks, natural disasters seem to happen whenever one of the main characters is wronged and throughout both novels the character Nanapush is hinted to be descended from the trickster God of the Ojibwe tribe.
The Jehovah Contract by Victor Koman, in which the protagonist, a profession assassin with a sideline/cover identity as a private eye, is given a contract by Satan to kill God and it actually turns out to be a Xanatos Gambit by the Triple Goddess to do in both God and the Devil.
A few of the novels and short works in Stephen King's catalogue could be classified as this, for the simple fact that almost all of his fiction takes place in the same continuity, meaning that the fantastical elements from his outright horror and fantasy works will often creep into the background of his works that focus on more mundane character relationships. Fantastical stuff is always happening somewhere in a Stephen King work, but the plot may not always focus directly on it.
While her Sookie Stackhouse novels fall somewhere between Magical Mundane and Urban FantasyCharlaine Harris' Harper Connelly stories, about a woman who, after being struck by lightnning gains the ability to locate dead bodies and know how they died, falls straight into this territory. The existance of other people with psychic powers is mentioned briefly in the first book and we meet a couple in the second. Harper also encounters a ghost in the second book, Grave Surprise.
Teeth by Hannah Moskowitz has magical fish that heal any ailments and increase peoples' lifespans upon digestion, but the prospect of ghosts existing is treated as ridiculous to both the protagonist and his parents.
J. M. Sidorova's The Age of Ice follows the protagonist from his conception in a palace constructed from ice, including the bed he was concieved in, over his lifespan which lasts over 250 years. He is also An Ice Person who may be an incarnation of Old Man Frost.
Thomas Pynchon's Gravity's Rainbow. It's the closing months of WW 2, featuring witchcraft, talking mice, a man who can have your nightmares for you, a trip to Hell and a sentient lightbulb.
Live Action TV
The supernatural soap opera Passions was mostly focused around the mundane escapades of the Crane family...but ongoing subplots focused on the resident Wicked Witch Tabitha.
Word of God claimed that the show was meant to actually serve as a subversion of this trope, since supernatural elements, which proved to be popular in story arcs for soaps, were present from the get-go and lasted throughout the series' run.
The Golden Girls: Sophia encountered her husband's ghost twice, Blanche may have encountered her grandmother's ghost once, Dorothy may have been cursed by a witch, Sophia may have been a witch, the girls encountered bizarre dreams, and let's not get started about St. Olaf...
Much like The Golden Girls,The Nanny had a few moments like this. Fortune tellers prophecies coming true in eerily accurate ways. Fran endures a curse that begins to reset itself the second she starts making things right. The miracle of Hanukkah is reenacted in one Christmas episode (with gas in their car instead of oil in the temple.) They also implied that Fran's family had some kind of supernatural powers (they implied that Yetta had the ability to curse people, and once, when Sylvia is dancing with joy, a freak thunderstorm started.) A short while before marrying Fran, Mr. Sheffield is visited by his dead wife's ghost, where she reveals that not only she's happy to see him get married again, she was the one who sent Fran to him.
The Fox sitcom Key West was, in its time, one of the best examples of this on television.
The BritishSitcom2point4 Children is a prime example. It is a perfectly mundane show, with the exception of the strange things that happen to the mother, Bill Porter. Like the number of prophetic dreams she's had, or the time she found herself chased... by a hurricane (the storm literally followed her when she left Miami to avoid it, and was also named Hurricane Bill).
Odd things occasionally happen to her husband as well. Yes, it's possible that his Sitcom Arch-Nemesis (who's a The Prisoner fan) might kidnap him and leave him in Portmerion ... but then Rover appears...
And the man on the motorcycle who kept appearing whenever Bill needed help and who may actually have been Dead All Along.
Later seasons of Seinfeld toyed with magical realism, such as a nightclub that turns into a meat-packing plant by day, or Elaine meeting a group of people who are physically similar but emotionally the exact opposites of Jerry, George and Kramer. Also, a woman who seemingly changed from beautiful to hideous on the spot, and Kramer owned a dummy that apparently came to life at the end of the episode.
My So-Called Life was a straight up teen Soap OperaDramedy and contained absolutely no supernatural elements whatsoever. Except for the episode "Halloween," where Angela encounters a ghost. Or "My So-Called Angels" (widely regarded as one of the best and most tearjerking episodes) where both Angela and her mother talk to a (sort of) angel.
Twin Peaks actually barely fits here, but it's worth mentioning. Most of the show is fairly mundane, but when it isn't, it's uproariously supernatural. Actually, most of David Lynch's works are like this: mundane human drama interspersed with the pants-crappingly bizarre.
Community normally stays within confines of (wacky) realism, but it did feature a ghost, a boob-obsessed robot and evil versions of the main characters from an alternate reality. In all instances it's unclear whether the supernatural elements are imagined by the characters or not.
Spaced featured elements of light Magical Realism, such as Colin the dog (who seems to be more intelligent than he ought to be), a vivisectionist who can disappear at will and a pair of Creepy Twins who speak with one voice.
As mentioned above, Due South allows ghosts, who demonstrate abilities to affect the real world. They do, however, appear mostly only to those with an emotional connection to them. One story, too, involved the likely involvement of the literal Raven trickster, and another a voodoo conflict which may or may not have involved actual magic.
Slings and Arrows, depending on your perspective. It's possible, of course, that Geoffrey's just crazy - but it's also not made obvious that Oliver's ghost isn't hanging around.
In the Bones universe, ghosts exist. In one episode, Booth was helped by the ghost of a dead soldier while stuck inside a booby-trapped ship. Brennan meets him at the end of the episode without knowing who or what he is. Then in a more recent episode the story is viewed from the perspective of a victim's ghost.
Avalon, Angela's psychic, appears to be more than just deluded. She has made several uncannily accurate guesses about Booth and Brennan's relationship and about the victim in one of the Institute's cases.
Temperance recently had a near death experience in which she encounters her dead mother.
Felicity broke into this by the end. The main character can't decide between Ben and Noah? Simple; her Wiccan friend will cast a spell that sends her back in time a few years so she has enough time to figure everything out. Yes, kids, J.J. Abrams created it.
NCIS is about as grounded in reality as they come, except for the slightly surreal season four finale, where Jeanne is implied to see the Angel of Death, in the form of a small child. At the end Jeanne mentions the girl and is told that it was a girl who was lost and whose parents were looking for her, so it seems like this is subverted, but then we see the girl... and she looks nothing like the one Jeanne saw before.
Plus Gibbs' infallible instincts. And his ability to get a boat out of his basement. Be fair, no one really knows for sure what happened to the boat. He may have simply broken it down and started over. Both this and his instincts are justified by Rule of Funny.
In one episode Gibbs has a near death experience in which he encounters dead friends and family.
Speaking of the fourth wall powers. Zack could actually say "Time out," and everything but him stops, and he usually does this to talk to the audience, but he was capable of actually moving things around while time was frozen, and once quickly used "time out" to avoid being punched in the face. It's not a gag that "doesn't count" story-wise; Zack Morris has for-real time altering powers.
It's sketchy, but LOST fits the definition of Magical Realism better than it does any other type of Speculative Fiction. When you boil it down, Lost is the story of some seriouslydysfunctionalpeople who get stuck together, forge some real connections, figure out how to survive in a hostile environment, become better people and eventually let go of their issues. This story just happens to take place on an island that's been known to move through space and time, can heal people, and is home to ghosts and people with immortality (among other things).note And just so you lot are clear, there was absolutely nothing magical or supernatural about the polar bear.
How I Met Your Mother sometimes verges into this territory, including events that waver between magical and highly unlikely. (Dopplegangers, some of Barney's schemes.) However, the show can always fall back on the fact that Ted has been established as an Unreliable Narrator, leaving it unclear which events happened exactly as described and which have been embellished or misremembered.
Also, a couple of season five episodes have Marshall seemingly time-traveling as minor elements.
Pushing Daisies was weird about this: the premise is that the main character can bring the dead back to life, so it's clearly Urban Fantasy, but that's the only explicitly magical element. The rest of the world is a Magic Realism-esque one: there's a car that runs on dandelions, two characters who can Sherlock Scan by smell and a jockey who had the legs of his dead horse transplanted into his body to replace his own, but none of this is treated as magical, unlike the protagonist's necromancy.
Alias does this with the Rambaldi artifacts with which Arvin Sloan has an obsession. They do things that are on the border of magic and technology, and are never fully explained. In the series finale, the Rambaldi artifacts become clearly magical, as they preserve Sloan alive forever, trapped underground.J. J. Abrams, y'all.
The Unusuals is an otherwise completely normal (if quirky) cop show that has a character who receives occasional prophetic messages from fortune cookies and, in the pilot, is the recipient of a Pulp Fiction-style miracle. And then there's the episode "42," which seems to indicate that a psychic they question can really see the future.
The real world portions of Once Upon a Time are this. the Fairy world portions are of course much more explicitly magical. Since Emma broke the curse, explicit magical elements have creeped into Storybrooke as well.
The "Leap Day" episode, which celebrates leap year as an actual holiday, and has an entire mythology built around it, complete with a "Santa Claus" figure, Leap Day William. He turns out to be real.
Quantum Leap: The time travel stuff and the seldom-seen future setting of Mission Control were the only non-mundane features of the universe, as the bulk of an episode was the mission to Set Right What Once Went Wrong in the lives of normal people. "That guy runs someone over on Friday if he keeps up the illegal street-racing; help him learn his lesson before then" was the usual mission rather than "prevent World War Three." But we once met the devil, and once had Sam leap into a vampire. He also met a ghost and an angel.
If Halloween specials count, every sitcom in ABC's TGIF line ran into the supernatural but its characters never saw fit to mention it during the rest of the year or adjust their worldview knowing that Cory traveled through time or that TJ got dating advice from a ghost.
Another "the fantastic exists, but not that kind" example: Power Rangers Time Force shares The Verse with magic-based teams, but that particular series was all sci-fi - good guys were a Heroes R Us organization, bad guys were Gattaca BabiesGone Horribly Wrong. However, the Yellow Ranger meets the ghost of a previous owner of their clock tower. The ghost is gone once she ends up changing history and giving him a happy ending, and there's some question as to whether or not any of it happened, but we get the Or Was It a Dream? reveal with a painting that is now different.
Christmas specials often feature an element of magical realism. The plot often involves a character questioning the existence of Santa. Santa Clause often shows up. Santa Clause is often the element of fantasy in a show that is grounded in reality.
The live-action Disneyverse as a whole. There have been numerous crossovers so it's all one world and you have psychic teens, tallking dogs and of course wizards. You also have more normal shows that have the occasional strange occurences.
While Ant Farm is, aside from the occasional flirtation with Weird Science realistic the Halloween episodes feature an Alternate Reality where Chyna is a Gorgeous Gorgon, Olivia is a big headed Mad Scientist, Angus is a zombie and Fletcher is a vampire. This became canon in the third season episode when the mutants crossed over into the regular universe via a dimensional portal.
Northern Exposure is actually a fantasy series. After all, it has characters who have prescient or telepathic dreams, pregnant ladies who speak only in song, ghosts, aliens, tribal magic, Jewish mysticism (practiced by Native Americans no less), and a man who can fly under his own power in his sleep. Unfortunately, people tend to look at you funny if you actually point out that it was one of the most successful fantasy programs in network television history. Lacking elves and whatnot, it usually gets pigeonholed as Magic Realism.
Candorville is usually credible enough, allowing for a pretty serious undercurrent to the punchlines in Lemont's life. But every few months, he'll meet someone like a talking scarecrow, a ghost, or himself from the future.
Peanuts: A world where one encounters inexplicably sentient plants and animals, mythological creatures who may or may not really exist, buildings that are larger on the inside than the outside, and several young children with unexplained highly-advanced talents and knowledge would probably be considered by many to be a magic realist setting. And that's the world Charlie Brown wakes up to every day.
The Undertaker. He can apparently control lightning and fire, the arena lights always dim when he makes his entrance and then there's the rolling fog. None of the other wrestlers question this or even seem bothered by the fact that they are sharing a locker room with an apparent supernatural being. Except of course there was that brief time when he went around in a biker costume calling himself the American Badass.
This was later worked into his gimmick as Taker got older and his body couldn't keep up with a rigorous schedule, working (at best) a few months out of the year. It's now explicitly stagecraft; the "power of the Undertaker" is his ability to awe through his mere presence, and being the most long-running performer to still look good by his own merits.
A more recent example would be the character Winter in TNA. She only appeared in backstage segments with Angelina Love and kept disappearing whenever she looked away. The announcers never mentioned her and apparently only Angelina could see her. Then Angelina accepted her as her lover and now she actively competes on the roster.
The BBC Radio 4 drama serial Little Grudges is based on real-life experiences of Radio 4 listeners, and is therefore as "real" as it gets. Except for the pixies...
Tony Kushner's Angels In America takes place in modern-day (well, modern at the time) America, and it has angels, Biblical visions, ancestral spirits, a dream sequence in which two characters who have never met are able to communicate with each other, and on and on.
Metal Gear. Real world setting, real guns, walking robots, magical floating psychics, autotrophic snipers, bee men, ghosts, and a bisexual, flamenco-dancing vampire. The original title featured a collection of Charles Atlas Superpower bosses, the Ensemble Dark Horse of which was a floating, fourth-wall breaking psychic. Later games would expand upon this with a steady increase of Magic Realism. Metal Gear Solid 4 dabbled with Doing In the Wizard, but official Word of God is that Vamp was still immortal in Metal Gear Solid 2 and Ocelot was possessed, but had the arm removed and started faking possession instead.
No More Heroes seems to take place in a fairly dull Californian city. Except for the fact that the protagonist purchases a functioning lightsaber on eBay and proceeds to off progressively more bizarre assassins. At one point his mentor dies, but afterward the mentor's ghost continues his job working at the gym. No one seems to find any of this at all odd.
Of course, this is from the same mind that brought us Killer7, a political thriller starring a man who can transform into seven different people, see and speak to the dead, and fight exploding monsters that possess human bodies. And then there's No More Heroes 2: Desperate Struggle, which has Travis Touchdown using dimension warps and fighting ghosts, among other things.
A recurring element in the Sly Cooper series. Mojo and ghosts exist, and raising the dead nets you a life sentence in prison.
The entire Mother series has definite elements of Magic Realism, which are especially prominent in MOTHER 3.
The game of The Darkness is about a mafia hitman who just so happens to become possessed by a millenia-old demon that grants him superpowers. The main focus of the plot is still his quest for vengeance against the entirely mortal don who betrayed him.
In Dishonored, one of the key gameplay elements is the main character gaining supernatural powers from an omnipotent being called the Outsider. This also has almost no bearing on the main plot, which focuses around the very human political machinations of the city's political elite.
Pathologic. The setting is realistic, the characters are very human, one of the playable characters has Lovecraftian Super Powers. There are a bunch of medicine men wrapped head to toe in bandages who sell herbs that grow from blood. There are loads of children walking around without parents, and occasionally wearing the dead heads of dogs as masks. Disease clouds attack you. They come in the form of horrendous, symbolic abominations. We haven't even discussed the rather meta theater themes...
The Age of Empires series occasionally slides into the supernatural, despite being a historical RTS game. For instance, one Viking level in Age of Empires II features lindworms in the sea that devour boats, and the campaign of Age of Empires III involves a mystical fountain of youth in the new world as the MacGuffin which, as we find out later, really does make people immortal, though that point is completely out of left field.
This trope is a staple of Key Visual Arts works, which tend to follow a common formula: firstly there's a common route set in a basic school setting with nothing remotely supernatural or only very vague hints at anything non-mundane, then there are a couple of character routes that involve explicitly supernatural elements (e.g., a character turning out to be a ghost) but also other totally realistic routes, and then the main route reveals some kind of important magical element that forms the basis of the entire game (e.g., for CLANNAD this was the balls of light, which appear when someone experiences true happiness (or, when you finish a route) and can be used to grant a wish.) But in the end, the character development and interaction is always clearly the focal point, the magical elements merely providing a frame for it.
Kentucky Route Zero paints the Bluegrass State as one of these. The elements of ghost stories abound, but no one pays much mind to them.
The Riddle of Master Lu is set in a slightly alternative-history version of our world before the Second World War, but it contains the very literally unlucky Romanov Emerald, and the whole plot is set around the search for the Emerald Seal, which by the sound of it has magical powers that could help anyone become a dictator somehow. The protagonist Robert Ripley doesn't seem too perturbed by the idea of something being magical, in fact he takes it for granted about the Seal, and seems convinced an ancient tower where human sacrifices were committed is literally haunted, even though there is no evidence for this other than a very oppressive atmosphere.
Spirit channeling is a real thing, but in most cases it stays in the sidelines, being only used as a way for Phoenix to get help from his late mentor. The existence of spirit channelers also leads to Phoenix owning a magical Lie Detector artifact, and to a few cases where spirit channeling was directly involved in the crime.
Apollo's Hyper Awareness through his bracelet, that leads to him becoming a Living Lie Detector, could be seen as another hint of magical realism at first, but it has a perfectly scientific explanation. His entire family has a gene that allows them to subtly percieve other people's twitches and nervousness, and the tight bracelet allows Apollo to notice more easily when he's subconciously percieving it through body temperature increases and the like.
Shortpacked! is an interesting example. The previous webcomic by the same author, It's Walky, was straight-out science-fiction adventure about a group of alien-abductee government agents. Shortpacked exists in the same world, but in a much more mundane setting — a toy store. Thus, the elements that took center stage in It's Walky are pushed to the edges, and the genre shifts to Magical Realism.
pictures for sad children is mainly about the pressures of modern life and the clash between the opposite sides of the Sliding Scale. The main characters are Paul, a recently-deceased Bedsheet Ghost, and Gary, whose extended family was recently revealed to collectively possess the same powers as Jesus.
Lampshade Hanging: Within the Achewood anything made in Mexico contains "Mexican magical realism." For example, a camera that takes pictures of what a person feels like, an RV that is always raining on the inside, and a helicopter that moves by causing the occupants legs to grow to several hundred feet and walking.
Most recently, a Nagel serape that grants wishes (actually only the "Hecho en Mexico" tag attached to it grants wishes).
True story, as it turns out. The Russian chick with the scar turns up again in a later strip.
Her name is Tortura, and she is happy to meet you.
Homestuck starts out somewhat like this, before being revealed to be full on Mundane Fantastic and more. Early on, it seems more or less like our world, but interacting with things vaguely follows Adventure Game tropes. When they start up their game and view each others' houses, it doesn't seem so bad. Then they start altering the real life houses, with a game, like it's the Sims. It pretty much stops trying to pretend there's anything normal about their universe(s) at that point.
In The Devil's Panties, which is mostly slice-of-life, the main character occasionally chats with both Jesus and the devil, her shoulder angel and devil seem to have lives of their own and one of her roommates used to keep Legolas naked and locked in a closet.
Think Before You Think happens in a normal world, but the main character can read minds, and he is the only one, as far as we know.
Girls with Slingshots is usually normal every day life. Except for the talking plants and the occasional impossibility thrown in for Rule of Fun, such as the laser tag game that somehow removes your clothing when you are shot. The talking house plants is a running gag and often lampshaded. Every time a new character is seen talking with them, they are relieved to find out they are not the only one that has been hearing them.
Kickassia is ostensibly set in the modern day real world, chiefly in the Real Life micronation Molossia. However, it keeps featuring talking stuffed animals, electromagnetic superpowers, teleportation, two-dimensional people, energy weapons, and SantaChrist; how these things exist is never explained, and most of them only have a small effect on the main plot. There's also a curious lack of interest from authorities when a bunch of internet critics invade a guy's home and start talking about conquering the world.
The Boondocks is sometimes like this. Notably, the ghost segments, and Stinkmeaner coming back from hell to possess Tom Dubois.
The Simpsons started out fairly ordinary but around Season 10 more and more ridiculous elements started showing up.
It makes the Season 8 quote "You want a realistic, down-to-earth show... that's completely off-the-wall and swarming with magic robots?" amusingly prophetic.
Beavis And Butthead occasionally did this. For example, the Morning Wood Fairy turning out to be real in "The Mystery of Morning Wood".
One episode of King of the Hill had Luanne being visited by the angel of her dead boyfriend Buckley, though they kept it ambiguous whether she was imagining it or not.
In As Told by Ginger, Noelle has telekinetic powers. These are never explained, and the show is mostly a Slice of Life show about junior high students.
Littlest Pet Shop is mostly realistic except for Blythe's ability to talk to animals and the occasional cartoony gag.
Hey Arnold! is set in a mundane, realistic world and focuses on Arnold, his friends, and the people around them with their down-to-earth problems and daily lives. Then it factors in elements like Eugene's excessive bad luck, unusual oneshot characters like The Pigeon Man and The Sewer King, and hints that some of the local urban legends may be true.
The Residents ' Bunny Boy series is set in what could loosely be construed as "reality", if it weren't for such things as Psychic Dreams for Everyone, people who might not exist-but on some level do anyways, warped Bible prophecy, and just enough little additions and subtractions from what's "real".
Many David Firth works, e.g. Roof Tiling, World Within a Sock, can be described as this.