I just read the story by Marquez and listened to the podcast episode. For me it's one of the most interesting episodes, because it exactly pointed to what I'm struggling with as a writer (and I think as person as well).
I thank you for the discussion about how magical realism, urban fantasy and weird fiction relate. I often try to work out what the difference is. When people ask me what I write I say something like 'Yeah, a sort of horror, but not exactly horror, but more something like urban fantasy or magical realism or weird fiction. Depends on the story also.' But the thing is, I don't know what I write. Because of your discussion I'm know able to put my different stories better into different categories or crossing-overs. Of course, it isn't important in itself, but it says something about how I treat the weird element in my writing. As I was brought up in a very scientifical/rational family/milieu, I always had the feeling that there was something missing in the story about how the world works. I never became religious (though I was on the verge of studying philosophy), but I think the idea of the 'great splendid human race' able to know and explain everything always stroke me as naive. (In that sense I was a bit like Lovecraft I think.) Consciously and unconsciously I asked myself the question of how to treat the weird, the unexpected, the unexplainable (if it is out there or just as fictional construct) into a thematic question in my writing.
To be short: listening to this episode gave me the instruments to think on using this theme in my writing in a more conscious way, and this tale of Marquez also helped me with that (or better: the discussion of this tale).
As to the child in this story: one of my own stories is about a child who discovers that all parents lie, and that animals, plants and even adults are made in factories, and lifeless things and products grow on trees. I belief that kid doesn't imitate the ways and ideas of the adults, but I'm not sure if this kid is innocent in the Blakeian way also. I honestly don't know why I wrote that tale.
But whatever... Thank you for the great discussion! It helped me a lot.
He's so good. I hadn't really read him in so long, either, and so I'm glad that Brent and I started that show. The good news about The Sandman content is that it will take more time to listen to us than to read the material we are discussing, so it will be great for binge-listening five years from now! Gaiman does have some great weird-fiction stories, though, and I'll make sure you know when we do "A Study in Emerald."
"I, too, agonize over classifying what I write because it matters so much to agents and publishers. I haven't figured out how to do it yet and am just generally terrible at any kind of marketing so I can't offer any advice."
Yes, exactly, same story here. In the Netherlands publishers want to push you into 'literary thriller', 'young adult' or just 'novel', otherwise 'it won't sell'. My own work has been encoded as 'literary thriller' - a term I wouldn't choose. I think I'll call my next work just 'novel'... I'm also terrible at marketing (combined with my book released at the start of the covid pandemic, it just won't sell itself. But at least it was a great exercise in writing as well as becoming familiar with the publishing industry).
"I would say, too, that Neil Gaiman has a particular style that sits at the intersection of magical realism, weird fiction, and urban fantasy."
Yes, so true! For years I was u huge fan of Neil Gaiman and devoured Sandman several times, and reading secondary literature as well (it's just lack of time that I don't listen to the Gaiman podcast - yet?). It's a miracle how Gaiman handled that many topics and styles and mixing them into one caleidoscopic faultless unity. He inspired me so much, but I've forgotten him a bit by reading so many other writers after. I should check him out again.
I'm glad you got so much out of our discussion. We really enjoyed this story and would love to do more magical realism (and just have, because someone commissioned an episode on Gertrude Atherton's "The Dead and the Countess, which will be out later next year). I, too, agonize over classifying what I write because it matters so much to agents and publishers. I haven't figured out how to do it yet and am just generally terrible at any kind of marketing so I can't offer any advice.
I would say, too, that Neil Gaiman has a particular style that sits at the intersection of magical realism, weird fiction, and urban fantasy.
Distinctions: Magical realism (in my limited reading of it) seems to include that magic is rare but accepted/unremarkable. Weird stuff happens and people explain it away or ignore/accept it. In urban fantasy, magic is often hidden from the normals - e.g., Jim Butcher's Dresden Files or Kat Richardson's Greywalker series. In a lot of weird fiction, finding or opening the magic is often key: the world is generally ordinary and there is often concern that releasing the magic will be catastrophic.