Réalisme magique, réalisme merveilleux et autres modes narratifs de Patrick Chamoiseau « première manière » (I) : le diptyque burlesque Chronique des sept misères et Solibo Magnifique

Abstract : As early as 1988, Édouard Glissant mentioned that the manner in which Patrick Chamoiseau represented the world of Martinique in his first novel, reminded him of what had been called « marvelous realism », « the ferment of the baroque literature » of South America. Since then, the literary works of Patrick Chamoiseau have been published under various genres (plays, novels, essays, tales, autobiography) or as hybrid texts (« tracées »). Critics often pointed out a special « writing » (or « style », or « voice») qualified as « baroque » and defined by a very lively orality and recourse to a peculiar type of creolized French. By revisiting Chronique des sept misères and Solibo Magnifique, this paper aims to show that the notions of the fantastic, of magical realism and marvelous realism – redefined as distinct narrative modes of fiction – allow to complement the notion of a baroque style to describe the poetics of those early Chamoiseau novels, which also play with the grotesque or the burlesque.
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Charles W. Scheel. Réalisme magique, réalisme merveilleux et autres modes narratifs de Patrick Chamoiseau « première manière » (I) : le diptyque burlesque Chronique des sept misères et Solibo Magnifique. Archipélies, Université des Antilles CRILLASH, 2018, Réel, merveilleux, magie et baroque dans la Caraïbe. ⟨hal-02045142⟩

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