Magical Realism and Italio Calvino's 'Baron in The Trees'

Introduction

Due to the insufficient views of reality in society in Italo Calvino's “Baron in the Trees”, Calvino reinforces the power of imagination as an antidote to crisis. The power of acknowledgment of realism in Calvino's own world in 20th century Italy – one where the fascism of WWII was defeated by socialism, only seen to be equally destructive, meaning that people's hope for a better life plummeted. A bildungsroman, Calvino has deliberately focused on the psychological and moral growth of the protagonist to adulthood, in which character development was significant.

'Magical Realism and Italo Calvino's 'Baron in The Trees'

Stephen M. Hart of Duke University reviewed the theory of ‘Ordinary Enchantments: Magical Realism and the Mystification of Narrative’, which is the culmination of an author's reflections on the literary phenomenon of magical realism. It explores five central characteristics, which are often present when illustrating the important aspects of magical realism within a novel. These characteristics include an irreducible element of magic, the strong presence of a phenomenal world, events seen from contradictory perspectives, and the disruptions of time, space, and identity, proposing a new theory to explain its significance.

Cosimo's Journey

The story of the Baron is developed around the biography of Cosimo in the years he lived in the trees, which commenced at age twelve. The understanding of Cosimo's character is controlled, however, by his brother Biagio as the narrator of the fable. The two brothers form a strong relationship, yet the practical realities of their outlooks on living and how life should be are extremely diverse in the sense that Biagio endorses living life to the status quo, rather than Cosimo, who views his life through more of an illusion. The characteristics of ordinary enchantments are strongly supported in Calvino’s baron, primarily through the characteristics of ‘the strong presence of a phenomenal world’ and ‘events seen from contradictory perspectives’.

The Phenomenal World and Contradictions

As years progress in the life of Cosimo, he is privileged by having the title of “defender of the trees”, and he discovers great passion in storytelling, expressing his adventures to anyone who passes. These events lead to the love for Cosimo rising, which eludes Cosimo to believe his “adventures” more and more as they are told, as if it reflects his reality, pungently supporting a ‘strong presence of a phenomenal world and contradictions’ as expressed through ‘Ordinary Enchantments: Magical Realism and the Mystification of Narrative’.

Interactions with Other Characters

These unrealistic realities have been impacted by different characters within this fable, who have affected Cosimo's phenomenal world. This is emphasized in his encounter with the outlaw Gian dei Burghi. Having acquired a villainous reputation, Gian is constantly running from the law. It is during one of these flights from justice that Cosimo hides Gian in the trees. In a subsequent conversation, Gian reveals to Cosimo that reading merely fills the time he spends in hiding between jobs. Cosimo develops a friendship with this outlaw, and they decide that Cosimo will use Biagio to plumb the local library for books suitable to Gian's tastes in literature.

Symbolism and the 'Viola Swing'

Symbolism combines these characteristics of magical realism predominantly through the ‘viola swing’. Viola is a neighbor to Cosimo's family and a member of the family his father declared were their sworn enemies. She meets Cosimo shortly after he enters the trees when she is swinging in her garden. She attracts him immediately with her teasing timidity and the fact that it was wrong, which perhaps to Cosimo, made it feel more right. At every chance, he attempts to impress her, concluding in them falling in love. Viola’s swing provided both Cosimo and Viola the opportunity to be in each other’s presence without it being necessary for Cosimo to touch the ground and be parted from his own little world amongst the trees. The swing created a center for both worlds of magic and reality to meet.

Theoretical Perspectives on Magical Realism

Franz Roh's ‘Magical Realism’ is essentially constituted of two parts: the expression of magic, or the impossible within the conventions of literary realism. Roh used the term magical realism to characterize a style of painting instead of literature, to create a category of art that is divergent from the conventional strict guidelines of realism within art. He intended for the term to refer to works of art that showcase an understanding of imagination while still portraying a concept that is objective and realistic. Roh described magical realism as filling in spaces between spaces and ejecting the material from immaterial, forming a stable yet composite balance between the two.

Conclusion

Calvino reflects an interest in fantasy as a contemporary idea of escape from the oppressive world that Cosimo was existing in. It is Cosimo’s acceptance of fantasy in this fable that eventually leads to the conflicting ideas in his mind to dominate his life, pushing the idea that this fantasy is not one that can be escaped. Cosimo builds a home and a family out of the place and the dynamic rhythmic life that the trees provide. They cover the whole village and countryside, making it seem possible for Cosimo to travel without touching the ground.

Final Thoughts

The idea that tradition, if it is to survive and evolve with change, is inevitable; it needs imagination. Cosimo and Biagio's story is one of their own makings, with characteristics from both articles exceptionally apparent in this Bildungsroman. Biaggio notes at the beginning of his fable that he often played in the trees with his brother, though he was never as comfortable there as Cosimo. Biaggio is also aware, in later life, that his existence has never been as rich as that of Cosimo, primarily because he was unable to take the risk of living above the world’s concerns. Cosimo lives in the trees well beyond the age of sixty-five and does not come down though he becomes old and infirm. His death, as unusual as his life, presumably occurs when he grabs hold of an anchor fastened to a passing hot-air balloon. Thus, Cosimo’s body never comes in contact with the ground again.

References

1. Calvino, I. (1957). The Baron in the Trees. Harcourt Brace & Company.
2. Hart, S. M. (2003). Ordinary Enchantments: Magical Realism and the Mystification of Narrative. Duke University Press.
3. Roh, F. (1925). Magical Realism: Post-Expressionism. Leipzig: Klinkhardt & Biermann.
4. Zamora, L. P., & Faris, W. B. (1995). Magical Realism: Theory, History, Community. Duke University Press.