Showing posts with label novel. Show all posts
Showing posts with label novel. Show all posts

Thursday, 27 July 2017

The Invention of Morel by Adolfo Bioy Casares



Jorge Luis Borges declared The Invention of Morel a masterpiece of plotting, comparable to The Turn of the Screw and Journey to the Center of the Earth. Set on a mysterious island, Bioy's novella is a story of suspense and exploration, as well as a wonderfully unlikely romance, in which every detail is at once crystal clear and deeply mysterious. 

Inspired by Bioy Casares's fascination with the movie star Louise Brooks, The Invention of Morel has gone on to live a secret life of its own. Greatly admired by Julio Cortázar, Gabriel García Márquez, and Octavio Paz, the novella helped to usher in Latin American fiction's now famous postwar boom. As the model for Alain Resnais and Alain Robbe-Grillet's Last Year in Marienbad, it also changed the history of film.

Goodreads description

The Invention of Morel is one of those books which exist on the boundary of genres - magic realism, science fiction, philosophical fiction. But that does not matter, so often the best books are the most uncategorisable.  This is an amazing book:  only 100 pages long and yet so full of ideas, published in 1940 and yet so modern, indeed it is prescient in some of the ideas and themes, and as for the plot, well all I can say is Borges was right, this is a masterpiece. 

The book is written as a journal by a fugitive from the law, who in order to escape his punishment comes to an island that has the reputation of being a place of death, where everything, including anyone who visits, is dying. What crime the fugitive has committed (if any) is not made clear. Bioy Casares' approach is a class example of "less is more" in writing. A lesser writer might have been tempted to create a backstory, but by not doing so Bioy Casares not only keeps the story lean and to the point, but also introduces doubt and allows us to project our ideas on to the story. 

One day the fugitive sees a group of people in the villa, known as the museum, on the hill that overlooks the island. Among these newcomers is a beautiful woman, Faustine, with whom the fugitive falls in love from a distance. As detailed in the Goodreads description, Faustine was inspired by the author's obsession with the silent movie star Louise Brooks. 

To be on an island inhabited by artificial ghosts was the most unbearable of nightmares—to be in love with one of those images was worse than being in love with a ghost (perhaps we always want the person we love to have the existence of a ghost).
  
The fugitive's account has a nightmare quality. He is both terrified that he will be discovered -  indeed that the whole thing is a cruel trick on him by his pursuers - and unable to interact with Faustine and the others. He watches them from behind curtains, inside giant urns and as he realises that they cannot or will not see him. Then there are strange occurences - people appear and disappear, scenes are re-enacted, there are two suns in the sky, objects reappear in exactly the same place as a week earlier. And then there is the constant sense of death and decay - dead fish in the swimming pool, flowers wilting, etc.  We and the fugitive begin to wonder what is real. Bioy Casares introduces some footnotes by a fictional editor  just to add another level of uncertainty.

The most complete and total perception not only of the unreality of the world but of our own unreality: not only do we traverse a realm of shadows, we ourselves are shadows.


There is a reason for these strange occurences and that is the invention of Morel (Morel organised the group's island trip). More than that I cannot tell you without spoiling the book, although knowing will not prevent me from reading the book again. However I will read it with a different eye, seeing, I am sure, the brilliantly plotted clues that I missed or misread the first time, and enjoying the development  of philosophical themes. 

I commend this book to you. 






PS If this reminds you of the TV series Lost, it probably should do. The series seems to have been influenced by the novella, and if you look closely that influence is acknowledged on the screen when Sawyer is shown reading the book. But then as the Goodreads description says this is a hugely influential novel. 


Friday, 29 July 2016

Magic Realism Writers From Around The World

For this year's bloghop I am concentrating on the international nature of magic realism. One of the joys of this blog has been reading books by writers from all over the world. When I updated the list of books in my collection here, I was struck by how many countries were represented. What follows is drawn from that list. 

I have not included writers whose books are from the mainstream Anglo Saxon tradition. The blue links take you to reviews on the blog. 

Carlos Acosta - Cuba
Chingiz Aitmatov - Russian Kyrgyzstani
Michal Ajvaz  - Czech 
Rabih Alameddine - Lebananese 
Kathleen Alcala - Mexican American (Jewish)
Sherman Alexie - First Nation American
Dean Francis Alfar - Filipino
Edwar Al-Kharrat - Egyptian
Ibrahim al-Koni - Libyan
Isabel Allende - Chilean
Jorge Amado - Brazilian
Rudolfo Anayo - Chicano American
Mario De Andrade - Brazilian
Marie Arana - Peruvian
Reinaldo Arenas - Cuban
Miguel Angel Asturias - Guatemalan
Bernardo Atxaga - Spanish Basque
Marcel Ayme - French
Fadi Azzam - Syrian
Chitra Banejee Divakaruni - Indian American
Michel Basilieres - Canadian
Bertice Berry - African American
Ingrid Betancourt - French Argentinian
Lauren Beukes - South African
Maxim Biller - German (born in Czech Republic)
Adam Bodor  - Transylvanian Hungarian
Jorge Luis Borges - Argentinian
Hafid Bouazza - Moroccan Dutch
Andre Brink - South African
Italo Calvino - Italian
Cuca Canals  - Spanish
James Canon - Columbian
Alejo Carpentier - Cuban
Mircea Cartarescu - Rumanian
Adolfo Bioy Casares - Argentinian
Carlos Castaneda - Peruvian-born American
Rosario Castellanos - Mexican
Ana Castillo - Mexican-American Chicano
Joao Cerqueira - Portuguese
Patrik Chamoiseau - French Martinique
Pia Chaudhury - Indian British
Yi Chung-jun - South Korean
Paul Coelho - Brazilian
Julio Cortazar - Argentinian
Mia Couto - Mozambiquan
Marie Darrieussecq - French
Junot Diaz - Dominican
Chitra Banerjee Divakaruni - Indian American
Alfred Doblin - German
Jose Donoso - Chilean
Kerstin Ekman - Swedish
Mikhail Elizarov  - Russian
Louise Erdrich - Native American
Mario Amparo Escandon - Mexican American
Laura Esquivel - Mexican
Heinz Insu Fenkl - Korean American
Carlos Fuentes - Mexican 
Romulo Gallegos - Venezuala
Cristina Garcia - Cuban
Elena Garro - Mexican
Aleksandar Gatalica - Serbian
Zulfikar Ghose - Pakistani American
Gogol - Russian
Hiromi Goto - Japanese Canadian
Gunter Grass - German
Jiri Grusa - Czech
Xiaolu Guo - Chinese British
Suentra Gupta - Indian
Abdulrazak Gurnah - Tanzanian
Katherina Hagena - German
Knut Hamsun - Norwegian
Thomas Olde Heuvelt - Dutch
Daniela Hodrova - Czech
Peter Hoeg - Danish
Tess Uriza Holthe - Filipino American
Nalo Hopkinson  - Jamaican Canadian
Witi Ihimaera - New Zealand (Maori)
G Cabrera Infante - Cuban
Anosh Irani - Indian 
Hamid Ismailov - Uzbek
Mette Jakobsen - Danish
Pai Ilmari Jaaskelainen - Finish
Tahar Ben Jelloun - Moroccan
Cynthia Kadohata - Japanese American
Franz Kafka - Czech 
Jonas Karlsson - Swedish
Raj Kamal Jha - Indian
Hiromi Kawakami - Japanese
Daniel Kehlmann - German and Austrian
Porochist Khakpour - Iranian American
Daniil Kharms - Russian
Thomas King - American Canadian 
Laszlo Krasnahorkai - Hungarian
Guus Kuijer - Dutch
Milan Kundera - Czech
Eka Kurniawan - Indonesian
Antoine Laurain  - French
Halldor Laxness - Icelandic
Peter Tieryas Liu - Asian American
Jose Lezama Lima - Cuban
Mario Vargas Llosa - Peruvian
Rani Manicka - Malaysian
Gabriel Garcia Marquez - Columbian
Carole Martinez - French
Tomas Eloy Martinez - Argentinian
Rohinton Mistry - Indian-born Canadian
Mayra Montero - Cuban
Shani Mootoo - born in Dublin, raised in Trinidad, lives in Canada 
Pat Mora - Mexican American
Harry Mulisch - Dutch
Haruki Murakami - Japanese
Nabokov - Russian
Gina Barkhordar Nahai - Jewish Iranian
Bahiyyih Nakhjavani - Born Iranian,  grew up in Uganda and now lives in France
Andres Neuman - Spanish Argentinian
Tea Obreht - Bosniak Serbian
Silvina Ocampo - Argentinian
Kenzaburo Oe - Japanese
Nnedi Okorafor - Nigerian American
Ben Okri - Nigerian
Helen Oyeyemi - Nigerian British
Vikram Paralkar - Indian American
Nii Ayikwei Parkes - Ghanaian
Shahrnush Parsipur - Iranian
Milorad Pavic - Serbian
Victor Pelevin - Russian
Miroslav Penkov - Bulgarian
Ludmilla Petrusevskaya - Russian
Stepan Pisakhov - Russian
Salvador Plascencia - Mexican American
Manuel Puig - Argentinian
Christopher Ransmayr - Austrian
Dolores Redondo - Spanish Basque
Darcy Ribeiro - Brazilian
Philomena van Rijswijk - Australia
Manuel Rivas - Spanish
Carolina De Robertis - Uraguayan - American
Eden Robinson  - First Nation Canadian
Arundhati Roy - Indian
Juan Rulfo - Mexico
Salman Rushdie - British Indian
Preeta Samarasan - Malaysian
Jose Saramago  - Portuguese
Patricia Schonstein - South African
Ekaterina Sedia - Russian
Erick Setiawan - Indonesian
Elif Shafak - Turkish
Ryhaan Shah - Indo-Guyanese
Meir Shalev - Israeli
Anton Shammas - Palestinian
Siddharth Dhanvant Shanghvi - Indian
Leslie Marmon Silko - First Nation American
Sjon - Icelandic
Sasha Sokolov - Russian
Manil Suri - Indian American
Noemi Szecsi - Hungarian
Antonio Tabucchi - Italian
Paco Ignacio Taibo - Mexican
Ngugi Na Thiongo - Kenyan
Tim Tingle - First Nation American
Tatyana Tolstaya - Russian
Amos Tutuola - Nigerian
Luis Alberto Urrea - Mexican American
Luis Valenzuela - Argentinian
Carl Johan Vallgren - Swedish
Miklos Vamos - Hungarian
Vassilis Vassilikos - Greek
Alfredi Vea - Mexican Yaqui Filipino American
Carlos Velasquez - Mexican
Juan Pablo Villalobos - Mexican
Eugene Vodolazkin  - Russian
Katern Tei Yamashita - Japanese American
Mo Yan - Chinese
Tiphanie Yanique - Virgin Islander
Yorgi Yatromanolakis - Greek 
Banana Yoshimoto - Japanese
Zyranna Zateli - Greek
Serhiy Zhadan - Ukrainian
Yousef Ziedan - Egyptian

Tomorrow I will bring you a video about Russian magic realism.


Wednesday, 18 February 2015

The Room by Jonas Karlsson




Funny, clever, surreal, and thought-provoking, this Kafka-esque masterpiece introduces the unforgettable Bjorn, an exceptionally meticulous office worker striving to live life on his own terms.

Bjorn is a compulsive, exacting bureaucrat who discovers a secret room at the government office where he works--a secret room that no one else in his office will acknowledge. When Bjorn is in his room, what his coworkers see is him standing by the wall and staring off into space looking dazed, relaxed, and decidedly creepy. Bjorn's bizarre behavior eventually leads his coworkers to try to have him fired, but Bjorn will turn the tables on them with help from his secret room. Author Jonas Karlsson doesn't leave a word out of place in this brilliant, bizarre, delightful take on how far we will go--in a world ruled by conformity--to live an individual and examined life.

Goodreads description

The Room made me uncomfortable. Not in a bad way, but because I found Bjorn's position unsettling. I have to confess that I don't find comedies like The Office funny, because I am too embarrassed for David Brent characters.

Bjorn is clearly on the autistic spectrum. The way he manages his time (55 minutes work and then 5 minutes break) is indicative enough, but more so because when the 55 minutes is broken into he regards it as ruined and decides to sit it out and start again with the next one. He totally misreads people and does not realize it. In this context his pronouncements on human behaviour would be funny if they weren't also sad: Stupid people don't always know that they're stupid. They might be aware that something was wrong, they might notice that things don't always turn out the way they imagined, but very few of them think it's because of them.

But he is also arrogant, a pedant and the kind of fellow worker who is going to get on everyone's nerves. We are not meant to like him, especially as he treats the helpful attempts of a fellow worker to show him the ropes with disdain. 
Bjorn and his fellow office workers are employed by an organization just called The Authority. The organizational culture is one of pressure and accompanying fear of loss of status and employment. As is so often the case in such circumstances, the rest of the workers express their fear in attacking a colleague - the weird Bjorn. They do not accept that Bjorn's room exists. In the meetings that the ineffectual manager organizes to resolve the matter, many are outspoken about Bjorn's mental state. Their behaviour is appalling and one's sympathy is back with Bjorn. He is still misinterpreting the situation and doing so in a way that is making things worse. 

There is a lot going on in this novel and we never know the truth about Bjorn's room. Is it a delusion? Is it magic? Is it a metaphor? The question is best left unanswered, because that way it forces the reader to question not only what happens in the book but their own behaviour in similar situations.

I received this book free from the publisher in return for a fair review.

 

Wednesday, 31 December 2014

The Dress Shop of Dreams by Menna Van Praag

Since her parents’ mysterious deaths many years ago, scientist Cora Sparks has spent her days in the safety of her university lab or at her grandmother Etta’s dress shop. Tucked away on a winding Cambridge street, Etta’s charming tiny store appears quite ordinary to passersby, but the colorfully vibrant racks of beaded silks, delicate laces, and jewel-toned velvets hold bewitching secrets: With just a few stitches from Etta’s needle, these gorgeous gowns have the power to free a woman’s deepest desires.

Etta’s dearest wish is to work her magic on her granddaughter. Cora’s studious, unromantic eye has overlooked Walt, the shy bookseller who has been in love with her forever. Determined not to allow Cora to miss her chance at happiness, Etta sews a tiny stitch into Walt’s collar, hoping to give him the courage to confess his feelings to Cora. But magic spells—like true love—can go awry. After Walt is spurred into action, Etta realizes she’s set in motion a series of astonishing events that will transform Cora’s life in extraordinary and unexpected ways.

From Goodreads Description

I reviewed Menna Van Praag's  The House at the End of Hope Street in March 2014 and found it enjoyable women's magic realism in the tradition of Sarah Addison Allen. The Dress Shop of Dreams is in many ways similar to the author's first work: set in the English university-town of Cambridge, a story of a young woman finding herself, a magic-wielding older woman who helps her, a magical place, and the predictability that this sort of romantic book always has. And yet I found this book much more enjoyable. Menna Van Praag is getting better at her art. 

The book weaves together several feel-good romantic tales: of the emotionally stunted and orphaned Cora, the widow Millie longing for love, Etta's long heartbreak, and the detective's broken marriage. Van Praag manages to weave them together into a whole very successfully. The point of view shifts between the various romances unusually occur several times in a chapter and this may upset some readers, but they were clearly done and effective in producing dramatic tension and counterpoint. 

The magic in this book is lightly done - Etta simply sews a small star into the target's dress to cast her spell. And it raises the question of how much of the transformation is down to the star or to the character seeing themselves differently. Most of us will know that what we are wearing can have a profound influence on how we feel about ourselves. And then there is the wisdom of Etta's words or the seeds they sow (sew?) in the other characters' minds. 

One of the reasons this book held my attention was the inclusion in it of a mystery. Before Cora is able to experience love she must first find out whether her parents' deaths in a fire were the result of an accident or murder. I enjoyed this element of the book and whilst it could only be a part of the whole it gave the book more substance. Readers of this blog will know I like a bit of grit in my magic realism. Obviously the grit content of The Dress Shop of Dreams is limited, but Menna Van Praag has written a good book of its type and will add more fans as a result. 

I received this book free from the publisher via Netgalley in return for a fair review.
 

Wednesday, 26 November 2014

When Rosa Came Home by Karen Wyld


When they open the door for their wayward daughter, Rosa's parents are not prepared for who else turns up at the Ambrosio family vineyard.

....the spirit of a poet, nurses who crochet magical rugs, a beautiful bearded lady, elephants from the dreamscape, a médecin sans medicine and his dancing python, a jealous stable-hand, acrobatic pirates of the dark web, a sleeping beauty with a secret or two, and a young girl who longs for a new sister....

Angelita Ambrosio narrates the stories of her secret sister’s time on the road, and yearns for adventures of her own. Amid precious tales, graciously shared by Rosa's eclectic friends, a fractured family is reunited.

Not everyone is pleased to see Rosa return - peril lurks in dark places. Fear not: with a sprinkling of cosmic dust, a cloud of sawdust and a touch of magic, a new dawn will bloom - now that Rosa has come home.

Goodreads description

Karen Wyld is a fellow writer on the Magic Realist Books Facebook Group and I was keen to read her new book, having seen her contributions to the group and the Magic Realism Blog Hop. I was not disappointed - the book is delightful. 

The narrator is Angelita, a bright child who used to sing like an angel but who has become mute. The choice of this narrator provides both opportunities and challenges for the author (and therefore the reader). Angelita's muteness makes her the perfect listener, making her at times invisible to the adults around her and also meaning that they confide in her. As a succession of visitors to the sleeping Rosa reveal aspects of her life, the child listens and tries to piece together what happened to make Rosa leave and what she did afterwards. In this Angelita acts for the reader, but Angelita is a child so she is limited as an intermediary. 

Angelita's childish innocence means that she doesn't always understand the significance of what she is hearing. Angelita believes that everything will turn out for the best, that Rosa will wake up, that the book's one antagonist will not hurt her. There is the opportunity here for the writer to use more dramatic irony to increase tension with the adult reader seeing potential danger, however the author seems to back away from doing so. 

Over on my writer's blog, prompted by reading this book, I talk about some of the issues around using first-person narration. A lot happens off-screen in this novel. Most of the time that is part of the book's charm, but it felt unsatisfactory towards the end. I wanted to know more. It does seem to me that Karen painted herself into a bit of a corner by her choice of first-person narration.

The book has many strengths. There are some beautiful descriptions of a child's world in which magic really does exist and of the fascinating and fantastical beings that enter it. I particularly enjoyed the way that all Angelita's senses feature in those descriptions. The author draws on many traditions - myths, fairytales and of course magic realism. The realism lies in the family and sexual relationships that are revealed through the course of the book. Despite this realism there is a charming gentleness about When Rosa Came Home, a gentleness that stems from its exceptionally well-drawn narrator.

This is a lovely debut from a highly talented writer. I look forward to reading her next book.

Wednesday, 20 August 2014

The Search for Heinrich Schlogel by Martha Baillie

Martha Baillie’s hypnotic novel follows Heinrich Schlögel from Germany to Canada, where he sets out on a two-week hike into the isolated interior of Baffin Island. His journey quickly becomes surreal; he experiences strange encounters and inexplicable visions as shards of Arctic history emerge from the shifting landscape. When he returns from his hike, he discovers that, though he has not aged, thirty years have passed. Narrated by an unnamed archivist who is attempting to piece together the truth of Heinrich’s life, The Search for Heinrich Schlögel dances between reality and dream, asking us to consider not only our role in imagining the future into existence but also the consequences of our past choices.
Amazon Description

I received this book as a e-book ARC (advance review copy) from the publisher in return for a fair revew. I now find myself in a difficult position. It is sometimes hard to review an e-book ARC, because the formatting makes the book hard to read. That is the case here. 

This is a piece of literary fiction in which the biography of the missing Heinrich Schlogel is told by an unnamed archivist  obsessed with her subject. The narrative is interspersed with extracts from Heinrich's journals, letters, natural history books, and skype conversations, as well as footnotes from the archivist about the above. I found myself struggling to work out what was happening and who was speaking. Was this due to a problem in the book, a problem with my capacity for attention or the problem with the ARC e-book formatting? 

My confusion stopped once Heinrich got to Baffin Island, my attention was gripped and I enjoyed the story. I loved the descriptions of the nature of that remote place and Heinrich's response to it. It reminded me of one of my favourite books, The Solitude of Thomas Cave by Georgina Harding, which is also about a man alone in the northern wilderness and his response to it. I loved the way reality gently and subtly shifted into a dream and back again, so that you soon did not know which was which. 

The theme of Europeans going into the wilderness and experiencing the mystical other is a not uncommon one in literature. But what is unusual is that when Heinrich returns he finds that thirty years have past in the two weeks he has been in the wilderness. Again the book operates on two levels. There is the "realistic" portrayal of the issues a modern Rip Van Winkle would face, for example out-of-date banknotes and a passport that is unusable. Then there is the "magic" which is flowing under Heinrich's new life, like the water of a glacier. 

Despite my problems with the medium with which I received this novel, I found Baillie's use of additional material interesting. Then I found her online version of the novel: The Schlogel Archive - a novel redistributed at http://schlogel.ca/. The book has been divided into short sections and written on specially chosen postcards. Click on any postcard that appeals to you and you will also hear the section being narrated. When the text is read and/or heard like that the poetic nature of the book becomes apparent. Any suggestion of traditional story structure is abandoned and we are closer to the mystical world that Schlogel discovers. It is absolutely fascinating.

But I am here to review the novel that is being distributed by more conventional means and will mostly be read in a linear fashion.  I found the narrator at times somewhat annoying and distracting. I wanted either to know more about her and what makes her fixate on Schlogel or have fewer of her intrusions into the story. Ironically I also found the chronological account of Schlogel's life prior to his adventure to be a problem, in that the young Schlogel's personality is not a particularly interesting one. In order for this book to really work I think the reader must also want to search for Heinrich Schlogel. The narrator almost invites us to search: Were someone else to delve into my archive, they might tell Heinrich's story differently than I do, what they'd want from Heinrich would be different.
Maybe my problem was just that I wanted something different. I probably would have told it differently too. And I rather think that is exactly what the author wants.

The book will be published on 9th September 2014. I recommend getting the print edition of the book. 

Thursday, 7 August 2014

The Master and Margarita by Mikhail Bulgakov


Mikhail Bulgakov's devastating satire of Soviet life was written during the darkest period of Stalin's regime. Combining two distinct yet interwoven parts-one set in ancient Jerusalem, one in contemporary Moscow-the novel veers from moods of wild theatricality with violent storms, vampire attacks & a Satanic ball; to such somber scenes as the meeting of Pilate & Yeshua, & the murder of Judas in the moonlit garden of Gethsemane; to the substanceless, circus-like reality of Moscow. Its central characters, Woland (Satan) & his retinue-including the vodka-drinking, black cat, Behemoth; the poet, Ivan Homeless; Pontius Pilate; & a writer known only as The Master, & his passionate companion, Margarita, exist in a world that blends fantasy & chilling realism, an artful collage of grostesqueries, dark comedy & timeless ethical questions.
From Goodreads description

I have been looking forward to reviewing this book ever since I started this blog. It is quite simply my favourite book (magic realist or other) of all time. If One Hundred Years of Solitude opened my eyes to magic realism, then this book opened my heart and mind. 
And yet here I sit, with my hands paused above the keyboard, trying to find an approach to this review. It is simply impossible to do the book justice in a short blog post. There are so many aspects to it that merit discussion, preferably long discussions in front of an open fire with a glass in one's hand. I have read this book at least three times and each time I see and understand new things.  It is as if the book keeps changing, like the demonic characters in the book - Woland is described as having a limp in the right leg, the left leg, and no limp at all. He is short and then he is tall.  
Over the past two years I have often wondered how The Master and Margarita fits in with the various definitions of magic realism. At times I questioned whether it might better be described as surrealist satire, even fantasy - indeed it is sometimes described as such. If it is magic realism then why aren't some fantasies such as Neil Gaiman's American Gods?  Isn't there too much magic (including conventional fantasy characters, such as witches on broom sticks) and not enough realism? But as I have read Master and Margarita again, I have felt more at ease with its inclusion in the magic realist canon.

The context in which this book was written is crucial to understanding it. The book was so dangerous that (like the Master) Bulgakov burnt an early version of it. In Stalinist Russia it was necessary to write a book that was full of smoke and mirrors and yet it also needed to ring true.  In a totalitarian regime magic realism is a necessity.  

At the same time life in a totalitarian state can be surreal. If the great leader says something is black then it is black, even if it is white. Senior leaders disappear from state photographs and it is as if they didn't exist. History is rewritten. This is the world that Bulgakov is satirizing. It is a world that claims to be rational and realist and yet refuses to acknowledge what is happening in front of its eyes.  Only Margarita and the Master accept the fact that Woland is Satan and what is really happening and only they are unscathed by encountering black magic. All the other inhabitants of Moscow who appear in the novel are taught a lesson by Woland and his acolytes. 

The book opens with a quotation from Goethe's great drama Faust:

"Say at last - who art thou?"
"That Power I serve
Which wills forever evil
Yet does forever good." 

It seems to me that this quotation is crucial to the understanding of the book.  The question is Faust's and the answer that the demon Mephistopheles. Woland and his crew may be diabolical but in the grotesque carnivalesque world of this wonderful novel everything is turned on its head and black can truly be whiteSome Christians will find this book hard to stomach with its portrayal of the Devil as a necessary good/evil. But as Woland says: What would your good do if evil didn't exist, and what would the earth look like if all the shadows disappeared? After all, shadows are cast by things and people. I have noted elsewhere in this blog that two features of magic realism are ambiguity and duality. Both are at the heart of this book. 

The world of Stalin's Moscow is set alongside that of Pilate's Jerusalem. In both there is authoritarian rule, secret police, people afraid of speaking the truth about power (with the exception of Yeshua/Jesus), and people betraying others for money. What binds these two strands together is the Master's novel about Pilate. The most famous line in The Master and Margarita is probably manuscripts do not burn.  And yet the Master burns his manuscript and Woland burns it again at the end of the novel. This is a book about a book and about writing. Clearly there is a reference here to Bulgakov's own manuscripts: the one he burnt and the final one that was published after his death. It is a statement of how the book continues to exist within the writer and his readers. And it is also a book within a book. The Master's novel is not complete and must be finished to provide the resolution of Bulgakov's book. I have always found the conclusion of The Master and Margarita to be particularly haunting and at the same time almost uniquely satisfying.