Abstract
Connecting scholarship on Latin American Magical Realism with debates on “realness” and “Black Girl Magic” in the #blacklivesmatter movement and the simultaneous criminalization and erasure of undocumented immigrants from the Southern hemisphere, Rohrleitner shows how Salvador Plascencia’s 2005 novel The People of Paper reinvents Magical Realism as a mode of active resistance to racialized violence in the United States. Drawing on Glissant’s “aesthetics of turbulence” the chapter focuses on the discursive opposition of Little Merced, the main protagonist’s daughter who is entirely made of paper, to the commodification of her story by an authoritarian narrator/author, highlighting how Plascencia’s specific brand of Magical Realism critiques current immigration policies.
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