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understanding of the meaning of what has been done to victims, of the politics of trauma being possible” (123). I believe that the link between trauma and the writing that recovers it is established through the traumatic imagination, a compulsive call for storytelling, an inner urge of the authors’ psyche to restore, through their narrators and characters, voices that histories of horror and eventual post-traumatic cultures have reduced to silence. The fantastic, as an essential component of magical realism, comes to bridge the caesura in the transmission of violent realities. Magical realism writes the silence that trauma keeps reverting to, and converts it into history.
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