Another common feature of magical realism, one that serves to facilitate the ordinary as extraordinary and vice versa, is the child-like narrator. This is either a child in the literal sense, or a relatively immature adult who is able to navigate the world with a sense of wonder and awe at things that we have come to take for granted, as well as accepting more magical aspects (Arva).

Garcia Marquez, in his plethora of characters, has little difficulty finding a voice that embodies the necessary naiveté to allow for that effect. As a character becomes too worldly, too cynical, there is always a fresh point of view waiting in the wings. For Allende, Clara the Clairvoyant is a perfect example of this concept; despite her paranormal skills, she wanders through the story with little more sensibility than a young girl for the most part.

Toni Morrison uses the perspective of the youthful and encapsulated Denver to explore the supernatural aspect of Beloved. It is only when we see from the side of Denver, in all her sheltered innocence and immaturity, that we are presented with the idea of Beloved as a ghost, fully and unquestioned, rather than as a bizarre woman. It is only Denver’s innocence that is able to truly comprehend this fact, yet still be grounded in reality, because as a naïve child she has not yet been overcome by notions of how the world should be.



