Magnification of Grave Reality through Magic: Unnatural Narrative of The Last Pomegranate of the World

This article seeks to elucidate anti-mimetic or unnatural elements which are notable in Bakhtiar Ali’s The Last Pomegranate of the World’s narration. In order to reshape the understanding of the mimetic narrative, Brian Richardson and Jan Alber go beyond the conventional narration and strive to release from constrains. The existence of the characters like Mohammad the glass hearted, the white dressed sisters, the reincarnation of Serias Brothers and the collapse of the Nature right after telling a lie by Yaqub Senobar are the significant emblems of unnaturality; besides, this transcendence from the real-world structures leads to magic realism. The source from which the novel is burgeoning is the concept of war and its aftermaths; magic realism is one of the sources the author resorts to affirm the baneful effects of the war. War is real, yet through magic and events that are not conventionalized, the author endeavors to exaggerate the post-war destructions in the real world. Indeed through unnatural elements, it is determined to allude to the real but unexpected happenings. In this novel the narrator is a human being who has been kept away for twenty one years from the filth of the real life and for this reason he is granted with a unique vision distinctive from the other characters. The time chronology is disrupted not only in the story telling but also in the passage of time since three Seriases age at different rates. The novel is replete with jumps between unnatural spaces like the palace, the glass house, the peak on which the tree of pomegranate is planted. Consequently, unnatural representation of the narrator, the time and apace and magical events in the real world, results in anti-mimetic narration.