This study revisits Louise Erdrich's practice of 'magic realism' to explain how the realistic
presentation of unreal elements in Erdrich's writings differs from the western expression of magic
realism. With the interactional thick inscription of Erdrich's magic realism, this study argues that the unreal events
in Tracks are not based on Erdrich's imagination but the spiritual facts of her inheritance. Her description of naturalcum-supernatural elements cohesively achieves a synthesis of the Chippewa Anishinaabe magic-realistic world and,
simultaneously, derives the social and cultural hierarchy of the Native
American world. She appropriates the western concept of 'magic realism'
to enlighten her oral tradition in 20th-century non-native societies. This
appropriation explores the individuality of Native American traditional
ways of being that have been considered cultural nonsense in modern
academia. This interactional thick inscription of delimited text
systematically inscribes the pre-Columbian context of 20th century
Chippewa Anishinaabe, the Canadian border, and defines Erdrich's quest
for her native identity.
1-Qasim Shafiq PhD Candidate, Department of English, National University of Modern Languages, Islamabad, Pakistan.2-Sardar Ahmad Farooq Lecturer in English, Department of English, Government Postgraduate College Mansehra, KP, Pakistan.3-Asim Aqeel Assistant Professor, Department of Humanities and Linguistics, University of Agriculture, Faisalabad, Punjab, Pakistan.