Magical Realism and Mythmaking in Pakistani English Children Fiction: A Linguistic Critique of A Firefly in the Dark

1. INTRODUCTION

Magical realism is a modern notion that addresses the relationship between magic and reality, the paranormal and the natural, and delivers a certain type of light revealing aspects of the world that may have previously been concealed to readers. As Fredric Jameson (1986) argues that individual works give various ways of perceiving and comprehending the world. It is intrinsically unstable and has continually shifting boundaries. Mythopoesis, often known as "mythmaking," is a narrative genre in contemporary writing and cinema in which a writer of prose, poetry, or other creative genres creates an artificial or fabricated mythology. This definition of the word comes after J. R. R. Tolkien's use of it in the 1930s. Following a conversation with C. S. Lewis and Hugo Dyson on the evening of September 19, 1931, at Magdalen College in Oxford, J. R. R. Tolkien composed a poem titled Mythopoeia to defend and elucidate the practice of creating new myths. Dundes also said that any novel, according to renowned folklorist, Alan Dundes, "cannot satisfy the cultural requirements of myth”. A piece of art or artifice cannot be said to be the story of a religion or other sacred tradition; at most, it is a manufactured myth (Adcox, 2003). In cultural domains, Alan Dundes makes a distinction between myth and new. Myths serve as pillars of society, establishing shared identities and ideals. Even with their profundity, novels are unable to perform their cultural roles. Myths have a crucial role in cultural customs, whereas novels are works of art devoid of authority.

As stated by Prahlow (2014), for C.S. Lewis, the idea of myth was important, especially considering his conversion to Christianity and subsequent support of Christianity. Lewis eventually developed a somewhat novel definition of myth, writing in Miracles, 138, "Myth, in general, is not just misinterpreted history... neither demonic illusion... not priesthood deceit... but at its most potent, a real scattered glimmer of eternal truth on mortal conceptions" (Lewis, 1947, p. 138). The importance of myth to C.S. Lewis's intellectual and spiritual life—particularly to his Christian beliefs—is emphasized in his perspective on the subject. Aligning with his theological and literary aspirations, he reinvented myth as a vehicle for transmitting eternal truths, going beyond common comprehension, and making the connection between the temporal and the eternal.

The purpose of the study is to investigate whether myth-making and magical realism are present and significant in Pakistani fiction works. The goal of the study is to understand how authors use mythological aspects and combine the magical and the real to build compelling narrative frameworks and distinctive literary settings. In addition, the study looks at how magical realism and mythmaking interact, reflecting and questioning dominant social and cultural conventions. The research also seeks to advance knowledge about the function of myth-making and magical realism in forming linguistic landscapes and their possible consequences for representations of culture and social in-nature perspectives by adding to the body of knowledge already available on postcolonial literature and literary theory.

The present research attempts to answer the following questions: 

1. In the context of Pakistani fiction, how does the selected work A Firefly in the Dark integrate aspects of magical realism and mythmaking?
2. How does A Firefly in the Dark use language choices to mythologize and construct a magical realistic setting that reflects Pakistani cultural and socioeconomic narratives, from an epistemological perspective?

Literature Review

This chapter has several segments and sections that describe mythmaking, magical realism, the interrelationship of both concepts and contemporary magical realist as well as mythmaking texts.

Today, myth is sacred, historically and psychologically significant, and metaphorical, ceremonial. Mythmaking is the act of making up stories. Our most epic kinds of storytelling have historically been centered on kings, queens, and heroes. It can no longer be categorically said to exist singly, but rather it is fluid. At any given moment, myth seems to fit the needs of society and academia. It has been explored from a philological, allegory, euhemeristic, romantic, and psychoanalytical perspective. Traditional mythological motifs and archetypes are incorporated into fiction by authors who write in this genre. Making a mythology is another definition of mythopoeia (Merriam-Webster, n.d.).

 A linguistic and metaphorical perspective that was subsequently made popular by Joseph Campbell was added to these methods. Campbell used the term "monomyth" to define his theory of mythology after appropriating it from his writings. Campbell adopted concepts from Thomas Mann, a well-known German Modernist author known for his understanding of psychology, and art, and incorporated them into his works in several ways (Campbell, 1988).  Zimmer's view of the significance of mythology via symbolism, metaphors, imagery, etc., as contrasted with the dependence on psychoanalysis to comprehend the psyche within a story, may have also influenced Campbell's view of the story as a sign of the journey (Myers, 2017). He thought that discovering one's purpose and path through myth and its metaphors or archetypes was sufficient. These myths have motifs as symbols that are difficult to decipher (Segal, 2015). ‘What do ancient myths owe to our souls?’ is a question Campbell poses in The Power of Myth published in 1988. He continues to explain it by saying that these beliefs from the past served to harmonize the body and the mind.

His response is like the way he explains the monomyth in ‘Hero’ and claims that the character's physical and mental condition serves as a barometer for society (Campbell, 1988). As a result, Campbell suggests that mythology, which transcends words and functions as a metaphor, makes the reality around people apparent. According to Campbell, a metaphor ceases to be a metaphor and refers to its underlying meaning explicitly instead at that point. According to Campbell, "dream is the personalized myth", which a person perceives and lives in the setting of their circumstances. On the other hand, Campbell’s theory of mythology itself is based on the idea that "myth is a depersonalized dream" (Campbell, 1988, p. 18). Therefore, it has many ways to interpret it.

This genre style, magical realism, combines all mythical, fantastical, and real aspects in a single sequence of events. Magical realism and mythmaking discussed alternative ways of seeing and understanding the world. The research studies both linguistics and thematic features. It defines the dreamlike environment discussed in the selected novels to observe and describe the physical impact of that dreamlike environment and depicts how it creates the moral world.

Magical realism and its captivating environment created through myths interest the readers and observers through the scenes and language. It controls the subconscious mind, forcing the reader to think that the unusual is real. Faris is an English and comparative literature professor at the University of Texas at Arlington. Carlos Fuentes and Labyrinths of Language: Symbolic Landscape and Narrative Design in Modern Fiction was written by her, and she is also the co-editor of Magical Realism: Theory, History, and Community. Her book, Ordinary Enchantment: Magical Realism and the remystification of Narrative (Faris, 2004), focuses on how magical realism emerged in 20th-century cultural works and marginal voices through submerged traditions.

She discusses that magical realism destabilized a dominant form and a de-focalized narrative. It differentiates between realism and fantasy. It shows how marvelous grows out of the ordinary, and discusses the distinctions between them are just blurred, witnessing events normal human beings do not usually notice. Faris (2004) narrates that creative powers are portrayed through mystical narrative and textual poetics, making them look natural. There are unsettling doubts for the reader created by the fundamental element of magic, merging different realms and ideas about time, space, and identity. Spirits are used to differentiate from the material reality, creating an elusive make-believe narrative and a black hole.

The inadequacy of language, the unimaginable universe, cosmic realms, and various registers make the narrative go beyond real in detail, said Borges (Borges, 1982). He says that magical realism is the collection of real-life-like examples to describe something that seems to be an impossible happening. Broke Rose says that techniques in magical realism invade the marvelous. It changes the genre to allegory. A separate realm is shown, and a realistic description flashes out of that realm which not only detaches it from the concrete reality but also transforms it into abstract ideas that are seemingly real. Magical realists are trying to capture the nonbelievers of tales through the portrayal of unexpected events (Brooke-Rose, 1981). She talks about authorial relations where readers are coaxed to believe through bridging of past and future. A mythopoetic framework regularly breaks temporal development in The Famished Road, and time is frequently unclear. Hallucinatory magical realism is frequently characterized by incomplete invocations, making it difficult to determine which occurrences occurred, dreamed, or imagined. This hallucinogenic, dreamy aspect moving from unconscious to consciousness, from mental image to actual occurrences, combined with poetic and metaphorical prose, provides the tale with a distinct style that leads readers to believe that the uncommon is both usual and strange. The narrator frequently thinks of the ‘meanings' through the 'enormous hallucinating impact' phenomenon behind a hedge of shadow on the border of light. 

Where social realism stops, magical realism begins, and it rejects the symbolic structure of South American creolism (i.e., of European roots). According to the author, this literary and cultural movement is not fantastic literature but rather a subset of other connected tendencies that maintain a different point of view. The attempt to categorize Latin American writing broadly or to pinpoint a style of writing that distinguishes between works that are deemed to be paradigmatically Latin American and poor copies of favored models have benefited greatly from "magical realism" (or "magic realism"). This suggests that South American literature may have an impact on international literature in ways that were previously supposed to be impossibly impossible for a literary heritage that was undeniably and even irreparably secondary. Perhaps as a result, the phrase has been applied in a sometimes-paradoxical manner and is frequently used to extol Latin American authors (such as Jorge Luis Borges or Gabriel Garcia Márquez) and to give First World writing a touch of exoticism.

The term "magical realism" has been used as a qualifier to describe any plot structure of human behavior that appears to fall outside the norm, contradiction, or denial of West European bourgeois rationalism as the predominant paradigm for understanding how the world and social connection’s function (Foster, 2019).  Alejo Carpentier, a Cuban author, invented it, and many other Latin American and other authors—including Gabriel Garcia Marquez, Jorge Amado, Gorge Luis Borges, Miguel Angel Asturias, Julio Cortazar, and Isabel Allende—popularized it. This shows that this literary and artistic methodology has also been used outside Latin America (Wolff, 2006). Her first book, "How It Happened," is completely different from "A Firefly in the Dark." If I were to merely read the book's blurb in a bookstore, I would not choose to read it. Despite not being a fan of Jinns or other invisible entities, I can appreciate Haider's writing style. You can tell when a book is enjoyable to read when the descriptions are so lovely and clear that you begin to feel as though you are a part of the action. At times, I experienced goosebumps and chills and I had to pause after a few chapters to remind myself that I was in my room and not Sharmeen’s (Ahsan, 2019). The novel becomes scarier and beautiful when Haider writes this excerpt:

Did you know that sounds never die? They hang around in the air, upside down like bats, so soft that even a whisper seems like a shout to them. Every word that is uttered lives forever in the space it was birthed. It has its frequency. Your ears are not powerful enough to hear them, but your hearts are sensitive to their energy. That is why houses feel happy or sad - because words lodged in them are thus (Haider, 2018). Even Aziz's efforts to save the individuals he says he loves turned out to be a challenging task that readers should not attempt on their own. I did not appreciate Nani's tenacity, Jugnu's wit, or Sharmeen's brazenness.

The Gulmohar and the banyan are unexpectedly not just typical garden trees, and her Nani's bedtime tales are no longer restricted to the traditional definition of stories because, like Sharmeen, the target audience is thrust into this world of Jinns and Qarins, a world of a chatty firefly, a gecko, and a peacock. Our 12-year-old protagonist is entangled in them and must battle the evil that threatens everyone while keeping her confident façade. The story puts you on edge while scaring you with the author's detailed descriptions by the author. After Harry Potter, A Firefly in the Dark is the best book I have read that is based on magical realism. Yes, you read it correctly. Additionally, the fact that it is based on religious principles makes it much more alluring and intriguing. Sharmeen, a little girl of eleven, winds up to her Nani's house due to a series of unfortunate incidents. She finds comfort mainly in the magical world of Nani’s stories, which tell of jinn, shapeshifters, and other otherworldly creatures. Her mother and Nani's relationship is not particularly good, nor is it at school. She is incredibly drawn to Nani's stories until they interfere with her real life and her monotonous existence abruptly changes (Kamal, 2018). In her analysis of Shazaf Fatima Haider's use of magical realism in A Firefly in the Dark, Sharma (2021) emphasizes the symbolic importance of figures like Jinn and Janeeree, who stand in for the blending of the supernatural and every day in South Asian society.

One almost anticipates that Jugnu and Sharmeen will return to lead the reader on several other adventures. It is past time to introduce intriguing tales about local myths to our children and teenagers in addition to their reading of Enid Blyton, Roald Dahl, and J.K. Rowling. Not only will they identify with Sharmeen's narrative, but they will also find themselves laughing aloud and cheering for Sharmeen. Adults, meanwhile, will be enthralled by nostalgia for children's stories, particularly those with a taste for humor and horror (Javed, 2018). Khan (2024) commends Haider's storytelling approach, emphasizing its capacity to imbue the mundane with a magical quality. The assessment emphasizes the novel's cultural background and how it authentically revives South Asian mythological traditions. Khan commends the protagonist's character growth as well, emphasizing his feelings of awe, terror, and the unknown.

I fell head over heels for Haider's writing style and the subject matter she chose for her debut book, "How It Happened?" That book had a tight plot but was a family humor roller coaster. Although Shazaf took some plot points and family values from the book, the main subject is completely distinct. This one stretches the limits of your imagination while introducing you to the realm of the Jinn, Jineeres, Amluq, and other vile monsters. If you have ever enjoyed the "Umru  Ayyar" series, it will undoubtedly bring back fond memories for you. Aside from the nostalgia, if one is not a fan of good old Umru Ayyar, the novel will come across as something that young adults or kids would read. The major finale that Shazaf worked up to seemed like a plagiarized storyline from the Exorcist movie, but there was an element of twist and surprise, which kept me interested as a reader to some level. In the end, each major and minor plot appeared well-balanced and well-explicated (Khalid, 2024). While Shazaf Fatima Haider's second book, "Umru Ayyar," is attacked for having supernatural overtones, her first book, "How It Happened," is appreciated for its distinctive writing style and subject matter. With its original twists and thoughtfully resolved storyline, the book will appeal to both younger readers and readers with nostalgia.

Research Methodology

Using a hybrid analytical framework, this quantitative and qualitative study examines the existence of magical realism and mythmaking components in Pakistani fiction. The selected book shows the connection between magical realism and mythmaking through its genre, plot, and structure. The theoretical framework blends the magical realism theory of Wendy B. Faris and the mythmaking and heroism theory of Joseph Campbell. The chosen book and its complements' magical realism is assessed using the analytical framework. Using Microsoft Word for data gathering and analysis, it is possible to spot instances where magical realism, heroism, and mythmaking come together. Due to the fair and systematic data gathering and analysis, the research is regarded as credible and genuine. The retrieved textual references are offered as evidence to support the thesis of this study. The core notions of magic realism, mythical creatures, and mythmaking utilizing the Pakistani magic realist traditions are studied in this study. Individual analysis is an important component, peer reviews were considered, and researchers were hired to analyze the data using the same analytical framework. Significant quotations and snippets from the book's reviews, as well as critical literature, have been studied. This study employs a technique that contends to locate the historical and cultural embedment in Pakistani magical realism and mythmaking formation.

The two primary theoretical pillars integrated are Joseph Campbell's theory of mythmaking and heroism and Wendy B. Faris's theory of magical realism. These theories were combined and altered to build a new analytical framework that suited the research objectives and methodology. It has been stated in the methodology chapter. The analytical framework is appropriate for the context of evaluating magical realism in the selected novels, as well as how they complement one another.

With the aid of digital tools in Microsoft Word, the text was examined for words and phrases, sentences, and dialogues that reference magical realism and mythmaking. After that, the quotes and relevant texts were examined in the context of the analytical framework. The newly developed analytical framework was used to analyze the text, identifying moments where magical realism, elements of heroism, and mythmaking intersected by analyzing word choices, themes, language, and context. Using the analytical framework, the meanings, and importance of these instances within the larger context of the research aims have been reviewed.

The research is reliable and valid as the data collection and analysis is completely unbiased and has been analyzed with consistency in applying the analytical framework. The research was conducted separately as peer-reviewed research and researchers having their field of expertise as the doctorate of specific realms of literature in magical realism, mythmaking, and identity crisis; were hired to research a few chapters using the analytical frameworks. Hence, the validity of the framework was determined.

The search and text analysis features of Microsoft Word were used to find and examine words related to magical realism and mythmaking inside the text of the chosen novels. This technological method was used as a first step to measure and identify noteworthy incidents in the novels.

Based on the theoretical frameworks of Wendy B. Faris and Joseph Campbell, a special list of terminology was produced to identify words and phrases pertinent to magical realism and mythmaking. This vocabulary included terms related to magical aspects, story arcs, hero's journey, and mythological archetypes. Keeping the theoretical perspectives in view, the research assistant tried to find similar words in the selected novels and the words have been compared to the researcher’s results. Hence, the research was carried out to meet the objectives.

The specified keywords and phrases were carefully searched for throughout the text of the novels using Microsoft Word's "Find" function. The researcher gathered instances of these keywords and retrieved contextual passages for additional analysis. Creating a dataset of pertinent texts to use as the basis for further qualitative analysis was the aim of this step.

The original context of the excerpted passages was preserved by compiling them into a separate document. By highlighting literary passages that displayed crossovers between magical realism and mythmaking features, this compilation aided focused analysis. Additionally, this method allowed for the development of a dataset that could be thoroughly and consistently evaluated inside the framework created by the combined theoretical viewpoints. The following are some instances of magical realism and mythmaking that are included in the text:

The Janeeree is a she-Jinn who combines aspects of the normal and magical realms. She has spider-like legs and vicious teeth. A fundamental theme of magical realism is the blending of the supernatural and commonplace, which is explored by the Amluq, a hybrid creature born of Jinn and man. Understanding how mythmaking is produced within the tale requires an understanding of the symbolic meaning of confinement and dominance represented by the tree.

Certain techniques have been seen as a utility of vocabulary and linguistic choices by the authors and these have been divided into subcategories that are used as a measuring instrument for the analysis of the selected novel.

1. Surreal+ Enchantment= Dreamlike/ Bizarre
2. Unreal = Illusion + Pseudo-realistic
3. Supernatural = Metaphysical + Otherworldly
4. Mysterious = Arcane + Enigmatic + Mysterious

Here are some alternative names for each united element: 

1. Enchanted Dreams
2. Fantastic Illusions
3. Supernatural Realms
4. Mysterious Forces
5. Symbolic Insights

A dreamy and fascinating quality, frequently with a mystical or otherworldly quality. A state of consciousness in which reality is transformed into something magical, mystical, and alluring. It is an awe-inspiring and fascinating event, frequently creating a sense of otherworldliness and magic. 

Describes something that appears to be genuine yet is not, frequently with fantasy or supernatural components. A view or experience that appears to be true yet is false. It conveys a sense of uncertainty or unreality, frequently by employing fantastical or mystical themes.  

Describes a universe that is not physical or natural, and often contains mystical or magical characteristics. A cosmos that exists outside the normal range of human experience. It is a mystical and magical land frequented by supernatural beings or spirits. This term could be referring to mythological or fictional worlds.

Unknown factors shape our reality and experiences, including supernatural, spiritual, or psychological elements. These forces can be difficult to understand or describe, and they are frequently accompanied with ambiguity or riddles. They influence character behavior and provide new stories.

Identifies insights gained via metaphor or insights that often have more profound implications or significance. Intuition refers to insights gained through symbolism or intuition. It requires a more in-depth examination of the meaning and importance of symbols, many of which have a supernatural or metaphysical component. This expression refers to the insights gained from reading a dream or a piece of art.

The following symbols and metaphorical choices can be used as the indicators for inscribable elements in the magical realistic and mythmaking texts:

1. Enchanted Dreams symbolize starry skies, mythical animals, dark forests, magical spells, sparkling waters, aquatic creatures, fairy dust, imposing structures, and spellbound landscapes, highlighting the mystical and magical elements.
2. Unreal Illusions symbolize mirrors, mist and reflections, optical deception, shades, visions, mythical beings, disguises, bizarre scenery, inconceivable geometry, inconsistencies, and augmented reality are all examples of unreal illusions.
3. Supernatural Realms include symbols and topics like black magic, ghosts, evil spirits, angels, gods and goddesses, portals, astral aircraft, ley paths, power fields, time journeys, perpendicular universes, and historical artifacts.
4. Mysterious Forces include elements and symbols like serendipity, destiny, luck, prophecy, instinct, psychic talents, synchronicity, karma, cosmic power, ethereal beings, and telepathy, the theory of quantum mechanics.
5. Symbolic Insights include elements and symbols like archetypal allegories, myths, rumors, misconceptions, symbols, tarot cards, runes, astrology, the theory of numerology mandalas, interpretation of dreams, prayer, and religious geometry

These examples of vocabulary and linguistic choices have been identified within the selected texts and are stated below for further analysis.

The analysis ignores non-literary materials like author screenings, historical documents, and cultural assets in favor of concentrating on literary texts. This might limit some places' ability to conduct in-depth analysis. The study is carried out in a single language, however creative translations into other languages might do away with jargon and linguistic complexity. While acknowledging the significance of South Asian literature, the study concentrates on Pakistani fiction, which limits its ability to draw comparisons and insights from other South Asian cultures.

To maintain its integrity and legitimacy, research adheres to several ethical guidelines. These include protecting intellectual property, abstaining from cultural appropriation, upholding the analysis's correctness and integrity, avoiding bias, considering many points of view, guaranteeing privacy and confidentiality, and making a contribution to the academic community. Safeguarding against cultural appropriation is crucial, as is providing due credit and fair usage. Additionally, important are privacy and confidentiality, and the research makes a significant contribution to the academic community by offering unique, well-investigated findings.

Analysis and Discussion

This chapter deals with the analysis of the selected texts according to the devised framework. Magical realism is the incorporation of magical or mythical elements into a realistic story, blurring the barriers between the ordinary and the extraordinary. The fabrication or reworking of myths within the context of literature is known as mythmaking. Magical realism strengthened its origin in Pakistan with the arrival of Shazaf Fatima Haider’s novel, A Firefly in the Dark. It not only paved the way for other magical and mystical stories but also inculcated an element of horror with Jin stories and the immense saga of fairies and ghosts, good and evil.

The chapter also enlists the linguistic choices listed in the framework section related to magical realism and mythmaking by the selected authors. It discusses the quotes and examples, incidents, and scenarios by the authors to write and describe magical realism and mythmaking in Pakistani fiction. As Pakistani diasporic texts and culture are replete with examples of mythmaking, this research employs its framework to find these in indigenous cultural fiction. 

Table 1. represents the linguistics choices analysis of the selected work. The analysis has been carried out using the framework that has been devised. These choices have been divided into four segments as stated in the methodology section. These include vocabulary related to enchanted dreams, unreal illusions, supernatural realms, and mysterious forces in the selected texts.

Table 1 Linguistics Choices Analysis of the Selected Work

The above-cited linguistic choices were analyzed according to the above-stated analytical framework and discussed according to their context.

The selected novel has been analyzed using the theoretical framework devised in the methodology section. The metaphysical essence purpose introduces the mind of readers to a mystical presence of magic and myth that exists for those who have eyes to see. It creates an atmosphere of mystery and wonder for the readers. A phenomenal world that describes the real-life noise, objects, and the happenings of the event along with magical and mythological events. Cosmopolitanism is a moral perspective that emphasizes individuals' inherent value, irrespective of where they live. In contrast to the nation-state, it considers the entire globe to be its society. Enchanting realism, figurative magic, and analogies are used to depict the phenomenal world. The story is used for cosmology, explaining the configuration of the universe, the universe, and our entire planet. Within the cosmic framework, each bend, stone, hillside, rock, and plant have a place and a meaning. The textual analysis has been discussed in detail below:

Little did he know that the willow was the special abode of a Janeeree: a cruel she-Jinn who lived within the cocooned spirals of the tree's dead leaves. As Samarkand snored, the Janeeree awoke. She drew the drooping curtains aside and scuttled down the thin branches. Her amber eyes spotted her sleeping prey, oblivious to the danger looming above him. Licking her lips with a forked tongue, she made her way further down. She was a fierce creature with sharp, sabre-like teeth unfolding from the grooves of her mouth as she neared. Below her waist, eight spidery legs, slender and bent. (Haider, 2018, p. 17)

These lines mention the details about the Jin and Janeeree described in the text, though these both are magical and mythical figures, they have the characteristics of both humans and animals. Jinn (supernatural entities) and their interactions with humanity blur the difference between the visible and hidden worlds. The Janeeree, a she-Jinn with spider-like legs and sharp fangs who lives within the cocooned spirals of a tree's dead leaves, is said to blend magical and natural elements. Jinn's ability to transform into human form and speak with humans while causing no harm exhibits magical realism. The Janeeree's ability to shift into a beautiful lady, her transformation of Samarkand's head into that of a child, and the presence of the Labartu underscore the supernatural elements of the story. The Jineree's ability to kidnap travelers and put nightmares in them lends a supernatural touch to the plot.

They were made smokeless, but do not remain so. They thought, as the Janeeree did, that the smoke, like the evil inside them, was now a permanent part of their being. Thus, it came to pass that the Janeeree adopted the path of the damned, walked by all who are disobedient. (Haider, 2018, p. 13)

The text shows that the Jinns were created by a smokeless substance like the evil in them. The Jinn's birth, early adoration for their splendor, and ultimately revolt against God's dominion serve as a mythical underpinning for comprehending the Jinn in this story. The Janeeree, a cursed and lonely figure bound to a willow tree, seduces unwary victims, adding to her allure. 

'Born of Jinn and man, neither Jinn nor man, he was an Amluq. He wandered the world, searching for hidden knowledge. He is a spirit whispered about, a legend who makes himself visible to those who need his help, invisible to those who do not believe in stupid things like Jinn and Janeeree. (Haider, 2018, p. 27)

The tree represents imprisonment and the dominion of the Janeeree, while the Amluq, a Jinn-man hybrid, represents a fusion of human and unearthly features. The transition of the Janeeree from greedy and vicious to sympathy and salvation underscores themes of growth and change. Amluq’s talents and whispered mythology add to the novel's mood. Illusions, such as Janeeree's delusions and Samarkand's change, give rise to mythical or supernatural features.

 Similes and metaphors are used to explain magical subjects, with metaphors emphasizing the Amluq's mystical origins and relationship to gods. Embodiment and allegory are literary devices used to depict mystical symbols. The willow tree represents a sentient monster that captures travelers, alluding to its mythological significance as a portal to the afterlife. The protagonist's trip through the magical world serves as an analogy for personal growth, with the foreign setting and Janeeree's demeanor adding mystery. The protagonist's confusion and the Janeeree heighten the suspense, while the obscure backdrop emphasizes the enigmatic character of the scenario.

Janeeree's outstanding creative abilities demonstrate her ability to transform objects and people. With its vibrant colors, strange flowers, and creatures, the enchanted garden catches the reader's attention and evokes astonishment and fascination. The protagonist's flask's magical properties, which fill itself with water, represent the built world's boundless potential and wealth. It represents the miracles of creation, where even simple items have incredible properties. The Janeeree's ability to communicate with and command animals heightens the sense of awe. This power accentuates the mystical connection between humanity and the environment, emphasizing the beauty and grandeur of the natural world. 

This reflects the fusion of the supernatural and ordinary, which contributes to the mythological elements of the story. These symbols relate to the chapter's topics of magical realism and mythmaking by providing illustrations. The inclusion of magical or fantastical aspects into a realistic tale, blurring the lines between the ordinary and extraordinary, is referred to as magical realism. Mythmaking is the construction or reworking of myths within the setting of literature. 

The presence of Jinns (supernatural beings) and their interactions with humans blur the distinction between the visible and unseen worlds. The Janeeree, a she-Jinn with spider-like legs and sharp fangs that live within the cocooned spirals of a tree's dead leaves, is described as combining magical and natural components. Jinn's capacity to morph into a human shape and communicate with humans without causing damage exemplifies magical realism. A Labartu: a fire demon that lives on the first breath of newborns. It sucks their life and is regenerated (Haider, 2018). The Labartu, a fire demon that feeds on the life power of infants, lends a fantasy element to the plot. The concept of Jinn as strong beings who created galaxies and have divine skills contributes to the mythmaking aspect. The tragedy and salvation themes run through the story of Samarkand, the Janeeree, and the Amluq (a child born of Jinn and man). As supernatural aspects are combined with normal life and new narratives and mythical themes are produced, these examples highlight the chapter's integration of both magical realism and mythmaking. 

The description of the willow tree with wreaths of ancient leaves, together with its connection to the Janeeree, produces an uncomfortable and enigmatic mood and the presence of the Labartu underscores the supernatural elements of the story. The willow tree represents peril and temptation, while the trek to Samarkand represents ambition and selfish aspirations. The Janeeree's journey from selfishness to sympathy and salvation exemplifies growth and change. The chapter delves into magical realism and mythmaking, fusing supernatural and personal experiences. The tree acts as a focal point for the mythological components of the story. Similes and metaphors can be used to describe magical and legendary subjects like Janeeree's voice in exquisite detail, as well as the historical qualities of relics like the Amluq. These strategies add to the story's sense of magic and otherworldliness. 

A Firefly in the Dark is an indigenous novel that mythologizes and creates a magical realistic world. Based on South Asian mythology, the story depicts the jinn realm as a place where anything is possible. In indigenous fiction, magical realism mixes the actual and otherworldly realms, encouraging wonder and possibilities. Sharmeen's understanding of Jugnu, the jinn, is extraordinary. Because of its rich history and culture, Pakistan is a popular setting in magical realism films. Using language, imagery, and symbolism, the work mythologizes and creates an enchanted realistic world. The rich vocabulary and vivid images of the jinn world add to the awe and excitement of magical realism. The novel use of terminology, analogies, and symbols adds to the work's sense of amazement and opportunity, which is prevalent in this genre.

Conclusion

The study examines how mythmaking and magical realism are used in children's books written in Pakistani English, with a focus on Haider's A Firefly in the Dark. It illustrates how these literary techniques not only serve stylistic purposes but also effectively challenge cultural, social, and historical narratives. By bridging the gap between the remarkable and the commonplace, the book enables readers to discover more nuanced aspects of Pakistani society. The protagonist Sharmeen is empowered by the novel's intricate web of mythological elements to challenge social standards. Haider's use of language, symbolism, and allusions to mythology deepens the reader's comprehension and stimulates more contemplation on how myth and magic influence individual and societal identities.

Conflict of Interest

The authors of the manuscript have no financial or non-financial conflict of interest in the subject matter or materials discussed in this manuscript.

Data Availability Statement

The data associated with this study will be provided by the corresponding author upon request.

Funding Details

No funding has been received for this research.