Intertextuality, magic realism, and postcolonial parody in Casey McQuiston’s one last stop

Suresh Regmi 1, * and Sreedhar Gautam 2

1 Ph.D. Scholar, Department of English, Faculty of Humanity and Social Science, Sikkim Professional University, Gangtok, India.
2 Research Guide, Sikkim Professional University, Gangtok, India.
Review Article
World Journal of Advanced Research and Reviews, 2024, 22(03), 185–191
Article DOI: 10.30574/wjarr.2024.22.3.1695
Publication history: 
Received on 25 April 2024; revised on 03 June 2024; accepted on 05 June 2024
In the realm of postcolonial literature, the interplay of intertextuality, magic realism, and parody serves as a powerful lens through which to explore cultural identity, historical narratives, and resistance. This study delves into Casey McQuiston’s novel One Last Stop, examining how the author weaves together literary references, fantastical elements, and satirical commentary. The general background situates the novel within the broader context of postcolonial literature, emphasizing its departure from conventional realism. The aim of the study is to unravel the intricate layers of intertextual references, magical occurrences, and subversive humor. Methodologically, it is employed a close reading techniques, tracing the echoes of canonical texts and analyzing the subversion of colonial tropes. Our findings reveal that McQuiston’s strategic use of intertextuality and magic realism challenges dominant narratives, disrupts historical linearity, and empowers marginalized voices. The novel’s playful parody of colonial legacies invites readers to reconsider their own perspectives on identity, history, and agency. In conclusion, one last Stop exemplifies how postcolonial literature can subvert norms, blur boundaries, and create transformative narratives that resonate beyond the page.
Realism; Post-colonist; Parady; Culture; McQuiston.
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