Focusing on Wright's representation of the land, the river and the cyclone, the essay attempts to demonstrate 'how playfully, flexibly and experimentally Wright moblilises a new form of magic realism in which realism (the vital) and the supervital are demonstrably folded into one another. In doing so, she creates a powerful new politicised narrative for our times, one that expresses a crisis of representation which is simultaneously committed to exposing an ecological crisis' (405).