Magical realism refers to a genre in Latin American novel writing in the mid-20th century. It originated in the 1930s and 1940s and became the mainstream of Latin American novel creation after the 1960s. Its rise has been called the "explosion of Latin American literature." Representative figures include Guatemala's Asturias, Cuba's Carpentier, Mexico's Rulfo and Colombia's Marquez. Magical realism is a creative method that expresses the reality of life through illusions produced by "magic". Magic is the way, and expressing the reality of life is the goal. Magical things are used to hide reality, and what is shown to readers is a cyclical world where subjective time and objective time are mixed, and the space of subjective and objective things loses boundaries. In terms of art, a large number of supernatural factors are introduced into the depiction of reality. Miracles, hallucinations, dreams and even ghost images appear in the plots of novels. The temporal relationships are often disrupted, the narrative is full of jumps, and sometimes the scenes are symbolic, showing a distinct Hell and national characteristics. It can be called a successful example of the combination of "transplantation" and "root-seeking". It is both a profound excavation of reality and a serious reflection on history; it is both a search for the origins of traditional culture on the continent and an extensive absorption of European and American modernism. The first person to use the term "magical realism" in Latin America was the Venezuelan writer: Petrie.
A true sign of maturity is the novella "Pedro Páramo" by the Mexican writer Rulfo.
In the 1960s, magical realism formed an upsurge in Latin American novel creation, symbolized by Marquez's novel "One Hundred Years of Solitude". 1. Russian Mayakovsky's long poem: "Clouds in Pants"
2. French Apollinaire: pioneered the "staircase" poetry form.