Magic Realism appeared as a critical term for the arts and it later extended to literature. The term was first used by the German critic Franz Roh in 1925 to characterize a group of Post-Expressionist painters. Franz Roh described it as a form in which "our real world re-emerges before our eyes, bathed in the clarity of a new day." It was later replaced by "New Objectivity."
             Magic Realism survived to define a narrative tendency in Latin America during 1949 to 1970. It can be defined as a preoccupation or interest in showing something common or daily into something unreal or strange. A magic realist narrator creates the illusion of "unreality," faking the escape from the natural, and tells an action that even if appears as explainable it comes across as strange. In strange narration's, instead of presenting something as real, the writers reality becomes magical. The writer suggests a supernatural atmosphere without denying the natural, and the style is distorting the reality. The intention of the narrator is to provoke strange feeling. The explanations are not clear or logical. There also is no innuendo or psychological analysis of the characters, instead they are well defined almost in opposition, and never appear confused or surprised about the supernatural. Gabrial Garcia Marques says for him it is the supernatural and the natural peacefully co-existing and showing themselves through magic realism. It is the encounter of strangeness and familiarity.
             During colonization, Europeans found a land full of strange and supernatural things and their records were based on their interpretations which lead to a uncertainty of Latin America. Gabriel Garcia Marquez in the Conferencia Nobel 1982 (the year in which he was awarded the Nobel Prize): "La Soledad de America Latina", tells of a Florentine sailor named Antonio Pigafetta who wrote about his expeditions around the world. This sailor d...