Magical realism: Reality invaded by the unbelievably strange

Literary magic realism originated in Latin America. English Wikipedia today describes it:

"Cuban writer Alejo Carpentier and Venezuelan Arturo Uslar-Pietri, for example, were strongly influenced by European artistic movements, such as Surrealism, during their stays in Paris in the 1920s and 1930s. One major event that linked painterly and literary magic realisms was the translation and publication of Franz Roh's book into Spanish by Spain's Revista de Occidente in 1927, headed by major literary figure José Ortega y Gasset. "Within a year, Magic Realism was being applied to the prose of European authors in the literary circles of Buenos Aires." Jorge Luis Borges inspired and encouraged other Latin American writers in the development of magical realism – particularly with his first magical realist publication, Historia universal de la infamia in 1935. Between 1940 and 1950, magical realism in Latin America reached its peak, with prominent writers appearing mainly in Argentina. Alejo Carpentier's novel The Kingdom of This World, published in 1949, is often characterised as an important harbinger of magic realism, which reached its most canonical incarnation in Gabriel García Marquez's novel One Hundred Years of Solitude (1967)."

Read more on Spanish Wikipedia.

At the beginning of the series Narcos, a definition of magical realism:

"...what happens when a highly detailed, realistic setting is invaded by something too strange to believe."

This definition comes from Strecher, Matthew C. 1999. "Magical Realism and the Search for Identity in the Fiction of Murakami Haruki." Journal of Japanese Studies 25(2):263–98. p. 267.

"¿cómo se construye la ciencia ficción en un lugar donde los conceptos hegemónicos de ciencia no coinciden con los que se han construido en nuestras culturas? * * * Las principales negaciones que se implantan sobre la ciencia ficción latinoamericana están dictadas por la forma en la que se ha entendido la anglosajona y europea; por ello se suele decir que en Latinoamérica NO se habla realmente de ciencia, que NO hay ciencia ficción sino fantástico, que NO hay una identidad consolidada como en otros lugares, y otras tesis del mismo perfil. * * * Concibamos un mundo en el que gracias a los conjuros del ciberchamanismo y los futuros andinos espaciales, ahora los guacamayos vuelen entre galaxias, canten himnos espacio-temporales y embellezcan con sus colores a nuestra madre universo." — Rodrigo Bastidas Pérez, prólogo a la antología El tercer mundo después del sol