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The 83 pages that link to Magical realism, each with the reason it gives.

• SurrealismCompared with: Unlike Surrealism's rupture of ordinary reality, magic realism often presents the marvelous as routine.

• Science fictionCompared with: Its unexplained marvels differ from science fiction's usual interest in speculative causes and systems.

• Literary realismCompared with: Its matter-of-fact supernatural elements depart from realism’s usual reliance on plausible events.

• MetafictionCompared with: Its departures from realism need not draw attention to fiction’s construction.

• Postmodern literatureCompared with: It overlaps with postmodern fiction but does not require metafiction or skepticism about grand explanations.

• Southern GothicCompared with: Its matter-of-fact supernatural differs from Southern Gothic’s emphasis on regional decay and grotesquerie.

• Toni MorrisonCompared with: Supernatural presences appear in her fiction, but her work cannot be reduced to this label.

• Science fiction filmCompared with: Its unexplained wonders differ from the genre’s frequent attention to speculative systems and consequences.

• FantasyCompared with: Unlike many fantasy works, magical realism often leaves supernatural events embedded in everyday life.

• Fantasy literatureCompared with: It usually retains a recognizable real world rather than building a separate fantasy realm.

• Nikolai GogolCompared with: Gogol’s uncanny events invite comparison, though his work predates the modern term.

• Weird fictionCompared with: Its matter-of-fact supernatural contrasts with the destabilizing uncertainty typical of weird fiction.

• Supernatural fictionCompared with: Magical realism often treats the marvelous as routine rather than as a breach of nature.

• Speculative fictionCompared with: Its matter-of-fact treatment of the marvelous complicates genre boundaries.

• Dream narrativeCompared with: Magic realism normalizes marvels in a shared world; dream narratives often make reality itself unstable.

• Fantastic literatureCompared with: Unlike the fantastic's uncertainty, magical realism commonly treats the marvelous as accepted reality.

• Mexican literatureCompared with: It is often associated with Latin American fiction, but does not define the range of Mexican writing.

• Surreal humorCompared with: Magical realism treats extraordinary events as ordinary but does not necessarily frame them as jokes.

• Carlos FuentesCompared with: Fuentes is often grouped with Boom writers, but his work is less defined by magical realism than García Márquez’s.

• Dream imageryCompared with: Unlike dream imagery’s disruptions, magic realism often presents the extraordinary as ordinary.

• Heinrich BöllCompared with: Böll’s socially grounded fiction generally differs from the defining blend of reality and the marvelous.

• Mikhail BulgakovCompared with: The Master and Margarita’s fantastic events invite comparison with, but do not simply define, this mode.

• Julio CortázarCompared with: Cortázar is often grouped with Latin American Boom writers, but his fantastic fiction follows different conventions.

• Rosario CastellanosCompared with: Her Chiapas novels are more directly organized around social conflict than magical realism's characteristic effects.

• Alice MunroCompared with: Munro’s unusual turns remain grounded in plausible memory, desire, and social circumstance.

• Clarice LispectorCompared with: Her strangeness usually emerges from perception and language, not a sustained magical world.

• Dirty realismCompared with: Its acceptance of the marvelous departs from dirty realism's mundane world.

• Harry MulischCompared with: His mythic and supernatural elements invite comparison, though his novels often foreground intellectual design.

• Jesmyn WardCompared with: Ward's ghosts invite comparison, but her novels are not generally classified as magical realism.

• Metaphysical paintingCompared with: Both make the familiar strange, but metaphysical painting relies on enigmatic visual arrangements rather than magical events.

• Alejandro JodorowskyCompared with: His overtly fantastical, ritualized cinema differs from magical realism's grounded narrative settings.

• Augusto Roa BastosCompared with: His work is often grouped with this mode, though its political and linguistic experiments exceed the label.

• FiccionesCompared with: Borges’s intellectual fictions are often grouped with, but differ from, this mode’s emphasis on ordinary social worlds.

• J. M. CoetzeeCompared with: Coetzee’s fiction generally favors austere realism and allegory over magical realism.

• Amos OzCompared with: Oz’s fiction generally relies on psychological and social realism rather than magical events.

• Anne TylerCompared with: Tyler’s novels usually ground their unusual turns in recognizable psychology and everyday circumstances.

• João Guimarães RosaCompared with: Rosa’s fiction is sometimes grouped with magical realism, though its defining force is often linguistic and philosophical.

• Juan RulfoCompared with: The dead speak in Rulfo’s fiction, but its unsettling effects resist easy classification as magical realism.

• Khaled HosseiniCompared with: Hosseini’s novels generally use realist narration rather than magical realism’s supernatural elements.

• Kim Young-haCompared with: His fiction generally locates strangeness in psychology and social reality rather than magical events.

• Park Wan-suhCompared with: Park’s fiction generally confronts social history through realist observation rather than magical events.

• The Brief Wondrous Life of Oscar WaoCompared with: The novel invokes curses and supernatural possibility without relying on magical realism as its dominant mode.

• Dino BuzzatiCompared with: Buzzati shares its matter-of-fact fantastic events, but his stories often lean toward allegory and menace.

• George SaundersCompared with: His supernatural elements are more openly strange and structurally experimental than conventional magical realism.

• Graham SwiftCompared with: Swift’s fiction generally approaches history through psychological realism rather than the fantastic.

• History of fantasyCompared with: Its matter-of-fact supernatural differs from fantasy’s frequent construction of marvelous settings.

• Magda SzabóCompared with: Szabó’s fiction generally locates its strangeness in human relationships rather than magical events.

• Yaşar KemalCompared with: His mythic imagery invites comparison, though his fiction remains rooted in local realism and oral forms.