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Latin American literature is perhaps best known for its use of magical realism, a literary style where the fantastical is seamlessly blended with the ordinary, developing a sort of enhanced reality. Though magical truth is practiced by writers from other cultures, the functions of writers Salman Rushdie and Toni Morrison, by way of instance, are noteworthy examples of non-Latin works in which magical realism was used to both great effect and amazing celebration, it's in the functions of Latin American authors where the design has flourished and made its mark on the literary universe. Nevertheless even in Latin American works we can discover several diverse sorts of magical realism, all used to reach a different ending. In the works of the Cuban poet and novelist Reinaldo Arenas, as an instance, magical realism is frequently used to add poetic flourishes to biographical details of his own life; in Guatemalan writer Miguel Angel Asturias political publication El Senor Presidente magic realism can be used responsibly, just enough to enhance the horrors of life under a dictatorship, making it slightly while alerting us that the world that he presents is not that far removed from the genuine political climate through which he wrote his book. As magical realism was utilized sensibly for nearly a century and can be located in mediums as diverse as novels, plays, paintings, and films, there is very little doubt that, through time, it has been used countless ways. Laura Esquivel's 1989 book Like Water for Chocolate and Jorge Luis Borges' short stories found in the group Labyrinths are two works that, on their surface, may be grouped under the heading of magical realism. Yet seperated by both time and medium that they use magical realism in very different approaches and, upon futhe...