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Gabriel García Márquez, 1982 Nobel Laureate, is well-known for utilizing el realismo magical, magical reality, in their own books and short stories. In García Márquez's cuento "Un Señor Muy Viejo con Alas Enormes," García Márquez tactfully conflates fairytale and folklore using el realismo magical. García Márquez couples his command of magic realism with satire to construct an extensive narrative that unites the supernatural with the mundane. García Márquez's not only criticizes the Catholic Church and the fickleness of human nature, but he also subliminally relates his subjects--anguish is impartial, faith is faulty by practice, along with filial piety--during the third-person omniscient narration of "Un Señor Muy Viejo con Alas Enormes." Besides García Márquez's narrative fashion, the writer employs the use of literary devices such as irony, anthropomorphism, along with a melancholic tone to condense his story into a frequent plane. García Márquez's story style and techniques combine to make a linear plot that connects holy with homely. In 1949, Dana Gioia represented on the importance of Gabriel García Márquez's narrative design when he accurately quoted, "[it] clarifies the matter-of-fact mix of this fantastic and regular in Latin American literature" (Gioia). Now, García Márquez's work has the same meaning as magic realism. In "Un Señor Muy Viejo con Alas Enormes," the narrative begins with be radically bleak fairytale debut: "On the next day of rain they'd killed numerous crabs inside the home that Pelayo needed to cross his soaked courtyard and throw them into the sea, because the newborn child had a fever all night and they believed it was a result of the stench. The world had been sad since Tuesday" (García Már...