These rulfianas situations are nothing other than be and ways of understanding the world in large part of the American continent, where spook and real people are elements of a same paradigm. Therefore, in a vast majority of stories, legends and traditions of the American world, the ghosts are interwoven with living beings. Remember that when Juan Preciado returns to his people, in search of his father, Pedro Paramo, conversations with the ghosts are perceived by the reader as if it were real conversations. It is this, exactly what Garcia Marquez collects in one hundred years of solitude. The river of blood that runs beneath the Church is a river of truth. The fact that remedies, beauty, will be in body and soul into heaven, is a true fact.
No hay quien lo dude in Macondo nor in other Latin American Royal community. For all of these examples, it has been thought, and not without reason, that the phenomenon of magical realism is cultivated with greater intensity in the American continent. All of these features, which show the interweaving of Latin American geography and literary expression, made that a discussion about the fact that in Latin America should talk rather of wonderful reality appear. What is the history of Latin America but a chronicle of the marvellous in the real thing? With this interrogation, Alejo Carpentier (1983: 5) becomes the initiator of a new vision of what would be the replacement of magical realism. In an interview with BBC.Mundo.Com, in 1976, explained the reasons for which preferred this new designation: the word magical realism was brought into our language by the publication, if I am not mistaken, by editions of the magazine of the West towards the year 1926, from a book of a German critic called Franz Roh, entitled magic realism, where analysed the production of German Expressionist painters.