Magical realism(likewise known as magic realism) is a stylistic mode that Díaz has fun with throughout the unique, mixing the starkly reasonable with the fantastical. Through Díaz’s constant referral to what he refers to as Category (dream, science fiction, and comics), Díaz not only mentions texts from those genres, but he integrates their wonderful natures into his novel. Remarkably, Díaz’s use of these genres likewise brings a mix of United States popular culture into a story that is nominally Dominican, and the mix of the two emphasizes the diaspora aspect of the story. Oscar, Yunior, Belicia, and Lola are all captured in between the 2 different worlds, and Yunior’s design of narrative captures both discourses.
Wonderful realism is called a primarily Latin American form of writing, although, more recently it has actually been explored by writers of other citizenships too (for instance, Jonathan Saffron Foer’s novel Whatever is Illuminated fits well into the genre, possibly since there is an aspect of diaspora to the story). Wonderful realism became a genre in the 1940s, and Latino/a authors that are frequently characterized as magical realists are Isabel Allende (Chilean), Jorge Luis Borges (Argentine) and Gabriel García Márquez (Columbian). Some scholars make the claim that wonderful realism is so carefully associated to Latino/a writing since this style of narration is the most natural method to compose in a post-colonial world, where two realities, that of the conqueror and dominated, need to be reconciled. One criticism of magical realism is that it represents Latin culture as exotic, and often becomes a gimmick and a marketing tool instead of a stylistic mode of producing subversive literature.
In the beginning, Yunior referrals Márquez’s unique Cien Años de Soledad (1967; 100 Years of Privacy) in his discussion the “counterspell [sic] to fukú. Yunior states,” [Zafa] utilized to be more popular in the old days, bigger, so to speak, in Macondo than in McOndo.” Macondo is the small town included in 100 years of Privacy. McOndo is a literary movement that breaks from wonderful realism and focuses more on the Latin and Latin American experience of city way of lives. Utilizing zafa as a counterspell is connected with towns and with being “traditional”– but Yunior also brings it into today, where he lives an urban way of life. Díaz’s allusion to Marquez’s text does not end there; the story itself shows Marquez’s characters, who also live under a curse that continues through succeeding generations due to the characters’ ignorance of the previous generation’s suffering.
In one interview, Díaz specified that the character that is closest to being from his life for him is the Mongoose, because the Mongoose belongs to an old household story. Díaz says the Mongoose conserved his mom. He makes this claim as a matter-of-fact, simply another part of life. In the novel, however, Yunior alerts the readers that they might not have the ability to believe what takes place next (prior to we meet the Mongoose for the first time) but asserts that it is the fact as was told to him. Hence, Díaz’s work differs from other earlier works that utilize wonderful realism, due to the fact that Díaz selects not to flawlessly integrate the wonderful into the realist. Rather, Díaz draws our attention to the magical, nearly challenging us not to think in it, however at the same time specifying that it is the reality. Díaz’s departure from the standard usage of magical realism likewise stresses the distinction in between narrating from a diasporic viewpoint, something that does not take place in the novels that are classified in the category.
As the storyteller, Yunior seems to enjoy using magical aspects to fill out the páginas en blanco that are left by the voluntary amnesia of the characters, as well as the absence and loss of taped history. The wonderful aspect allows Yunior to utilize his creativity to recreate the details, hence filling in some of the blank pages and the silences.