Magic realism
The Hispanic Origin Theory: If considering all citations given in this article, there are issues with Guenther's and other critic's "Hispanic origin theory" and conclusion. By admission of this article, the term "magical realism" first came into artistic usage in 1927 by German critic Franz Roh after the 1915 publication of Franz Kafka's novella "The Metamorphosis", both visual and literary representations and uses of magic realism, regardless of suffix nitpicking. The Russian author Nikolai Gogol and his story "The Nose" (1835) is also a predecessor to the Hispanic origin theory. All this further called into question by Borges' critical standing as a true magical realist versus a predecessor to magic realism and how the dates of publications between Hispanic and European works compare. Magic realism has certainly enjoyed a "golden era" in the Hispanic communities. It cannot be denied that Hispanic communities, Argentina in particular, have supported great movements and talents in magic realism. One could validly suggest that the height of magic realism has been seen in Latin American countries, though, feminist readers might disagree. Virginia Woolf, Angela Carter, Toni Morrison, and Charlotte Perkins Gilman being excellent critical challenges to this notion of Hispanic magic realism as a full and diversely aware aesthetic. Allende being a later contribution to this gender aware discourse. Frida Kahlo, of course, being important to this as well but also at a later date than Woolf and Gilman. This feminist mapping, however, is unnecessary in identifying a basic truth. Kafka and Gogol predate Borges. They may each have their own forms of magic realism, but they are each by the broader definition solidly within this article's given identification: "a highly detailed, realistic setting is invaded by something too strange to believe..."