ist ▁does ▁not ▁try ▁to ▁copy ▁the ▁surrounding ▁reality ▁or ▁to ▁w ound ▁it ▁but ▁to ▁se ize ▁the ▁mystery ▁that ▁breath es ▁behind ▁things ." ▁He ▁also ▁clar ifies ▁that ▁" mag ical ▁real ism ▁is ▁not ▁magic ▁literature ▁either . ▁Its ▁aim , ▁unlike ▁that ▁of ▁magic , ▁is ▁to ▁express ▁emot ions , ▁not ▁to ▁e voke ▁them ". ▁ ▁To ▁many ▁sch ol ars , ▁ ▁is ▁a ▁land mark ▁Latin ▁American ▁novel ▁because ▁of ▁Ast ur ias ' s ▁early ▁use ▁of ▁magic ▁real ism , ▁a ▁literary ▁technique ▁often ▁employed ▁by ▁acc laimed ▁Latin ▁American ▁writers ▁such ▁as ▁Gabriel ▁García ▁M ár quez . ▁In ▁an ▁interview ▁with ▁Ast ur ias , ▁G unter ▁Lor enz ▁her ald ed ▁Ast ur ias ▁as ▁the ▁invent or ▁of ▁magic ▁real ism , ▁and ▁even ▁as ▁its ▁most ▁successful ▁pract ition er . ▁Ast ur ias ▁himself ▁defines ▁this ▁style ▁not ▁as ▁" a ▁concrete ▁reality ▁but ▁a ▁reality ▁that ▁ar ises ▁from ▁a ▁definitely ▁mag ical ▁imagination   ... ▁in ▁which ▁we ▁see ▁the ▁real ▁disappear ▁and ▁the ▁dream ▁emer ge , ▁in ▁which ▁dream s ▁are ▁transformed ▁into ▁a ▁tang ible ▁reality ". ▁Richard ▁Franklin ▁arg ues ▁that ▁magic ▁real ism ▁is ▁most ▁evident ▁in ▁Ast ur ias ' s ▁expl oration ▁and ▁dep iction ▁of ▁the ▁inn erm ost ▁reality ▁of ▁the ▁human ▁mind . ▁This ▁expl oration ▁is ▁combined ▁with ▁" the ▁material ▁content ▁of ▁an ▁urban ▁mass ▁caught ▁in ▁the ▁g rip ▁of ▁an