which latin american author is strongly associated with the genre of magic realism
Magic realism The terms are broadly descriptive rather than critically rigorous. Matthew Strecher defines magic realism as "what happens when a highly detailed, realistic setting is invaded by something too strange to believe".[2] Many writers are categorized as "magical realists", which confuses the term and its wide definition. Irene Guenther tackles the German roots of the term, and how art is related to literature.[3] Magical realism is often associated with Latin American literature, particularly authors including genre founders Gabriel García Márquez, Miguel Angel Asturias, Jorge Luis Borges, Elena Garro, Juan Rulfo, Rómulo Gallegos, and Isabel Allende. In English literature, its chief exponents include Salman Rushdie, Alice Hoffman, and Nick Joaquin.
Theatre of the Absurd In comparison to Sartre's concepts of the function of literature, Samuel Beckett's primary focus was on the failure of man to overcome "absurdity" - or the repetition of life even though the end result will be the same no matter what and everything is essentially pointless - as James Knowlson says in Damned to Fame, Beckett's work focuses, "on poverty, failure, exile and loss — as he put it, on man as a 'non-knower' and as a 'non-can-er' ."[57] Beckett's own relationship with Sartre was complicated by a mistake made in the publication of one of his stories in Sartre's journal Les Temps Modernes.[58] Beckett said, though he liked Nausea, he generally found the writing style of Sartre and Heidegger to be "too philosophical" and he considered himself "not a philosopher".[59]