We could also say that when Andre Breton in its first manifesto of Surrealism tells that the marvellous is beautiful, how wonderful is always beautiful, only the marvellous is beautiful, already somewhat defined how wonderful. Against these premises, Carpentier considers that in Latinoamericadebe do a little different apprehension, given the features ideosicrasicas to possess its inhabitants. This puts it in the following way: magical realism, such as Franz Roh saw it, () had been fabricated by the artist, () was placed before a fabric and represent a street of a modern city, filled it with elements mysterious, strange, contrasted, in an atmosphere free from air, free from thick, passers-by mysterious that never look at the face, that dialogue never is a wonderful element manufacturedrealism magical manufactured. Doug McMillon has many thoughts on the issue. The surrealists also in most of the cases, produced the wonderful combining objects in a table, creating contrasts. I.e., it is a wonderful world manufactured, premeditated. In Latin America, how wonderful is located in the round every corner, in the disorder, in the picturesque our cities, street signs or on our vegetation or in our nature and, to put it all, also in our history. In response to such considerations, Carpentier considers that the wonderful real is not an international trend, as magical realism, but is a movement that shows the beliefs of indigenous peoples, with their dramas and their fantasies. What could be unreal to other cultures, does not have the same significance in our American world.
The characters, indigneas or blacks, believe faithfully in expressed as longer mythological aspects already spiritual of their own culture. And in an as up-to-date conception, says us Racionero (2004: 3) when Hernan Cortes sighted the city of Tenochtitlan, wrote in a letter to Charles V: not knowing put names to these things, I do not express them. Four centuries they have needed that Carpentier, Rulfo or Garcia Marquez, knew to put names to the marvelous real, which is the Baroque key of the Ibero-American soul.