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Scholarly consensus, however, points to exiled Cuban novelist Alejo Carpentier as the key figure in establishing the link between Latin American fiction and the phenomenon that he called lo real maravilloso. Roh, for the first time using the term in an essay on Karl Haider's paintings, regarded magical realism as an aesthetic art category, a way of representing the enigmas of reality pictorially. The magical realist label originated in 1925 when German art historian Franz Roh applied the expression Magischer Realismus to post-Expressionist paintings that combined realism with an emphasis on expressing the miracle of existence. That is, in the magical realist text, characters encounter elements of magic and fantasy with the same acceptance that they meet those settings and figures commonly associated with "reality" and "fact". fiction that does not distinguish between realistic and non-realistic events, fiction in which the supernatural, the mythical or the implausible are assimilated to the cognitive structure of reality without a perceptive break in the narrator's or characters' consciousness. According to the Dictionary of Twentieth Century Culture: Hispanic Culture of South America, magical realism involves It combines realism and the fantastic in such a way that magical elements grow organically out of the reality portrayed. The term magical realism, this strange oxymoron which combines two contrasting components, refers to the amalgamation of realism and fantasy in art, film, and literature. In the conclusion I will expose the parallels which can be drawn between the novels, coming up with the thesis that for these parallels, there are two underlying main functions of magical realism. Subsequently, I will expose how Morrison and Castillo employ magical realism in Beloved and So Far from God, and, in particular, I try to identify its function and the role it plays in terms of Morrison's and Castillo's cultural and historical background. To enter this vast territory, it will be useful to situate the term magical realism in a theoretical and cultural framework which happens in the following chapter. The purpose of this paper is not only to probe into the nature of magical realism in the two novels, but also to examine this narrative form as a socio-cultural practice which is connected to a special Weltanschauung. The fact that these writers - who do not share the same ethnic background - both deploy the literary mode of magical realism in their works has engaged my interest to analyze and compare their novels Beloved and So Far from God. In this paper I focus on two considerable U.S. Magical Realism in Toni Morrison's Beloved and Ana Castillo's So Far from God