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Bowers, M. A. (2018). Magic(Al) realism. Routledge.

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Magical realism in some forms can be understood as apost-colonial move that seeks to resist European notions of naturalism or realism.  At times, it calls for a deep hybridity of cultures and reading experiences. ~Zamora

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According to Maggie Ann Bowers “The characteristic of magical realism which makes it such a frequently adopted narrative mode is its inherent transgressive and subversive
qualities.”

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The "closeness or near merging" of elements associated with European Realism along with those of the fabulous is one description which is offered for Magical Realism.

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The weaving together of these elements is noted as being how magical realism "achieve[s] its particular power" through its ability to amplify sensations and experiences, defamiliarize settings and situations, detract from convention and reconcile cultures through its usage of hybridity- the lattter of which having been identified as a post colonial move made at times to reject both elements.

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Mitchell, Philip Irving. “An Introduction to Magical Realism.” Magical Realism, https://www3.dbu.edu/mitchell/magical.htm.

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As noted by Wendy Faris, there are two forms which magical realism may assume. Epistemological magical realism is identified through an observance of "nuance[s] stem[ming] from an observor's visions" within a text...

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According to Maggie Ann Bowers, "On the face of it, they are oxymorons describing the forced relationship of irreconcilable terms". Here she is explaining how the term 'magical realism' is one that contradicts itself, but is understood by audiences due to that contradiction. At its core, magical realism is a narrative mode that offers a way to describe an alternative reality that defies how the real world functions.

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... while Ontological magical realism is recognized through the setting itself being of a fabulous composition rather than having such elements exist solely within that of a character's perception and observations.

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There are two main forms of magical realism according to Bowers. The first kind being when a narrative clearly separates the magical from the real, but is given the same serious treatment, and the second being when the magical crosses boundaries into what is real creating the "magical real". The first is considered subversive, or questioning, and the second is transgressive, meaning that it pushes social boundaries. The second use case of magical realism is the one we are most familiar with, as it gained popularity in the 1980s.