Editing Magical realism (section)

===Plenitude===
In his essay "The Baroque and the Marvelous Real", [[Cubans|Cuban]] writer [[Alejo Carpentier]] defines the [[baroque]] by a lack of emptiness, a departure from structure or rules, and an "extraordinary" abundance (''plenitude'') of disorienting detail. (He cites [[Piet Mondrian|Mondrian]] as its opposite.) From this angle, Carpentier views the baroque as a layering of elements, which translates easily into the postcolonial or [[Transculturalism|transcultural]] Latin-American atmosphere that he emphasizes in ''[[The Kingdom of this World]]''.<ref>Carpentier, Alejo, ''El Reino de este Mundo''</ref> "America, a continent of symbiosis, mutations&nbsp;... [[mestizaje]], engenders the baroque",<ref name=":2" /> made explicit by elaborate Aztec temples and associative [[Nahuas|Nahuatl]] poetry. These mixing ethnicities grow together with the American baroque; the space in between is where the "marvelous real" is seen. Marvelous: not meaning beautiful and pleasant, but extraordinary, strange, and excellent. Such a complex system of layering—encompassed in the Latin-American "boom" novel, such as ''[[One Hundred Years of Solitude]]''—aims towards "translating the scope of America".<ref name=":2">Carpentier, Alejo. 1975. "The Baroque and the Marvelous Real". In ''Magical Realism: Theory, History, Community''.</ref>{{Rp|107}}