A Very Old Man with Enormous Wings conveys a huge sense of magic realism. The fallen old man with buzzard like wings is automatically accepted as part of the social norm after his discovery. His wings are also accepted as part of his body. They are built so naturally that the doctor left with a sense of wonderment on why men did not have wings just as natural as the old man’s.

“The doctor who took care of the child couldn’t resist the temptation to listen to the angel’s heart, and he found so much whistling in the heart and so many sounds in his kidneys that it seemed impossible for him to be alive. What surprised him most, however, was the logic of his wings. They seemed so natural on that completely human organism that he couldn’t understand why other men didn’t have them too.” (Marquez 210)

The same sense is conveyed with the spider-woman; body of a spider the size of a ram with the head of a woman. Her story although fantastical, is also accepted without a doubt. Marquez plays with the social realism as he integrates these fantastical characters as a part of the norm of everyday life after the angel is captured and forced to live in the hen house. He does this well as he humanizes the angel and the spider-woman. This is done by characterizing the characters with human-like qualities. For the angel, he is introduced and emphasized upon his qualities as a very old and possibly senile old man. His very physique betrays his title as an angel; once the reader pasts the wings we realize that the angel is simply an old man with wings. This applies to the spider-woman as well as her story justifies her very existence. The very act that she takes to disobey her parents and leave for a dance has literally struck her down with lightning and changed her very being. Her misfortune is a very humane punishment and is conveyed through the magic realism of spiritual and physical conversion. She is human in a mental sense but as we get past the physical traits, we are hard pressed to differentiate her as such.

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