Magic realism is recognisable in orality and written forms of storytelling from many eras and localities around the globe. However, magic realism in literature continues to be misunderstood by readers, listeners, writers, critics, and workers in literature, publishing, and literary education sectors. Magic realism is a narrative technique and not a genre and can be applied to many types of realist literature, but it is most commonly found within literary fiction. Magic realism is not fantasy fiction, as it is grounded by real-world settings, with realistic plots and authentic characters. The magic element can be an object, person, nonhuman other, event, or other aspects. These elements are introduced in a matter-of-fact manner, with no explanation or moralising. The purpose of the magic is to reinforce or momentarily disrupt the realism.

The value of researching and discussing writing techniques and genres is not just for academic purposes. Understanding literary terminology, and how to identify and read works such as magic realism, is of benefit to literary scholars, publishers, critics, booksellers, librarians, teachers, readers, listeners, and writers. Magic realism has been the subject of research for many years, and yet “…the term continues to be applied as an umbrella rubric that covers a curious range of disparate fictional modes that in some way combine "magic" and "realism".

The aim of the research was to better understand magic realism as a narrative device, through critiquing the literature and a reflection on my own creative practice, to present outputs that contribute to the existing body of research on magic realism. Of equal importance is challenging non-Indigenous listeners and workers in literature and publishing to question the perception that magic realism is a popular narrative technique.