Together with the march of industrial capitalism, the symbolistic exp modernists, whose capacity for moral and aesthetic outrage against th former ages estranged themselves from the spiritually effete western cexploded and so exhausted the formal energy of 20th western people. beginning of the 20th century, they attempted an expansion of aesthe sciousness in which the objects and pshchological arena of recent convoluting sub-conscious are assumed to be magically welded into an o art. Some results were a recognition of the perennial difference be objective reality and the subjective art, reiterative futile experiment and the chaotic reality unmanaged. The 20th Western history and the mo endeavor resulted in the feeling of cultural sterility and labyrinth lessness. The symptom of cultural sterility, which was aggravated by the passag cold war years, bothered postmodern American writers as much as the political atmosphere of their time. They went so far as to blame the to creative energy of their society and was at a loss at the impenetrabi world around them. Magic realism of Latin-American Spanish writers prov tangible form of aesthetic solution to their dilemma. For the American served both as a constant reminder of the whims of history, the stages a man`s estrangement from a fully human life, and a life at the far end of history, and as a definite aesthetic device of dealing with their own history that was dwindling to the futile exhaustion of humanistic energy Latin-American magic realism, largely based on a recognition thhistory, whether human or racial, is estranged from humanity through their choice of historical fantasy, presented a history weaved into a fantasy of seemingly inexplicable glee but, in fact, of nightmare and doom. For Latin-American Spanish magic realists such as Borges and Marquez reality and fantasy are inter-reflecting mirrors in which one reflects the other in a catastropic manner. In their fictions such as Borges` "The Library of Babel" and "The Garden of Forking Paths" and Marquez`s One Hundred Years of Solitude, reality is moving forward heavily drawing upon fantasy and in turn fantasy becomes the mysterious curses put on their victims obssessed with illusory fantasy. To lift them from their realm of tragic history, the magic realists cast a spell on them by making reality and illusion interpenetrate. Latin-American Spanish magic realists` ways of retracting the curse history strike a note of affinity with those of such postmodern Americ as Barth and Pynch, both of whom professed their influence. The fic Barth and Pynchon is a symbolic narrative that gives mythic expres postmodern man`s reiterative wandering through the world without ±1 meaning. Never has the feeling of captivity in labyrinth of meaningless more elemental and more like a geometrical law than in their works. Th of captivity in the sterile landscape is captured with the very tone an Latin-American magical realism, and also with the commingling of real illusion. In their magically fictional world of the godless void, w pervading voice of self-commiseration. Their only trouble with Latin magic realism is that they seem to be much more read in everything politics, philosophy, and whatever.