 French-Russian Cuban writer Alejo Carpentier, who rejected Roh's magic realism as tiresome pretension, developed his related concept "lo real maravilloso," or "marvelous realism," in 1949.Maggie Ann Bowers writes that marvelous realist literature and art expresses "the seemingly opposed perspectives of a pragmatic, practical and tangible approach to reality and an acceptance of magic and superstition" within an environment of differing cultures.The term "magical realism," as opposed to "magic realism," first emerged in the 1955 essay "Magical Realism in Spanish American Fiction" by critic Angel Flores in reference to writing that combines aspects of magic realism and marvelous realism.