The term magic realism, originally applied to describe the prose fiction of Jorge Luis Borges of Argentina, Gabriel García Márquez of Colombia and Gunter Grass of Germany, interweave fantastic and dreamlike elements in an ever-shifting pattern of  realism. Though the literature of this type does contain elements of pseudo-realism, Magic realism unlike the latter is a post-colonial concept that is used to describe the literature of the newly independent countries.

Pseudo-realism on the other hand is a more modern concept and it is emergent from the 21^st century explosion of cyber-science which has blurred the difference between real and the surreal in imagery that is projected everyday by the media.

Magic realism as a style of literature has a parallel in the field of fine art. However magic real art is markedly different form magic real literature. The only commonality between the two is that both weave fantasy in a realistic set up.

Salman Rushdie’s Midnight’s Children is an examples of pure fiction, yet the book is written in a style that renders it a cursory believability. 

Pseudo-realism is a more modern concept and unlike Magic realism it was first coined in reference to the films of modern times where special effects create scenes which appear to be more real than reality itself. Pseudo-realist imagery is all pervasive and its impact can be see in their use for political propaganda around the world through media. Like Magic realism which has a parallel in the field of fine art, pseudo-realism too now is a distinctive Art form.