Magic realism refers to literature in which elements of the marvelous, mythical, or dreamlike are injected into an otherwise realistic story without breaking the narrative flow. The term is descended from the German phrase magischer realismus, introduced by Franz Roh in his book Nach-Expressionismus (Magischer Realismus): Probleme der neuesten Europaischen Malerei, published in 1925, to describe a school of painting. Later, Latin-American writer Alejo Carpentier coined the term real maravilloso, which built on the idea of magischer realismus and added elements of surrealism. Today there is much discussion and disagreement about what exactly defines magic realism, but most critics agree about the importance of differentiating between magic realism and other genres that employ the marvelous, such as fables and fairy tales. Unlike those genres, magic-realist texts generally feature the fantastic in a way that does not distinguish between realistic and nonrealistic events in the story and does not result in a break in the narrator's or characters' consciousnesses. Magic realism is used by writers around the world, but it is most strongly concentrated in the work of Latin-American writers. Many critics speculate that magic realism appears most often in the literature of countries with long histories of both mythological stories and sociopolitical turmoil, such as those in Central and South America. Still others question the validity of the term at all, maintaining that it is used irresponsibly to describe any work that is not ultra-realistic and that this usage leads to the stereotyping of minority writers. Finally, some critics maintain that the term magic realism is irrelevant given the newer category of postmodernism, in which the narrative stream typically continues uninterrupted despite elements similar to those that appear in magic realism. Regardless, magic realism continues to be employed by writers as diverse as Gabriel García Márquez, Toni Morrison, Leslie Marmon Silko, Salman Rushdie, and W. P. Kinsella, each of whom brings a variety of personal, social, and political concerns to the genre.