This article focuses on why Gabriel García Márquez’s novel One Hundred Years of Solitude is the ur-magical realist text, which put magical realism on the world literary map. Homi Bhabha’s statement that “ ‘[m]agical realism’ after the Latin American Boom, becomes the literary language of the emergent post-colonial world” confirms the prominence of magical realism in contemporary world fiction. However, during the nearly thirty years since Bhabha’s statement, it has spread beyond the postcolonial arena to encompass “First World” fiction as well, suggesting that García Márquez’s text, and magical realism in general, have revitalized international narrative. Investigating that idea enables discovering its essential characteristics, its lasting appeal, and its salient achievement: challenging (even uprooting) the dominant tradition of realism. While they are often intertwined, such characteristics fall under two basic rubrics: literary style—including magical images presented in meticulous detail as real, the use of hyperbole, distortions of chronological time—and cultural work—integration of ancient indigenous and contemporary culture, communal narrative, and liminality as vital cultural space, among others. In discussing these ideas, the article includes extensive citations from the texts, because the richness and ebullience of García Márquez’s prose is an essential factor in its influence on the growth of worldwide magical realism.