Today a sizable literature of the margin does appear in the consequence of interaction with local tradition and global literature. Magical realism might be a kind of literary movement for the local to get forward a new culture with sustaining complex and holistic vision of time and space, as Robert Young says. Gabriel Garcia Marquez (1927-2014) is a representative writer whose magical realism has had an enormous impact on the world literature and the post-colonial literary movement. Magical realism has been a kind of international artistic movement, which has seen a trend in the region of Latin America, North American, Europe, Africa, Middle East, Far East, etc.. It may be called a cosmopolitan genre, that is, a Goethean Weltliteratur. In short, it is a symbol of medium to promote globalization of literature. Now many believe that it plays an integral role of colonial and post-colonial experiences and consciousness in the margin. For example, it has mixed up the elements of oral local culture in the Western mode of fiction. Magical realists, including Gabriel Garcia Marquez in Columbia, Ngugi was Thiong’o in Kenya, Hwang Seokeong in Korea, and Mairtin O Cadhain in Ireland, have produced fictions to represent unique experiences of their locality. The works of Marquez and Ngugi have shown the post-colonial situation where the oblivion of their past and history has made difficult a new nation, liberated from both the oppressive forces of the advanced countries and the native informers and oligarchy. While in the fictions of Hwang Seokeong and O Cadhain, charaters appear to try to communicate with the past to understand their history. They seem to succeed in summoning the conflicting parties or enemies to a common table where took place a conciliation and consolation between them. Those works by magical realists can be considered as examples of a pivot of marginal literature into the world literary territory.