The McOndos presented the cultural effects and consequences of global commerce upon Latin American societies, of the erasure of cultural demarcations (among nations and countries), and the consequent reduction of identity that is cultural homogenization. In an essay, Fuguet criticized the creative limitations that are the "picturesque locale and exotic characters" that publishers grew to "expect" of Latin American writers — because of the folkloric Macondo stereotype. Citing the Cuban writer Reinaldo Arenas, the literary world (publishers and critics) "expected" Latin American novelists to tackle only two themes: (i) the celebration of economic underdevelopment and (ii) cultural exoticism. Hence, Fuguet concluded that, despite pretty people and pretty scenery, the contemporary Latin American city and world that he (Fuguet) inhabits, is too complicated for Magical Realism to grasp and effectively narrate. In the event, Sergio Gómez and Fuguet's publication of the "McOndo" (1996) anthology served a two-fold end: (i) the Fuguet "Introduction" as literary manifesto, and (ii) the supporting anthology of contemporary "urban" Latin American fiction; the Latin experience of town versus country.