In the 1980s, Latin American novelists had progressed past Magical Realism; yet the McOndo literary movement did not coalesce as literature, nor constitute a genre, until the mid-1990s. In 1994, the Chilean novelist Alberto Fuguet participated in an international writing workshop at the University of Iowa, where he submitted for publication a short story to the "Iowa Review" magazine; he expected prompt acceptance, translation to English, and publication, because Latin American writers then were an intellectual vogue in trendy U.S. mainstream culture. Yet, upon reading the novelist Fuguet's submitted short story, the "Iowa Review" editor dismissed it as "not Latin American enough ... the story could have taken place right here, in [North America." Two years later, in 1996, in retort to the U.S. editorial rebuffing of realist fiction from and about Latin America, Alberto Fuguet and Sergio Gómez in Spain published "McOndo" (1996) a short-story anthology of contemporary Latin American literature. The "McOndo" anthology comprised seventeen stories by Latin American and peninsular Spanish writers, all men whose literary careers had begun in the 1990s; each was of the generation born in the late 1950s. The "McOndo" writers ideologically distanced themselves from Magical Realism, because it misrepresented contemporary Latin America — which, in the 1990s, comprised "shopping malls, cable television, suburbs, and pollution" — because literature had progressed beyond the banana republic Latin America of the dictator novel and of the Magical Realism genre; the cultures of the 19th and of the 20th centuries.