To the world, McOndo writers present the contemporary Latin America that no longer is "Macondo" the exotic land of exotic people presented in the literature of Magical Realism. Despite some remaining banana republic dictatorship façades, the McOndo writer accepts the "de facto" geopolitical reality of the integration of continental Latin America as a subordinate unitary economy of the globalized economic order. Salvador Plascencia’s The People of Paper and Giannina Braschi's United States of Banana explore how first world banking priorities wreak havoc on Latin American cultures. As an artist, then, his or her moral responsibility is communicating to the "globalized world" that the "new" (contemporary) Latin America is McOndo, "not" Macondo, and that its cultures are hybrid cultures — of headphones and baseball caps, not "sombreros" and "machetes". Many McOndo writers, U.S.A. city-born men and women (chicano, Hispanic, Latino, "et al."), did not live the rural idyls of magical realist fiction, hence, they see Macondo realistically, not romantically, and write about urban life.