Meanwhile, in Mexico City, during the mid–1990s, whilst McOndo coalesced as a literary movement, "La generación del "crack"" (The Crack Generation — Jorge Volpi, Ignacio Padilla, Eloy Urroz, Pedro Ángel Palou, and Ricardo Chávez-Castañeda) presented Mexican realist literature flouting the Magical Realism strictures of the Latin American Boom; their ideologic advocacy emphasised that every writer find a voice, not a genre. Their initial publication was the "Manifiesto Crack" (Crack Manifesto, 1996) published a month earlier than the "McOndo" (1996) short-story anthology; the literary manifestos proved ideologically sympathetic. Nonetheless, despite shared ideologic antipathy to Magical Realism, McOndo and The Crack Movement were unalike; Edmundo Paz-Soldán observed that McOndo is "a moment in the celebration of the creative mixture of high- and popular- culture", whilst The Crack Movement has "proposed a sort of élitist re-establishment of values." Literary-world gossip postulates that the anti–magical militancy of McOndo and The Crack Movement derives more from commercial jealousy than from artistic divergence; nonetheless, the criticism might have been ideologically motivated by the international success that allowed magic realist fiction to establish the exotic Macondo as "the" universal image of Latin America; hence, who controls the novel market controls "the" cultural image of "Latinoamérica" that the globalized world perceives.