Sherman Alexie’s Reservation Blues has inspired both admiration and castigation. Critics such as Stephen Evans, Adrian C. Louis, Joseph Coulombe, and James Cox have praised Alexie’s satiric upending of stereotypes about Native Americans, claiming that Alexie’s work “uses stereotypes . . . of the . . . Indian, in new and entirely moral and ethical ways.” Other critics such as Gloria Bird, Elizabeth Cook-Lynn, Kenneth Lincoln, and Louis Owens have argued instead that Alexie’s work “simply reinforces all of the stereotypes desired by white readers [of] . . . absurd and aimless Indians.” Yet in his review of the positive and negative scholarship on Alexie, Evans insists that Alexie is “a consciously moral satirist” and not a “cultural traitor.” I would like to contribute to this debate by suggesting a further reason to see Alexie’s work as subversive rather than complicit. In contrast to quite a bit of “multicultural lit,” Alexie’s Reservation Blues does not associate magic with Indian culture so much as with white culture. Much of Reservation Blues turns expected magical tropes on their heads with American Indians presented as the antithesis of magic and the embodiment of rationality. Whether intentionally or not, Alexie confronts stereotypes with their opposites. The text thus inheres magic in the Western rather than in the indigenous, articulating the material struggle at the heart of the colonial relationship. MISREADING MAGIC REALISM Magic realism is widely considered a literary style, but it is more often a critical category. That is, magic realism (codified in German, Spanish, and English in the mid-twentieth century) is more often a term that twentieth-century critics apply rather than a term twentieth-century authors embrace. Critics depend on categories, but writers eschew them, and magic realism is a term almost no writer will claim. In this sense, we can talk about magic realism as an important critical approach linking discussions of literatures written outside Europe or North America or written by immigrants to those centers. This critical approach attends to textual instances in which the fabulous is detailed, the supernatural meets the everyday, and the ordinary and the extraordinary are presented as analogous. Critics identify a text as magic realist if it treats the extraordinary as real.