[1] Alongside the works of Juan Rulfo, her first three books: Un hogar sólido (1958), Los Recuerdos del Porvenir (1963), and La Semana de Colores (1964), are considered to be among the earliest examples of Magical Realism in Latin American literature.

[3] Her style has also been compared to that of French writers like Georges Schéhadé, Jean Genet, as well as Romanian-French playwright Eugène Ionesco, due to the surreal nature of her stories.

Garro is seen as one of the unsung figures of the boom; her legacy was influenced, in part, by her rejection of Magical Realism as she considered the term "a cheap marketing label".

[2] Contemporary historians and literary biographers consider her work as seminal and view her as having been as important as figures like Juan Rulfo, Gabriel García Márquez, Julio Cortazar, and others.

[7] At the age of 21, during their first year of marriage, Garro would travel to Spain alongside her husband to attend the second edition of the International Congress of Writers in Defense of Culture.