Magic Realism in Gabriel Garcia Marquez’s One Hundred Years of Solitude

Magic Realism in Gabriel Garcia Marquez’s One

Hundred Years of Solitude

B.J Geetha

Periyar University, India

Abstract

In his One Hundred Years of Solitude Gabriel Garcia Marquez through the arsenal of magic

realism, deals with war, suffering, and death in the mid-1960 of Colombia which had

witnessed two hundred thousand politically motivated deaths. The purpose behind portraying

the politics of the region is to comment on how the nature of Latin American politics is towards

absurdity, denial, and never-ending repetitions of tragedy. His magical flair is to merge

fantastic with reality by introducing to the reader his Colombia, where myths, portents, and

legends exist side by side with technology and modernity. These myths, along with other

elements and events in the novel recount a large portion of Colombian history.

[Keywords: Colombia , Magic Realism; Marquez.]

Gabriel Garcia Marquez is rendered with a forte for blending the everyday

with the miraculous, the historical with the fabulous, and psychological realism

with surreal flights of fancy. He has proved himself as one among the

pioneers of magic realism. His One Hundred Years of Solitude is a

revolutionary novel that provides a looking glass into the thoughts and beliefs

of its author, who chose to give a literary voice to Latin America.

Magic realism is a literary form in which odd, eerie, and dreamlike tales

are related as if the events were commonplace. Magic realism is the opposite

of the "once-upon-a-time" style of story-telling in which the author emphasizes

the fantastic quality of imaginary events. In the world of magic realism, the

narrator speaks of the surreal so naturally it becomes real. Magic realism in

its literary and artistic applications aimed to re-imagine the world and its

reality. It is not an escapist venture but rather an opportunity to see the

fantastic in the everyday. There are multiple stylistic traits of magic realism.

The key, however, is rejection of subjectivity and emotionalism, simultaneity of

past, present and future and defamiliarisation. However, these traits

distinguish magic realism from the fantasy genre. In fantasy novels, the

created world must have an internal logic. Magic realism however, is not

subject to natural or physical laws.

Gabriel uses the form of magical realism and the content derived from

history and politics to address some of the most difficult and meaningful

themes. He addresses war, suffering, and death with clarity and political slant.

By the mid-1960’s, Colombia had witnessed in excess of two hundred

thousand politically motivated deaths. La Violencia, from 1946–66, can be

Rupkatha Journal on Interdisciplinary Studies in Humanities (ISSN 0975-2935), Vol 2, No 3, 2010

URL of the Issue: http://rupkatha.com/v2n3.php

URL of the article: http://rupkatha.com/V2/n3/MagicRealisminMarquez.pdf

346

Rupkatha Journal Vol 2 No 3

broken into five stages: the revival of political violence before and after the

presidential election of 1946, the popular urban upheavals generated by

Gaitan’s assassination, open guerrilla warfare, first against Conservative

government of Ospina Perez, incomplete attempts at pacification and

negotiation resulting from the Rojas Pinilla (who had ousted Laureano

Gómez), and finally, disjointed fighting under the Liberal/Conservative

coalition of the “National Front,” from 1958 to 1975.

One Hundred Years of Solitude is an exemplary piece of magical

realism, in which the supernatural is presented as mundane, and the

mundane as supernatural or extraordinary. The novel presents a fictional

story in a fictional setting. He carefully balances realistic elements of life, like

poverty and housecleaning, with outrageous instances, like a levitating priest.

There are many purposes of this. One is to introduce the reader to Marquez's

Colombia, where myths, portents, and legends exist side by side with

technology and modernity. Another reason for this leads the reader to

question what is real and what is fantastic, especially in the realm of politics. It

is to force to question the absurdity of our everyday lives. The twisted and

meandering world of politics is under a great deal of scrutiny in this novel,

particularly the chapters that deal with Colonel Aureliano Buendia. The world

of politics is a gloomy one. There is little difference between the Liberals and

the Conservatives; both parties kill and exploit the people. Although Marquez

has a definite anti-capitalist bent, his purpose in portraying the politics of the

region is not to be polemical. Instead, he comments on how the nature of

Latin American politics is towards absurdity, denial, and never-ending

repetitions of tragedy. The extraordinary events and characters are fabricated.

However the message that Marquez intends to deliver explains a true history.

The politically charged violence characteristic of Colombia’s history is

paralleled in Colonel Aureliano Buendia who wages war against the

Conservative who are facilitating the rise of foreign imperialist to power. The

wealthy banana plantation set up their own dictatorial police force. The use of

real events and Colombian history by Garcia Marquez makes One Hundred

Years of Solitude an excellent example of magical realism. Not only are the

events of the story an interweaving of reality and fiction, but the novel as a

whole tells the history of Colombia from a critical perspective. In this way, the

novel compresses several centuries of Latin American history into a

manageable text.

The novel tells the story of 100 years in the lives of the Buendía family,

who live in the coastal jungles of an unnamed South American country. It

could equally be seen as the story of the town they found, Macondo. Yet

another interpretation would be that it is the story of the life of Úrsula Buendía;

all these things are tied intrinsically together. Had it been not for the title, it

347

Magic Realism in Gabriel Garcia Marquez’s One Hundred Years of Solitude

might pass unnoticed that it also contains examples of almost every type of

loneliness and isolation that it is possible for human beings to suffer, from

literal incarceration through blindness to the spiritual emptiness of repeated

sexual conquests, or the happiness of isolation with the one you love. This is

also the story of one hundred years in the life of Macondo and its inhabitants -

the story of the town's birth, development and death. Civil war and natural

calamities plague this vital place whose populace fights to renew itself and

survive.

In One Hundred Years of Solitude myth and history inadvertently

overlap. The myth acts as a vehicle to transmit history to the reader.

Marquez’s novel can furthermore be referred to as anthropology, where truth

is found in language and myth. There are three main mythical elements of the

novel: classical stories alluding to foundations and origins, characters

resembling mythical heroes, and supernatural elements. Magical realism is

inherent in the novel is achieved by the constant intertwining of the ordinary

with the extraordinary. This magical realism strikes at one's traditional sense

of naturalistic fiction. There is something clearly magical about the world of

Macondo. It is a state of mind as much as, or more than, a geographical

place. For example, one learns very little about its actual physical layout.

Furthermore, once in it, the reader must be prepared to meet whatever the

imagination of the author presents to him or her.

Garcia Marquez blends real with the magical through the masterful use

of tone and narration. He reinforces this effect through the unastonishing tone

in which the book is written. This tone restricts the ability of the reader to

question the events of the novel; however, it also causes the reader to call

into question the limits of reality. Furthermore, maintaining the same narrator

throughout the novel familiarizes the reader with his voice and makes the

reader to become accustomed to the extraordinary events in the novel.

The inevitable and inescapable repetition of history is also dominant in

Macondo. The protagonists are controlled by their pasts and the complexity of

time. Throughout the novel the characters are visited by ghosts. The ghosts

are symbols of the past and the haunting nature it has over Macondo. The

ghosts and the displaced repetition that they evoke are, in fact, firmly

grounded in the particular development of Latin American history. Ideological

transfiguration ensured that Macondo and the Buendías always were ghosts

to some extent, alienated and estranged from their own history, not only

victims of the harsh reality of dependence and underdevelopment but also of

the ideological illusions that haunt and reinforce such social conditions.

Garcia Marquez also illustrates magic realism with the description of

his characters. In describing Melques, he says, "He is a fugitive from all

Overview

Magic Realism in Gabriel Garcia Marquez’s One Hundred Years of Solitude

Magic realism in Gabriel Garcia Marquez's One Hundred Years of Solitude explores the intertwining of the extraordinary with the mundane in Colombian history. The novel follows the Buendía family over a century in the fictional town of Macondo, addressing themes of war, suffering, and the cyclical nature of history. Marquez's unique narrative style blends myth and reality, challenging readers to question the absurdity of political life in Latin America. This analysis is essential for students and fans of magical realism, providing insights into the historical context and literary techniques used by Marquez. Key Points Analyzes the themes of war and suffering in One Hundred Years of Solitude. Explores the magical realism technique used by Gabriel Garcia Marquez. Discusses th…

/ 5

FAQs

What are the main themes in One Hundred Years of Solitude?

One Hundred Years of Solitude delves into themes of solitude, the cyclical nature of history, and the impact of political violence in Colombia. The Buendía family experiences isolation in various forms, reflecting personal and collective struggles. The narrative intertwines magical realism with historical events, illustrating how the past haunts the present. Marquez uses these themes to critique the absurdity of Latin American politics and the human condition.

How does Gabriel Garcia Marquez use magical realism in the novel?

Gabriel Garcia Marquez employs magical realism in One Hundred Years of Solitude by presenting extraordinary events as commonplace. This technique allows readers to engage with the surreal elements of the story, such as levitating priests and prophetic visions, while grounding them in the everyday lives of the Buendía family. The blending of myth and reality challenges traditional narrative forms and reflects the complexities of Latin American culture and history. Marquez's unique style invites readers to question the boundaries of reality and fiction.

Who are the key characters in One Hundred Years of Solitude?

The key characters in One Hundred Years of Solitude include José Arcadio Buendía, the patriarch who founds Macondo, and his wife, Úrsula Iguarán, who embodies resilience and strength. Their descendants, such as Aureliano Buendía, who becomes a revolutionary leader, and the tragic figure of Remedios the Beauty, illustrate the family's struggles with fate and identity. Each character represents different aspects of solitude and the impact of history on personal lives, weaving a rich tapestry of human experience throughout the novel.

What historical events influence the narrative of One Hundred Years of Solitude?

One Hundred Years of Solitude is heavily influenced by the historical context of Colombia, particularly the political violence known as La Violencia, which resulted in significant loss of life. Marquez reflects on the struggles between Liberals and Conservatives, highlighting the cyclical nature of conflict and its effects on society. The novel compresses centuries of Colombian history into the lives of the Buendía family, illustrating how personal and political histories are intertwined. This historical backdrop serves as a critique of the absurdity and tragedy inherent in Latin American politics.