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One Hundred Years of Solitude by Gabriel Garcia Marquez Essay

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One Hundred Years of Solitude by Gabriel Garcia Marquez

“The tone that I eventually used in One Hundred Years of Solitude was based on the way my grandmother used to tell stories. She told things that sounded supernatural and fantastic but she told them with complete naturalness…. What was most important was the expression she had on her face. She did not change her expression at all when telling her stories and everyone was surprised. In previous attempts to write, I tried to tell the story with out believing in it. I discovered what I had to do was believe in them myself and write them with the same expression with which my grandmother told them: with a brick face.” (Garcia Marquez-Magical Realism)

Magic Realism was a
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The author creates strange, unknown sentiments that we wouldn’t normally experience in normal life. “The wonderful thing about magic realism is its reality.” (Garcia Marquez-Magical Realism)

Gabo’s first novel came out in 1955. His most famous literary work is One Hundred Years of Solitude, published in 1967. From that day on Gabo’s fame has grown non-stop. He has received many awards. He was recognized world wide in 1982 when he was awarded the Nobel Prize.

At the conference for his award Gabo talked about a European explorer named Antonio Pigafetta. This explorer lived during the colonization time and documented his experiences in Latin America. He described supernatural and gross creatures. His accounts inspired Gabo.

Gabo takes events that could happen in real life and makes them appear magical. He does such a good job of diminishing the line between reality and nonreality that the events described seem real. There are many events that take place in One Hundred Years of Solitude that are good examples of his style of magic realism.

An important event in the novel was the death of Jose Acardio Buendia. “Then they went into Jose Arcardio Buendia’s room, shook him as hard as they could, shouted in his ear, put a mirror in front of his nostrils, but they could not awaken him. A short time later, when the carpenter was taking measurements for the coffin, through the
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