truth but, to sustain the power holders of the present and preserve the legend and memory of those of the past. Official history, within the parameters of such concerns, is a politically motivated re-telling of the truth which deliberately displaces the people, those who have lived through and experienced history and, challenges the national memory.2 As Marquez has often said, his works are designed to resurrect the true history, the version of history which official history has tried to bury. As such, he encourages readers to approach his works as realistic and truthful renditions of historical events.3 In Del Amor y Otros Demonios, the focus of this research, Marquez quite openly demands this of his readers. Just in case they fail to comprehend the narrative as the true' history of the interrelationship between the church and colonialism, between religion and the immiseration of countless of innocents, he alternately alludes to and explicitly names real historical characters. Few of his Latin American readers would not recognise Cayetano as a clear allusion to Saint Cajetan and, his protagonist's surname, Delaura, as a reminder of his relationship with Sister Laura Mignani; a relationship which is echoed by Cayetano and Sierva Maria's.
Should readers, despite their fantastical context and content, accept Marquez' narratives as history, which Shaw concedes they could very well be, they need to reserve judgement on the manner in which Marquez remembers, interprets and presents history.4 Indeed, Marquez does not simply engage in the transmission of an alternative version of history but deconstructs official history in the process. His doing so, however, should not be interpreted as a disregard for, and a displacement of, fact but of the presentation of fact from within the magical realist context. Although the presentation of fact through the medium of a magical realist narrative persistently challenges the reader's credulity, an analysis of the theoretical and definitional parameters of the genre, followed by a close textual analysis of Del Amor y Otros Demonios from within the matrix of magic realism, with specific focus on his treatment of place, dreams and memory, will lend to the conclusion that Marquez's narratives represent a history as remembered and told by the people; a history infused with myth and supposition but, a history nonetheless.
As a literary and artistic genre, magic realism is apparently plagued by its insistent use of supplementation as a literary strategy for the improvement of the realist text. The boundaries framing realism so constrained many artists and burdened them with the nagging difficulty of how to compromise between realism and their own creative desires and inclinations that the movement towards magic realism was instigated. Supposedly, this genre expresses both the seen and the unseen realities, the historical memories which make and shape a people and the myths and superstitions which dominate their worldview. Magic realists contend that realism never