Garcia Marquez's One Hundred Years of Solitude

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It is all too easy to lose oneself in the world of magic and fantasy that Gabriel Garcia Marquez has spun in his most important work, "One Hundred Years of Solitude." There is drama and debauchery, searing passions, a wild phantasmagoria of light and dark and joy and tragedy.


Unabashedly anti-capitalist, particularly in the climax of the story wherein striking workers at a banana plantation were systematically killed by a fascist and capitalist government that afterwards censored all news of the incident, Marquez nonetheless manages to deliver the message with restraint and sans any ideological fulminations. This, however, does not dilute the impact of the message, and anyone who has read the novel, will probably have the image of the butchered banana workers in his or her head forever. It is instructive to revisit his treatment of war and revolution and analyze how much of his commentary still find resonance in this day and age, particularly in light of the fact that a "leftward" drift is apparent in Latin America's southern hemisphere since the start of the decade.
This paper will discuss the treatment of war and revolution by Marquez on two levels: first, war and revolution as product of class relations - i.e., the adoption of a pronouncedly Marxist framework; and second, war and revolution as product of human frailty and generational sins. The question implicitly posed by Marquez is likewise importance: are all things indeed cyclical Are revolutions inevitable for as long as there is dissent and want and greed
The worker plays a very important role in Marquez' novel. Jose Arcadio Segundo, who was once the foreman of the banana plantation, gave up his job to organize the workers. ...
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