One Hundred Years of Solitude - Essay Example

Ideally, Marquez was brought up by her paternal grandparents in Aracataca, Colombia. His childhood tales talks about a big home that are filled with ghouls, discussions in secret code, and relatives who could prophesy their own deaths (Villad 40-50). Through reading this book One Hundred Years of Solitude, one observes many elements of Marquez’s childhood. Conversely, the perspective for the book is Marquez’s own personal reminiscence for childhood, for his grandparents, for a big house overflowing with ghouls and endless laughter.

Also, the context of the book is Marquez’s political viewpoint and the brutal realism of growing up in a predominantly turbulent developing country. Colombia has a long and tragic socioeconomic history, in which Marquez acquired knowledge about politics and economics. Intermittent absentmindedness, particularly of the critical happenings that shape Macondo town remains a structural persistent right through the novel, apparent in recurrence and circularity. This repetitive behavior traits and names of the Buendia offspring; the outwardly endless civil wars; the succeeding refuge of annihilated Aureliano in the bare practice of making little gold fish, melting down and remaking them; the stages of dissatisfaction, lack of accomplishment and tragic death that curses pedigree.

This novel appears to be suggesting that the failure to learn from one’s blunders, the lack of historical awareness, becomes the primary curse called upon Macondo’s history and therefore a critical element in the series of dealings surrounding the killing of the banana workers (Browitt 16-33). The chronological burden of wars, economic distress, consecutive ethical failures and political betrayal, ultimately leads to devastation. One Hundred Years of Solitude chronicles historical facts from the inside.

Garcia Marquez adeptly avoids the melodramatic style of former socialist realisms by placing the storyline focalization within the community of Macondo. He ingeniously permits the Colombian bourgeoisie to conceal its profligacy through its own dealings. Garcia Marquez’s technique around classical realists is basically to locate the story-telling height of popular culture, focalizing dealings in the course of their understanding of the townspeople, who through their discerning memory re-live the past.

Furthermore, Garcia Marquez does not “problematise” the language of illustration; his magical realism changes the entity of representation itself, permitting the magical and superstitious world of oral folk mores to stand for itself. This novel makes use of eminent uniqueness of the Latin American modernist tradition (Browitt 16-33). The first thing the reader notices when reading Marquez’s novel is the mere quantity of dealings it covers, therefore making it a daunting task to provide a brief synopsis of the plot.

Even though the novel rests on an impossible to read manuscript given to a family by a strange gypsy, there are many tangents and twirls as we realize the events of the Buendia’s in their home town of Macondo. This seemingly makes the novel a tad too difficult to follow, with family disputes, civil war, incestuous relationships and industrialization, tossing the story-line into many numerous directions. The political wars and quarrels in the novel reflect the taut relationship between the liberals and the conservatives throughout Colombian History, where the exertion for