Gabriel Garcia Marquez’s Use of Magic Realism in

One Hundred Years of Solitude

Asst.Inst. Hussein Jasim Mohammed

College of Basic Education, Misan University

Abstract

Gabriel Garcia Marquez motivated politically in his One Hundred Years of

Solitude, through the representation of magical realism in war and its results of
hardships and bloodbaths in the mid-1960s in Colombia which suffered the loss of
over two hundred thousand of its people. So, through touching the political affairs,
the novel criticizes act of policy towards Latin America with its ridiculousness,
neglect, and incessant repetition of the tragedy. It combines magic with reality to
present in a marvellous manner myths, legends, and signs as well as modernity and
technologies of the age. These are the key elements of the novel which represent
the spoken past of Colombia.

Keywords: Colombia, Marquez's Magic Realism, One Hundred Years of Solitude

"‫أستخدام الواقعية العجائبية من قبل غابريل غارسيا ماركيز في روايته " مئة سنة من العزلة‬

‫ جامعة ميسان‬، ‫ كلية التربية األساسية‬،‫ قسم اللغة األنكليزية‬،‫ حسين جاسم محمد‬.‫م‬.‫م‬

‫الخالصة‬

‫ من خالل تمثيله‬، "‫حث غابريل غارسيا ماركيزعلى التحريض السياسي في روايته " مئة عام من العزلة‬
‫للواقعية العجائبية في الحرب و نتائجها من القسوة و الدموية في منتصف ستينات القرن الماضي في‬
‫ ومن خالل تناوله للشؤون السياسية‬.‫ التي عانت من خسارة أكثر من مئتي ألف ضحية من مواطنيها‬،‫كولومبيا‬
‫بكل ما فيها من الالمعقولية و األهمال و التكرار‬ ‫ أنتقد غارسيا األعمال السياسية تجاه أمريكا الالتينية‬،

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‫ فالرواية تمزج الخيال بالواقع لتقدم لنا األساطير بأسلوب رائع و تؤشر لنا حداثة و تقنيات‬. ‫المستمر للمآسي‬
.‫ و هذه العناصر الرئيسة للرواية التي تمثل الماضي المحكى لكولومبيا‬.‫ذالك العصر‬

‫الكلمات الرئيسية‬

‫ مئة عام من العزلة‬،‫ واقعية ماركيز العجائبية‬،‫كولومبيا‬

Basically, in the theme of Marquez's One Hundred, there are abundance

extracts that are told in magical realism, bringing together fancy with reality
elegantly. García Márquez's ability lies in involving all characters of the novel and
creating a new united narrative in a real and wonderful manner. This gives his
work an interesting and authentic sense. He employs stories, combining myths and
history in his works to entertain his reader with the story of magical realism.

The purpose of this study is to explore the cases of magical realism in One
Hundred Years of Solitude of Gabriel García Márquez and to find the margin of
difference between magical and fantastic realism. For writing this paper, I have
studied the biography of Marcos, also read an interview with his friend Plinio
Apuleyo Mendoza and reviewed several studies on his book One Hundred and
tried to look for some of the many sources of magical events in this great fiction
famous.

Gabriel García Márquez is made difficult to mix with the everyday miracle,
fabulous history and psychological realism with flights of flying fantasy. He was a
pioneer of magical realism. His One Hundred Years of Solitude is a political attack
that reflects its writer's revolutionary views and tendencies who chose to give
literary speech in Latin America.

As a literary term, magical realism blends strange and supernatural stories

with common events to make a realistic atmosphere. It is a simple narrative style,
in which the writer focuses on fantastic points of unrealistic events. Magical

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realism is not a way of escaping from reality into fancy. On the contrary, in its
world, the narrator tells of the surrealist naturally. It depicts a fantastic world with
realistic implications. This gives the readers an opportunity to conceive
imagination in the everyday. It has several stylistic characteristics that distinguish
between magical realism and fantasy: defamiliarization, the refusal of subjectivity
and emotion, and the simultaneity of past, present and future. While in fantasy
novels, there must be an internal logic in the created world. However, magical
realism is not influenced by natural or physical laws. (Carpentier, Alejo "the
Barogue and the Marvelous Real" (1975).

To be able to find suitable answers to crucial questions, Marquez resorts to

using the form and content of magical realism based on community and theory as
well as politics and history. In the mid-1960s, Colombia suffered political
assassinations over more than two hundred thousand. La Violence, 1946-1966 can
be divided into five stages: the prelaunch of political violence due to the
presidential election of 1946, the urban uprisings provoked by the assassination of
Gaitan, the guerrillas warfare opened against the government of Ospina Perez, in
an attempts to pacify and disrupt the negotiations of Rojas Pinilla (which
overthrew Gomez Laureano), and finally the fight against unrestrained liberal-
conservative coalition of the "National Front" 1958-1975, (Wikipedia, National
Front (Colombia)).

One Hundred Years of Solitude is a typical example of magical realism in

which what is extraordinary appears as banal and what happens every day seems
supernatural. The novel portrays an imaginary story in a fictional form blended
with realistic elements of life to have balance, such as tribulation and the home,
with scandalous examples as in the case of the levitating priest. The goals for this
are several. One of them is to present Columbia as perceived by Marquez to the
reader. He presented the nation as a place where there are supernatural and

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mythical elements as well as introducing technology and modernity together. This
drives the reader to ask where realism lies and where fantasy lies, particularly in
the field of politics. It extends to questioning the triviality of daily life. This novel
examines the twisted and tortuous world of politics, especially the chapters
tackling Colonel Aureliano Buendia. Politics is a dark world. No significant
difference can be observed between liberals and conservatives; both sides did harm
to the people. Although he has a clearly anticapitalist tendency, Marquez's purpose
in the portrait of the region's politics should not be the subject of controversy.
Instead, it construes how the nature of Latin American politics is the absurd, the
denial and the endless repetition of the tragedy. Supernatural events and the
characters are made. However, the aim Marquez expounds the desire to convey a
real story.

The political charge of Colombia’s history parallels Colonel Aureliano Buendia,

war conservative, facilitates the rise of foreign imperialism in power. The
plantation of rich bananas has established its own dictatorial police force. Using
real events taken from the history of Colombia makes the novel a unique piece of
magical realism. Not only the plot is a mixture of reality and fiction, but the whole
novel conveys the story of Colombia critically. In this vein, the novel manipulates
centuries of Latin American history in a well arranged fictional text.

The novel sheds light on one hundred years in the life of the Buendia family,
who live in the coastal jungles of an unnamed South American country. We could
also see the history of the city they found, Macondo. It is also the story of
Macondo in a hundred years of life and its people - the history of the birth,
development and death of the city. The civil war and natural disasters that affect
this vital area whose population is struggling to survive and renew.

In One Hundred, history and myth overlap in an inadvertent way. The myth
is used as a vehicle to convey the story to the reader. Márquez's novel seems to be

246
more qualified Anthropology, where truth lies in myth and language. There are
three chief mythical elements in this novel: the classic stories that refer to origins
and foundations, characters that are mythical heroes and supernatural elements.
Magical realism is instilled in the novel that carries the constant entanglement of
the common with supernatural. This magical realism strikes in the traditional sense
of naturalistic fiction. It is evident that there is something supernatural in the world
of Macondo.

Real mixture of García Márquez with magic is because of the skilled use of
atmosphere and narrative. This impact is reinforced by the grave tone in which the
novel is written. This limits his reader's ability to interrogate the events of the
novel; However, it also leads the reader to ask for the scope of reality. Also,
however long the same narrator keeps in the novel, the reader will be become more
familiar with his voice and the player gets accustomed to the extraordinary events
of the novel.

The unavoidable repetition of history is also prevailing in Macondo. The

protagonists are under the control of their past and the complexity of the age.
Through the novel, the characters are visited by ghosts. The latter stand for the past
and nature enchanted. The phantoms and displaced repetitions they evoke are, in
fact, deeply rooted in the specific development of Latin American history. The
ideological transfiguration was that Macondo and Buendia were the ghosts
somehow strange and distant from their history, not only to the victims of the hard
reality of dependence and underdevelopment, but also the ideological illusions that
haunt and increase of such social circumstances..

García Márquez also demonstrates the magical realism with the description
of its personages. In the description of Melkites, he said: "He is a fugitive from all
the plagues and disasters that ever affected mankind" [García/ One Hundred Year
of Solitude/ chapter from/ p.3] "He had survived pellagra in Persia, scurvy in the

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Malay archipelago, leprosy in Alexandria, beriberi in Japan, bubonic plague in
Madagascar, an earthquake in Sicily, and Disastrous shipwreck, Strait of Magellan
"(6). Again, it is capable of making readers see amazing thoughts.

This novel keeps its ability to astonish and delight. The unexpected, colorful,
original - moments evocative of beauty, such as dragging butterflies, satirical,
levitating chocolate cures, the erotic stage and prodigious rise of tone as Characters
whose farting are powerful that they who destroy all the flowers in the house or
the man who runs through the swaying bottles of the beer house on his penis. Here,
the energy is justly famous comic book. The characters are of be two-dimensional,
and readers may know some of them only for few of pages, but there is everywhere
a sense of liveliness and wondering in the world makes this story not forgetable.

Marquez depicts reality and fantasy in this novel. Reality of the story lies in
the fact that the novel is a very personal book for Márquez. It tells his childhood.
He grew up with his maternal grandparents in Aracataca, Colombia. In his early
childhood, he bore a witness to the massacre of striking banana workers on a
plantation called Macondo at a train station. The government tried to block public
information and appease the owners of foreign plantations. Marquez was horrified,
and worse he was shocked when he went to the high school and learned that the
event had been removed from the history textbook.

Márquez's imagination, his human vision and literary ability, more than
kind, are the best interpretation of his art and his fame as Bell-villada pointed out:
"The magical realism of García Márquez novel to form a wide and diverse range of
extraordinary, despite all possible extremes of incredible and improbable physics"
(108). Colonel Aureliano Buendia, For instance, endeavoured to put an end to his
life and shoot himself in the chest, but the bullet comes out of the back without
doing damage to a single organ.

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 Accordingly, in One Hundred Years of Solitude, García Márquez
exaggerates events to win imaginatio. Bell-Villada, illustrates that almost always
numerically specific and gives each case a sense of reality, so, the thirty-two
defeated uprisings Colonel Buendia; The storm that lasted four years, eleven
months and two days; and the sexual calendar Fernanda, which contained exactly
forty-two days "available" (109).

The novel mingles the realism and magic that convey the particular design
of Marquez the world. Márquez's novel does not reflect reality from the point of
view of an observer, but as it is experienced personally by those who have different
origins. These various views are especially suited to the unique reality of Latin
America - trapped between modernity and pre-industrialization; the destructions of
civil war and devastations of imperialism, people have experienced far more varied
than they can in the more homogenous society. By magic realism, which presents a
reality with magic, superstition, religion and history are infused without a doubt in
the world.

According to the Encyclopaedia Britannica:

"Magical realism" is primarily a "Latin American narrative style" which is

characterized by elemental inclusions "of fantastic or mythical" fictional elements
realistic appearance. Though such style "has been known in the literature of many
cultures" for years, the term "magical realism" is somehow recent. It is used by the
Cuban novelist Alejo Carpentier in 1940. A lot of scholars state that magical
realism comes because of postcolonial writing, which has to give meaning to at
least two distinct realities - the reality of the invaders, as well as that of the
vanquished. Therefore, the characteristics of the postcolonial socioeconomic
establishment are very familiar to find magical realism. However, there are also
many examples of passages that contain elements of magical and non-postcolonial
realism. (Magical realism)

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 In Europe, the notion "magical realism" is utilized to expound the
inclinations of fiction writers – among them are Franz Kafka, John Fowles, and
Gunter Grass - to weave elements of fantasy and surrealism into their otherwise
realistic pieces of prose.

Gabriel Márquez clarifies that every single line in his literary works is based on
reality. We cannot stop accepting, (The Smell of Guava, Gabriel García and Pilinio
Apuleyo Mendoza). Márquez said:

"I was raised by a grandmother and many aunts who all attracted attention and
by housekeepers who gave me a lot of good childhood moments because their
prejudices, though not less than those of the women in the family, were at least
different. The woman who taught me to read was very beautiful and graceful and I
liked to go to school just to see her. Women find their way more easily, with less
aids to navigation. They make me feel safe".

Thus, in Years of Solitude, magical realism is observed in the female characters in

the Buendia family. For the first time, through this interview, we have an open
window to examine the sources of his "magic realism".

Elsewhere, in the same conversation, he said: "My grandmother. . .I used to talk to

me about the most atrocious things without turning a hair. . . I realized that it was
his impassive manner and his wealth of images that made his stories so credible. I
wrote One Hundred Years of Solitude using my grandmother's method". This
method implies a carefully conceived credulity, which makes the readers believe
the story without questioning, and Garcia Marquez adopted it from the instances of
his grandmother and Franz Kafka.

In Years of Solitude we get a passage telling the first experience of the

protagonists with ice and echoing the events of the childhood of Garcia Marquez as
set up by Mendoza:

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 "For other writers, I think, a book is born of an idea, a concept. I always start
with an image. . . When I was a very small boy in Aracataca, my grandfather took
me to the circus to see a dromedary. Another day, when I told him that I had not
seen the ice show, he took me to the banana plantation, asked them to open a
frozen mule cage and made me Put the hand in. The loneliness began with this
image."

In this passage, José Arcadio Buendia is panic as he puts his hand on the ice. While
he holding it for several minutes, his heart is full of fear and jubilation because of
the contact with this mysterious thing. Being helpless, he pays more for his sons to
have this phenomenal experience. Although little José Arcadio refuses to touch
him, Aureliano touches him and takes his hand at once. But his father ignores him.
He is inebriated by the proof of the miracle, he paid five other rewards and, with
his hand on the cake, as if he were testifying on the Holy Scriptures, he cried: "It is
the great invention of our time" (Marquez, Cent 18).

We learn that the strange incident years of solitude as "the beautiful

Remedios ascends to the sky", "The yellow butterflies flutter around Mauritius
Babylon", etc. are "evidence-based". For example, Mauricio Babilonia, García
Márquez says that at the age of five, an electrician arrived home in Aracataca to
change the meter. For Marquez, on one of those occasions, he met his grandmother
trying to scare a butterfly with a cloth, saying: "Every time this man comes home,
it is deduced that the yellow butterfly." It is Mauritius Babylon embryo. As for
Remedios la Bella, she gives him initially planned to make him vanish whereas in
the house to embroider with Rebecca and Amaranta. But almost cinematic does not
seem viable. Then he thought to compensate heaven in body and soul. What lies
behind the facts? He replied that it was a woman whose granddaughter had escaped
from the house early in the morning and tries to hide the fact by saying that she
was elevated to heaven.

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In addition to his childhood memories, Márquez owes to the socio-political history
of Colombia for writing about magical realism in One Hundred Years of Solitude.
The civil war between liberals and conservatives, for example, in the history of
similar events is reflected directly in the historical events of Colombia. Michael
Wood in his book by Gabriel García Márquez, One Hundred Years of Solitude,
states: "Colombia has a long tradition of democracy. Liberals and conservatives,
who dominated nineteenth-century politics and most twentieth-century politics,
Represented different things: reform or reaction, free trade or protection,
separation or jointly between church and state, and gradually became a rather
narrow band of class interests". There is another clever and amusing reference to
this situation in a discussion of the play in the novel. Jose Arcadio Buendía did not
want to play with Father Nicanor, the priest. This is because he conceives no
reason for a contest in which opponents agree on principles. Father Nicanor, who
did not think of gambling this way, can no longer play. This implies that a lot of
fights in the world are the principles that have been agreed either or irrelevant. For
example, Colonel Aureliano Buendia discovers that liberals and conservatives are
attacking each other only for power and are willing to lose all the important issues
of principle to achieve it.

It can be said that much of the history of Colombia has entered this novel:
the debates about reform in the nineteenth century, the invention of the railroad,
the War of a Thousand Days, the fruit of America, Automobiles, and the massacre
of workers on a plantation strike in 1928. The most shocking and terrifying fact of
modern history in Colombia, known as violence, takes indirect expression in Years
of Solitude through guerrillas, mafiosi, vigilantes, Police and the deaths of some
200,000 people. Even when we were told that it was over, or under control, in
1962,200 civilians were still dying every month. The violence was inevitable for
the Colombians, and caused a flood of fiction, and Garcia Marquez himself speaks
directly to whoever writes to the Colonel and The Bad Hour. However, violence is

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mirrored indirectly in One Hundred Years of Solitude as the massacre of striking
workers, "...

It was triggered by the assassination of Jorge Eliécer Gaitán, who made his
political reputation by investigating the strike of 1928. The event was quite violent
and could be the compression and anticipation of the phenomenon later, a
suggestion and a synecdoche, García Márquez ruminates in his autobiography
Vivir para contarla visiting his place of birth in Aracata:

"This, my mother told me that day, where, in 1928, the army killed an unknown
number of banana workers. I knew the event as if I had lived, after having heard
him say and repeat a thousand times by my grandfather's memory: the soldier read
the decree by which the strikers were reported Dementores gangs; The three
thousand men, women and children who follow in the wild sun after the officer had
given them five minutes to evacuate the place; The order of fire, machine guns
spitting in white bursts, the crowd caught in panic, cut gradually by the methodical
and insatiable shear."

Based on this tragic historical event, a wonderful magical realism passage is

created by Marquez in Years of Solitude:

"It was as if the guns were loaded on the tops, as their rattle could be heard and
their incandescent spit could be seen, but not the slightest reaction is perceived, not
a shout, not even a sigh from the compact crowd that seemed petrified by An
instant invulnerability. . . . Panic became the tail of a dragon, while a compact
wave rushed over another moving in the opposite direction, to the tail of the other
dragon in the street, where machine guns were also firing ceaselessly. We
surrounded them, turning in a giant swirl that, little by little, was reduced to its
epicenter since the edges were cut systematically everything like an onion peeled
by the insatiable and methodical scissors of the machine guns." (3)

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 In the novel, there are also references to events such as the discovery of a
rusty armor with the calcified skeleton, as well as "a huge Spanish galleon"; And a
bloody civil war (12). All have a testimony of real life based on the history of
Colombia. The armor is supposed to be from the fifteenth century, which could be
right, since the coastal region of northeastern South America, which is now
Colombia and Venezuela, was first visited by Europeans, with and without armor,
in 1499-1500. Thus, the time of the novel may be "several centuries" no later than
the sixteenth and some "three hundred years", as the raids on the main Spanish
Drakes (Mark 19). Similarly, originally a Colombian civil war ended with the
Treaty of Neerlandia (Marquez, Cent 174), which was originally signed in 1902.

From the name 'Macondo', it can easily be understood how the history and
experience of the personal life of the Colombian brand mounted on the beautiful
use of "magical realism" in the hundred years of solitude. In northern Colombia,
there is an "old city" called Riohacha. Macondo is the name of a banana plantation
near Aracataca, birthplace of Garcia Marquez, which is now internationally known
as the name of a mythical community, and obviously that is due to the reputation
of a hundred years solitude. The attentive reader can easily understand the
geography and history of the two "Macondo" are no different, and the imaginary
world of "Macondo" has a realistic event in time and space.

In this sense, the description of 'Macondo' by García Márquez is his autobiography

while visiting his grandparents' house:

"The train stopped at a station that did not have the city and, shortly after, passed
the only banana plantation along the road that had its name written on the door:
Macondo. This word had attracted my attention since the first trips with my
grandfather, but I discovered that as an adult I liked his poetic resonance. I've
never heard anyone say no and never even wondered what it meant. I had already
used in three books as the name of an imaginary city when I read in an

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encyclopedia that is a tropical tree resembling the ceiba tree, which produces
flowers and fruits and its light and porous wood is used to make canoes and
kitchen instruments of cut. Later, I discovered in the Encyclopaedia Britannica in
Tanganyika there is a nomadic people called makonde, and I thought that this
could be the origin of the word." (Márquez, Living to Tell Tale, PP 19-20,
Nov.16.2003).

Colombia One Hundred Years of Solitude is a generic Latin America and

famous, a place of purity, isolation and supernatural, high mountains, tropical rain
and a sea of ash color. However, wars, bureaucrats, booms, strikes, domestic US
interventions and military leaders are also there. It is a subcontinent presented so
carefully suspended between history and myth, and demonstrates how García
Márquez has blended the experience of real life with fiction to model the effects of
magical realism.

There is a reference to the Bible, the Quixote and the works of Virginia
Woolf, George Bernard Shaw, Kafka, Hemingway and William Faulkner. Gabriel
García Márquez's One Hundred Years of Solitude is no exception. From the Bible,
José Arcadio Buendia, is taken. The novel begins with describing him as a young
patriarch that can be compared to Adam, because he is the first one of a kind of
heaven. Therefore, most of One Hundred Years of Solitude is read as a fable. From
the beginning of the small town of Macondo we are offered as a version of Eden.
"The world, it was said, was so recent, that many things had no name, and the state
had to appear." The polished stones of the clear river are "white and huge like
prehistoric eggs." In the reference to this, Gabriel García Márquez discusses in his
autobiography Vivre a raconter. Describing the old house of his grandparents in
Aracataca, as follows: ... "A good place to live, where everyone knew everybody,
that is on the banks of a river of diaphanous water that rushed into a bed of stone
Polished as large and white as prehistoric eggs". Conscious readers can easily

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discover similarities and ideas dictions. There is another biblical reference in a
hundred years of solitude, which confirms Mark's debt to the Bible, in which it is
known that the founders of Macondo traveled to "a land that no one had promised
them".

Garcia Marquez foregrounds the influence of Franz Kafka in his interview

with Plinio Apuleyo Mendoza, namely, the Smell of Guava: Conversation with
Gabriel García Márquez:

"Kafka said things in the same way as my grandmother did. When I read the
metamorphosis, at age seventeen, I realized I could be a writer. . . . I remember the
first sentence: 'When Gregor Samsa woke up one morning of disturbing dreams, he
found himself changed into his bed turned into a monstrous scabbard,' I thought,
My grandmother was speaking.I did not know that you could do that, but if you
Can, I'm definitely interested in writing."

In accordance with Don Quixote de Cervantes, the new patriarch of Jose

Arcadio Buendia can be viewed as modern Quixote. In particular, the wonder of
Jose Arcadio Buendía's and his brilliant personal discovery of the roundness of the
earth are somehow jokes about him and are like the value of Don Quixote facing
the lions do not fight. Obviously, the lions are hungry and dangerous, but at that
time, they are not in the mood to fight. Therefore, quite authentic value Quixote
remains without judgment, "it is his heroic madness, but his heroism seems
ridiculous" (Wood 32), such as Sergio of Cavalry Charge of Weapons and the Man
of George Bernard Shaw. In the same way, the intelligence and imagination of Jose
Arcadio Buendia are impressive, but curiously it is found, and simplicity gives a
new twist to history.

Another writer García Márquez is indebted to is Virginia Woolf. García

Márquez stresses that the last part of the novel was "completely transformed" by a

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sentence in Mrs. Dalloway by Virginia Woolf, read at the age of twenty. "I saw in
an instant the whole process of decomposition of Macondo and its final destiny"
(Wood 50-51). The passage in question:

But there is certainity that greatness. . . "Passing Hidden on Bond Street", removed
on one side only ordinary people who were, first and last, to be far from the
greatness of England, the persistening symbol of the state that was known curious
antiquity, the search for the remains of the When London is a grassy road and all
those who throw themselves on the sidewalk "this Wednesday morning are more
than bones with a pair of wedding rings mixed in their dust caps and gold countless
decayed teeth". (Woolf 19-20)

With One Hundred Years of Solitude in mind can be noticed: a secret-

guessed and lost, close and distant, suddenly feels a little later filled with vestiges
of what is now the present, the imagination of different events, such as If all
"coexist in an instant" (Mark 421). For a direct comparison, we can mention One
Hundred Years of Solitude:

"Sir Francis Drake had attacked Riohacha only qu'Aureliano and Amaranta Ursula
able to look through the more complex labyrinths of blood until they spawn the
mythological animal that would end the line. Macondo was already a whirlwind
fearful of dust and debris from what was driven by the wrath of the biblical
hurricane. . . Because it was expected that the city of mirrors (or mirages) would be
swept away by the wind and banished from the memory of men at the precise time
that Aurelian Babylon would finish deciphering the scrolls, and all that was written
There it was unrepeatable from time immemorial and forever, because the strains
condemned to One Hundred Years of Solitude did not have a second chance on the
earth."

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 When García Márquez insists that everything in his novel "is based on
reality," it means two things. First of all, the most fantastic things were really crude
or asserted by people living somewhere, and often in Latin America. "This does
not mean that these things are true, but that it can make reality" (Wood 56). To
describe the incidents as we have already said, the yellow butterflies end after one
of his characters and Remedios, beauty, take off towards the sky and disappearing,
borrows a vertiginous pretext for its fictitious truth and then puts the literal reality
in the novel as futile thought, out of place. The ordinary becomes all fantastic.
Secondly, "reality based" actually means in touch with a reality of feeling, some
hyperbolic and expressed metaphorically. As José Arcadio Buendía dies, a rain of
small yellow flowers falls in Macondo, a "silent storm" that covers the roofs, lining
the streets and animals suffocate. It is a miracle, even in 'Macondo' - the legend of
pieces at the end of a legendary character (Márquez, Cien 144). But the miracle
gives the truth of an appropriate image, the appropriateness of the imagination that
rises to the great occasion, since we believe nature must be thus, and we see how
the experiences of real life shape the narrative style of Márquez's magic realism.

It can therefore be conclude that Gabriel García Márquez borrows details of

his own life and phrases from writers and other characters. This is not to say that
history and fiction are the same, but the border is very marginal. Gabriel García
Márquez is not an author with a capacity for divine creation; it is the novelist of
recreation, a refiner can Nostalgia in the sustainable work of literature repair a
broken memory with its "magical realism." He arrives carrying the news of
Macondo, the city of reflections (or mirages), home and the archetypal realities
handed down to non-belief.

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Bibliography

 Bell-Villada, Gabriel Garcia Marquez’s One Hundred Years of Solitude: A

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