Magical Realism
Magical Realism is the art of enthralling something that would be impossible to believe in today's world. It's not like the magical children's novel, where everything is shocking, extraordinary, and overdone. Instead, magical realism helps magic seem more otherworldly and commonplace. Gabriel Garcia Marquez's novel One Hundred Years of Isolation uses Magical Realism to show how people cope with their self-created solitude. Gabriel Garcia Marquez does an excellent job of blending the truly amazing mystical with everyday life in Macondo, so that magic seems to be commonplace (Bloom 46). Gabriel Garcia Marquez, to some extent, is fruitful in Magical Realism since he makes conventional occasions phenomenal, and that makes them ordinary.
Contradictory Yet Reconcilable
Despite the fact that the magic and the realism that One Hundred Years of Solitude incorporates appears at first to be contrary, they are, actually, superbly reconcilable. Both are fundamental keeping in mind the end goal to pass on Marquez's particular origination of the world. Marquez's novel reflects reality not as it is experienced by one onlooker, but rather as it is independently experienced by those with various foundations (Bloom 48). These various points of view are particularly fitting to the one of a kind reality of Latin America-gotten between pre-industrialization and modernity, torn by civil war, and desolated by colonialism where the experiences of individuals shift a great deal more than they may in a more homogenous society. Supernatural authenticity passes on a reality that joins the magic that illusion and religion mix into the world.
Treating Mythology as Reality
This novel treats scriptural accounts and local Latin American mythology as truly valid. This approach may come from the sense, shared by some Latin authors, that vital and effective strains of magic going through normal lives fall victim to the Western accentuation on rationale and reason. On the off chance that Garcia Marquez appears to confound reality and fiction, it is simply because, from a few points of view, fiction might be more genuine than reality, and the other way around. For example, in spots like Marquez's main residence, which saw a massacre much like that of the laborers in Macondo, unbelievable repulsions might be a typical sight. Genuine living then starts to appear like a dream that is both frightening and interesting, and Marquez's novel is an endeavor to reproduce and to catch that feeling of genuine living (Bloom 49).
Parallelism with Colombian History
The politically charged brutality of Colombia's history is paralleled in Colonel Aureliano Buendia who takes up arms against the Preservationist who are encouraging the ascent of outside radicals to go for power. The well off of the banana plantation set up their own particular tyrannical police drive. The utilization of genuine occasions and Colombian history by Garcia Marquez makes One Hundred Years of Solitude a fantastic case of magical realism (Bloom 51). Not only are the occasions of the story an intertwining of reality and fiction, however the novel entirely tells the historical backdrop of Colombia from a critical point of view. Along these lines, the novel packs a few centuries of Latin American history into a sensible content.
The Inevitable Repetition of History
The unavoidable and unpreventable repetition of history is additionally predominant in Macondo. The heroes are controlled by their past and the intricacy of time. All through the novel the characters are visited by ghosts. This ghosts are images of the past and the eerie nature it has over Macondo. The ghosts and the uprooted reiteration that they bring out are, actually, immovably grounded in the specific advancement of Latin American history (Bloom 52). Ideological transfiguration guaranteed that Macondo and the Buendias dependably were ghosts to some degree, distanced and repelled from their own history, not just casualties of the brutal reality of reliance and underdevelopment additionally of the ideological dreams that reinforce and haunt such social conditions.
An Exaggerated Style of Life
Marquez utilizes a method that permits magical realism to work admirably in this novel, since he utilizes an exaggerated style of life. Macondo is a mystical place, which allows the characters not to see the magic, particularly the overstated types of life. In the meantime, the style that Marquez utilizes permits the reader to trust the magic. The degree in which individuals in the novel age is bewildering, this wonder is exemplified in the length of Pilar Ternera's life (Bloom 54). Years before, when she was at the age of one hundred and forty-five years old, she had surrendered the malicious custom of monitoring her age and she continued living in the static and minimal time of memories. It is uncommon today that somebody lives to be more than a hundred years, and Pilar lives to well more than one hundred and forty-five years old, and yet she is not celebrating.
The Believable Incredible
All through One Hundred Years of Solitude, events are exaggerated by Garcia Marquez so as to gain fantasy. Be that as it may, the exaggeration is continuously numerically particular and gives every event a feeling of reality. Cases of this are Colonel Buendia's 32 vanquished uprisings, the rainstorm that endures 4 years, 11 months, furthermore, 2 days and Fernanda's mismatched timetable of sex, containing precisely forty-two available days. Magical realism as a system of changing the incredible into the truth is spoken to by Garcia Marquez. He can transform the unbelievable into the believable, as shown in One Hundred Years of Solitude.
Work Cited
Bloom. Gabriel García Márquez’s “one Hundred Years of Solitude”. New York, NY: Bloom’s Literary Criticism, 2009. Print.
