One Hundred Years of Solitude

One Hundred Years of Solitude
by Gabriel Garcia Marquez

One Hundred Years of Solitude
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Book Summary Information

Author: Gabriel Garcia Marquez
Translator: Gregory Rabassa
Edition: Hardcover
Audio: English (Unknown); English (Original Language); English (Published)
Published: 2003-06-24
ISBN: 0060531045
Number of pages: 432
Publisher: Harper

Book Reviews of One Hundred Years of Solitude

Book Review: Human Frailty In An Infinite Universe
Summary: 5 Stars

Gabriel Garcia Marquez' groundbreaking masterpiece 100 Years of Solitude (1967) is both a comic and a tragic meditation on numberless vagaries of human existence.

As the book's title suggests, the novel details the history of three generations in the Buendia family, who found the small, isolated, and swamp-surrounded South American town of Macondo during the 19th century. As an authentic and frequently unprecedented work of literature, 100 Years of Solitude stands as a robust and healthy challenge to the social, religious, and literary excesses of Protestantism, to which it offers a brilliantly colored, deeply felt, and sensual alternative. With its underpinnings in pagan Catholicism, 100 Years of Solitude boils over with a psychologically profound, brash, visceral, and distinctly Latin vision of life.

Flying freely in the face of Western scientific and philosophical rationalism, the novel offers its readers plagues of forgetfulness, sleeplessness, and clouds of yellow butterflies, ascensions by the living into the heavens, lifelong correspondences with "invisible doctors," "suspicions of elves," and rain storms and droughts that continue for years on end. One character senses that the Buendias are caught in a tight chronal frame of eternal reoccurrence, while another, perceiving a world without genuine boundaries of any kind, plucks knowledge from a collective unconscious floating in the air while claiming "everything is known." Though levitating priests, flying carpet-riding Arabs, fraternal twins who trade destinies, and miraculous inventions abound, the novel never strays very far from its genuine and sincerely felt focus on the vicissitudes of the perpetually vulnerable, desiring, and inherently daydreaming nature of man. Among other things, 100 Years of Solitude is also a profound meditation on the absurdly barbaric nature of war and the greedy, egotistical, and shortsighted character of the political arena.

The Buendia family produces - and keeps producing - two basic kinds of men: idealistic, solitary, single-minded, and creative introverts, represented by the family's patriarch, Jose Arcadio Buendia and his son, Colonel Aureliano Buendia, and the more virile, self-serving, and callous hedonists best represented by sexually potent near-giant Jose Arcadio. Only the perceptive, long-suffering, and ancient family matriarch, Ursula Iguaran, struggles to maintain an objective and ordered understanding of the generally Dionysian chaos that surrounds and eventually envelopes her extended brood. For Ursula, there is little if any relief ever, as the forces of nature and ungainly human passion continuously destroy and deface the fruits of the family?s often admirable labors. In the extended, complex, and secretive tangle of Macondo interrelationships, it is Ursula who consciously struggles to prevent incestuous couplings; her continuous prophecy that unbridled lust and misguided emotional liaisons will eventually produce a monster, "a child with the tail of a pig," resounds throughout the book.

The theme of human solitude is underscored as the one constant and dependable fact of human existence. Every character, by the very nature of their individuality, as well as by the simple hard truths of procreation, is set apart from the others in some distinct but irrevocable manner, whether it be their otherworldly beauty, idiot nature, inherent reflexivity, or a traumatizing episode in their childhoods. Living together in the vast Buendia complex, which is continually collapsing and being rebuilt, the characters often spend months in silence or near silence, even during periods of prosperity and relative happiness.

Some characters happily board themselves up in shuttered rooms and become unwashed hermit scholars, while others, quietly planning illusory acts of revenge in response to illusory wrongs, simply don't speak out of spite for the span of their lifetimes. Some lose their minds as a result of their shattered dreams and obsessive memories of youthful promise. Ghosts of the dead walk the rooms and corridors too, equally isolated in death as in life. One comparatively minor character, Santa Sofia de la Piedad, like Georgina Hogg in Muriel Spark's The Comforters (1957), simply ceases to exist from time to time at the author's whim. Even the more blithe and extroverted characters express themselves predominantly through action rather than words, and for all except Ursula, the stifling burden of unconsciousness is easier to bare than the sustained effort that consciousness requires.

Gabriel Garcia Marquez has said that 100 Years of Solitude came to him in "an illumination," a statement that the novel's warm, organic, and fluidly archetypal prose bears out completely. Unlike the later Love in the Time of Cholera (1985), the author's discerning, discriminating, and intruding hand is never sensed. Although frequently funny, brilliantly sustained passages of imaginative and fantastic material (some reminiscent of the Washington Irving of "Knickerbocker's History Of New York," "Dolph Heyliger," and "Wolfert Webber") are often followed by short, terse sentences of extreme brutality, such as one concerning a child hacked to death with a machete for spilling a drink on an arrogant soldier's uniform. The novel's conclusion, which unhappily recalls several of Edgar Allen Poe's short stories, may seem inevitable to some readers, while others may find it something of a betrayal of the book's overall tone. Regardless, the glorious miracle that is human existence, and a sense of the inherent, if often hidden, possibilities in all things are sumptuously served up for the reader in passage after passage.

Throughout, 100 Years of Solitude offers a compassionate, beatific vision that, while free of hard-edged moralizing, also never swerves away from the unpleasant truths inherent in human nature and man's finite physical existence. Though the repetitious names of many of the characters can become disheartening (5 major and 17 minor characters, for instance, share the name "Aureliano"), like Muriel Spark's The Prime of Miss Jean Brodie (1963), it is a novel that can appreciated and understood by all people, regardless of nationality, social status, educational level, or background.

Summary of One Hundred Years of Solitude

One of the 20th century's enduring works, One Hundred Years of Solitude is a widely beloved and acclaimed novel known throughout the world, and the ultimate achievement in a Nobel Prize?winning career.

The novel tells the story of the rise and fall of the mythical town of Macondo through the history of the Buendía family. It is a rich and brilliant chronicle of life and death, and the tragicomedy of humankind. In the noble, ridiculous, beautiful, and tawdry story of the Buendía family, one sees all of humanity, just as in the history, myths, growth, and decay of Macondo, one sees all of Latin America.

Love and lust, war and revolution, riches and poverty, youth and senility -- the variety of life, the endlessness of death, the search for peace and truth -- these universal themes dominate the novel. Whether he is describing an affair of passion or the voracity of capitalism and the corruption of government, Gabriel García Márquez always writes with the simplicity, ease, and purity that are the mark of a master.

Alternately reverential and comical, One Hundred Years of Solitude weaves the political, personal, and spiritual to bring a new consciousness to storytelling. Translated into dozens of languages, this stunning work is no less than an accounting of the history of the human race.


"Many years later, as he faced the firing squad, Colonel Aureliano Buendía was to remember that distant afternoon when his father took him to discover ice."

It is typical of Gabriel García Márquez that it will be many pages before his narrative circles back to the ice, and many chapters before the hero of One Hundred Years of Solitude, Buendía, stands before the firing squad. In between, he recounts such wonders as an entire town struck with insomnia, a woman who ascends to heaven while hanging laundry, and a suicide that defies the laws of physics:

A trickle of blood came out under the door, crossed the living room, went out into the street, continued on in a straight line across the uneven terraces, went down steps and climbed over curbs, passed along the Street of the Turks, turned a corner to the right and another to the left, made a right angle at the Buendía house, went in under the closed door, crossed through the parlor, hugging the walls so as not to stain the rugs, went on to the other living room, made a wide curve to avoid the dining-room table, went along the porch with the begonias, and passed without being seen under Amaranta's chair as she gave an arithmetic lesson to Aureliano José, and went through the pantry and came out in the kitchen, where Úrsula was getting ready to crack thirty-six eggs to make bread.
"Holy Mother of God!" Úrsula shouted.

The story follows 100 years in the life of Macondo, a village founded by José Arcadio Buendía and occupied by descendants all sporting variations on their progenitor's name: his sons, José Arcadio and Aureliano, and grandsons, Aureliano José, Aureliano Segundo, and José Arcadio Segundo. Then there are the women--the two Úrsulas, a handful of Remedios, Fernanda, and Pilar--who struggle to remain grounded even as their menfolk build castles in the air. If it is possible for a novel to be highly comic and deeply tragic at the same time, then One Hundred Years of Solitude does the trick. Civil war rages throughout, hearts break, dreams shatter, and lives are lost, yet the effect is literary pentimento, with sorrow's outlines bleeding through the vibrant colors of García Márquez's magical realism. Consider, for example, the ghost of Prudencio Aguilar, whom José Arcadio Buendía has killed in a fight. So lonely is the man's shade that it haunts Buendía's house, searching anxiously for water with which to clean its wound. Buendía's wife, Úrsula, is so moved that "the next time she saw the dead man uncovering the pots on the stove she understood what he was looking for, and from then on she placed water jugs all about the house."

With One Hundred Years of Solitude Gabriel García Márquez introduced Latin American literature to a world-wide readership. Translated into more than two dozen languages, his brilliant novel of love and loss in Macondo stands at the apex of 20th-century literature. --Alix Wilber

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