One Hundred Years of Solitude

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One Hundred Years of Solitude

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One Hundred Years of Solitude tells the tale of the rise and fall, birth and death of the mythical town of Macondo through the history of the Buendía family tree. Inventive, amusing, magnetic, sad, and alive with unforgettable men and women — brimming with truth, compassion, and a lyrical magic that strikes the soul — this novel is a masterpiece in the art of fiction.

Amazon.com Review
“Many years later, as he faced the firing squad, Colonel Aureliano Buendía was to remember that distant afternoon when his father took him to learn ice.”

It is predictable 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, nonstop 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 confront to the right and another to the left, made a right angle at the Buendía house, went in under the clogged door, crossed through the parlor, hugging the walls so as not to stain the rugs, went on to the additional living room, made a wide curve to avoid the dining-room table, went along the porch with the begonias, and passed lacking 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 tale 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 erect 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 nervously for water with which to clean its wound. Buendía’s wife, Úrsula, is so stirred that “the next time she saw the dead man uncovering the pots on the oven 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 like and loss in Macondo stands at the apex of 20th-century literature. –Alix Wilber

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