Fiction as History Essay
He was known as “Gabo” to the people populating in Colombia and to those who knew him by his repute. He was non merely a short-story author. a novelist and a film writer by profession for he was besides a journalist—these were merely among the many things which gave him the award as among the celebrated authors of Latin America and one of the most important twentieth century writers. At the age of 65. Gabriel Garcia Marquez was given the Nobel Prize in Literature in 1982: the merchandise of the combination of an early life mostly influenced by his gramps and a life lived through the ways and agencies of news media after discontinuing jurisprudence school ( Williams. p. 135 ) .
Gabo is considered to be a pioneering writer in the Latin American “Boom” during the sixtiess. stemming from the celebrity he achieved through his chef-d’oeuvre One Hundred Old ages of Solitude and his indispensable presence and function in Latin American literature ( Maurya. p. 54 ) . One Hundred Old ages of Solitude has been significantly understood by critics and literary bookmans as a history of Gabo’s rendering of the fortunes during the work stoppage that happened back in 1928 in Colombia ( Posada-Carbo. p. 401 ) .
That magnus musical composition of Gabo is said to size up the Colombian regime’s inhibitory nature every bit good as the work stoppage itself which claimed the lives of many workers. Throughout the class of his calling. the literary manner known as “magical realism” has been mostly attributed to Gabo as he was the 1 who popularized the literary technique of utilizing charming events and elements so as to give existent experiences the fitting accounts ( Hinds and Raymond. p. 897 ) . Gabo is besides said to hold been an influential author non merely for his fellow Latin Americans but besides for fresh writers and budding authors from other states.
For Gabo. world is a really important subject and ingredient in his Hagiographas. particularly apparent in his plants “In Evil Hour. ” “Big Mama’s Funeral” and “Nobody Writes to the Colonel” ( Aizenberg. p. 1239 ) . These three plants of Gabo reflect the sort of Columbian society where he lived inasmuch as they besides reflect the world of life in the state. The subject of world is the foundation for the rational construction of the books of Gabo. although European readers may be given to be less cognizant of the world that Gabo wants to direct across and be given to be more inclined to construe his plants as testimonies to his charming realist trade.
The first few old ages in the calling of Gabo Marquez saw a fighting journalist in him. He was literally a travelling journalist merely because he was ever on the move. reassigning from town to town across Latin America and Europe. At one point. he worked for El Espectador back in 1955 as a letter writer coverage from Rome and Paris. Although the newspaper was shut down by the dictator Rojas Pinilla which took away his place as a journalist. Gabo however was able to pick up on where he was left and continued his composing calling in Mexico City.
In the City. he did non merely work as a journalist ; he besides worked as a screen author and as a publicizer before traveling back to Barcelona during the 1970s. Although Gabo was a well-travelled author. it can be said that he ne’er fails to at least believe about his hometown and reflect it on what he has written. Evidence to this is his changeless usage of the town “Macondo” in his many narratives which reminds the readers of the town of Aracataca where Gabo was born and lived his childhood yearss ( Molen. p. 4 ) . This was true right from the clip when Gabo began composing to the clip when he was able to well achieve success in the literary spotlight.
However. the clip when Gabo began composing was a important event for the literary scene in Latino American societies because the literature in those parts was characterized either by realist-modernist or super-regionalism during the in-between portion of the 20th century. Those were the times when Latin American authors were busy either composing as a modernist or as a realist—both holding the inclinations to categorise themselves as ‘regional’ authors or authors who either depict or mask world in their several topographic points.
Maurya Vibha farther suggests that there is an evident “absent history in the Third World conditions of Latin America” and a “link between postcolonial fiction and a desire to believe historically” in the plants of Gabo ( p. 54 ) . If Vibha is so right. so there is strong ground to believe that what Gabo did in his plant is to supply that nexus and. in the terminal. to capture the significance of those ‘third universe conditions’ into a piece of literature which depicts the blunt world in Latin American societies.
Apparently. the plants of Gabo. if non the class of his life. show the battles faced by Latin Americans in their ain district every bit good as in others. In consequence. it can be said that Gabo’s ‘magical realism’ is so a combination of the word picture of the societal worlds that the writer proverb in his life-time and of the literary thaumaturgy that he used in picturing those worlds.
Although European readers may acquire the feeling that the literature of Gabo is ‘magic’ in itself. it should non be the instance that the substance of his plants be confined to that charming entirely for it transcends the barriers of that thaumaturgy by portraying world at its highs and depressions. Works Cited Aizenberg. Edna. “Historical Corruption and Violence of Representation in Garcia Marquez and Ouologuem. ” PMLA 107. 5 ( 1992 ) : 1239. Hinds. Elizabeth Jane. and Raymond Leslie Williams. “Interview with Gabriel Garcia Marquez. ” PMLA 104. 5 ( 1989 ) : 897. Maurya. Vibha. “Gabriel Garcia Marquez. “
Social Scientist 11. 1 ( 1983 ) : 54. Molen. Patricia Hart. “Potency Vs Incontinence In “The Autumn of the Patriarch” Of Gabriel Garcia Marquezpotency Vs Incontinence In “The Autumn of the Patriarch” Of Gabriel Garcia Marquez. ” Rocky Mountain Review of Language and Literature 33. 1 ( 1979 ) : 4. Posada-Carbo. Eduardo. “Fiction as History: The Bananeras and Gabriel Garcia Marquez’s One Hundred Old ages of Solitude. ” Journal of Latin American Studies 30. 2 ( 1998 ) : 401. Williams. Raymond Leslie. “The Ocular Arts. the Poetization of Space and Writing: An Interview with Gabriel Garcia Marquez. ” PMLA 104. 2 ( 1989 ) : 135.