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One Hundred Years of Solitude
The brilliant, bestselling, landmark novel that tells the story of the Buendia family, and chronicles the irreconcilable conflict between the desire for solitude and the need for love鈥攊n rich, imaginative prose that has come to define an entire genre known as "magical realism."
422 pages, Hardcover
First published January 1, 1967
71.2k people are currently reading
1m people want to read
About the author
Gabriel Garc铆a M谩rquez
903听books39.7k听followersGabriel Jos茅 de la Concordia Garc铆颅a M谩rquez was a Colombian novelist, short-story writer, screenwriter and journalist. Garc铆颅a M谩rquez, familiarly known as "Gabo" in his native country, was considered one of the most significant authors of the 20th century. In 1982, he was awarded the Nobel Prize in Literature.
He studied at the University of Bogot谩 and later worked as a reporter for the Colombian newspaper El Espectador and as a foreign correspondent in Rome, Paris, Barcelona, Caracas, and New York. He wrote many acclaimed non-fiction works and short stories, but is best-known for his novels, such as One Hundred Years of Solitude (1967) and Love in the Time of Cholera (1985). His works have achieved significant critical acclaim and widespread commercial success, most notably for popularizing a literary style labeled as magical realism, which uses magical elements and events in order to explain real experiences. Some of his works are set in a fictional village called Macondo, and most of them express the theme of solitude.
Having previously written shorter fiction and screenplays, Garc铆a M谩rquez sequestered himself away in his Mexico City home for an extended period of time to complete his novel Cien a帽os de soledad, or One Hundred Years of Solitude, published in 1967. The author drew international acclaim for the work, which ultimately sold tens of millions of copies worldwide. Garc铆a M谩rquez is credited with helping introduce an array of readers to magical realism, a genre that combines more conventional storytelling forms with vivid, layers of fantasy.
Another one of his novels, El amor en los tiempos del c贸lera (1985), or Love in the Time of Cholera, drew a large global audience as well. The work was partially based on his parents' courtship and was adapted into a 2007 film starring Javier Bardem. Garc铆a M谩rquez wrote seven novels during his life, with additional titles that include El general en su laberinto (1989), or The General in His Labyrinth, and Del amor y otros demonios (1994), or Of Love and Other Demons.
(Arabic: 噩丕亘乇賷賷賱 噩丕乇爻賷丕 賲丕乇賰賷夭) (Hebrew: 讙讘专讬讗诇 讙讗专住讬讛 诪专拽住) (Ukrainian: 覑邪斜褉褨械谢褜 覑邪褉褋褨褟 袦邪褉泻械褋) (Belarussian: 袚邪斜褉褘械谢褜 袚邪褉褋褨褟 袦邪褉泻械褋) (Russian: 袚邪斜褉懈褝谢褜 袚邪褉褋懈褟 袦邪褉泻械褋)
He studied at the University of Bogot谩 and later worked as a reporter for the Colombian newspaper El Espectador and as a foreign correspondent in Rome, Paris, Barcelona, Caracas, and New York. He wrote many acclaimed non-fiction works and short stories, but is best-known for his novels, such as One Hundred Years of Solitude (1967) and Love in the Time of Cholera (1985). His works have achieved significant critical acclaim and widespread commercial success, most notably for popularizing a literary style labeled as magical realism, which uses magical elements and events in order to explain real experiences. Some of his works are set in a fictional village called Macondo, and most of them express the theme of solitude.
Having previously written shorter fiction and screenplays, Garc铆a M谩rquez sequestered himself away in his Mexico City home for an extended period of time to complete his novel Cien a帽os de soledad, or One Hundred Years of Solitude, published in 1967. The author drew international acclaim for the work, which ultimately sold tens of millions of copies worldwide. Garc铆a M谩rquez is credited with helping introduce an array of readers to magical realism, a genre that combines more conventional storytelling forms with vivid, layers of fantasy.
Another one of his novels, El amor en los tiempos del c贸lera (1985), or Love in the Time of Cholera, drew a large global audience as well. The work was partially based on his parents' courtship and was adapted into a 2007 film starring Javier Bardem. Garc铆a M谩rquez wrote seven novels during his life, with additional titles that include El general en su laberinto (1989), or The General in His Labyrinth, and Del amor y otros demonios (1994), or Of Love and Other Demons.
(Arabic: 噩丕亘乇賷賷賱 噩丕乇爻賷丕 賲丕乇賰賷夭) (Hebrew: 讙讘专讬讗诇 讙讗专住讬讛 诪专拽住) (Ukrainian: 覑邪斜褉褨械谢褜 覑邪褉褋褨褟 袦邪褉泻械褋) (Belarussian: 袚邪斜褉褘械谢褜 袚邪褉褋褨褟 袦邪褉泻械褋) (Russian: 袚邪斜褉懈褝谢褜 袚邪褉褋懈褟 袦邪褉泻械褋)
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December 21, 2024
鈥�It's enough for me to be sure that you and I exist at this moment.鈥�
Few memories of reading a book can match the sweetness of the warm spring day while at university when I sat in the grass down by a river and began Gabriel Garcia Marquez鈥檚 masterful One Hundred Years of Solitude. The novel gripped me immediately and I followed the myth-like tales of the Buend铆a family and the fictional town of Macondo across multiple generations until the sunlight had vanished, the sound of the river adding an idyllic rhythm to my reading that made me keenly aware of the passage of time the idea of one thing flowing into the next. This novel truly is a tour de force earning its canonization not only as a crucial work of Latin American literature but as an internationally renowned novel of great beauty and insight. The amalgamation of stories all colliding within the novel form a complex web of critical analysis of history that functions as commentary on colonialism, political struggles of war and life under dictatorship, as well as interpersonal issues of family, legacy and love or the lack of it, making this a dense yet delightful novel that will forever reside within the hearts and minds of its readers.
One Hundred Years of Solitude was but will linger on in immortality as an important work of 20th century literature. It has sold over 50 million copies in over 25 languages (translated into english by the incredible , the former WWII cryptologist was handpicked by Marquez for the task and reportedly said that Rabassa鈥檚 translation was better than his original in Spanish) and continues to charm readers everywhere. It is a cornerstone of modern Latin American Literature that has made Marquez a household name along with , from whom Marquez drew much inspiration (particularly from the story which you can and inspired the cyclical ending of the novel).
wrote of One Hundred Years of Solitude that 鈥�It is all story, where everything conceivable and inconceivable is happening at once.鈥� And indeed it does feel as if the whole of life is bursting forth from the book, which is a family epic that spans from the 1820鈥檚 through the 1920鈥檚. Marquez combines his mythmaking with historical events, using magical realism as a political action of uncovering the meaning hiding in plain sight of historical reality. writes in that Marquez鈥檚 storytelling serves 鈥�as an act of knowledge, as a negation of the false documents of the civil state which, until very recently papered over our reality.鈥� While Marquez says in a 鈥�there's not a single line in my novels which is not based on reality,鈥� it seems to affirm Fuente鈥檚 analysis and point to the reality in storytelling being a method to unlock a reality in life previously unobservable.
In this manner of magical realism, Marquez can move from tales of extraordinarily large men, women floating away into the sky, or absurdly long rain storms to actual historical events, such as the when the United Fruit Company (now known as Chiquita) called in the army to massacre striking workers at the request of the US. Through this work and it鈥檚 investigations into US military intervention, dictatorships and revolutionaries, Marquez wrests the official narrative of history from the colonialist lenses that would prescribe a narrative to the Latin American countries they sought to exploit and gives history its own mythological life to function more freely. This also opens the novel up to multiple ways of reading it, where any of the numerous themes could be emphasized.
鈥�The secret of a good old age is simply an honorable pact with solitude.鈥�
As one would expect, solitude is a major theme working through the novel, with Buend铆a's own sense of solitude enlarged in the isolation of Macondo, which is falling apart by the end of the book. The weight of feeling ones country collapsing to external forces is strongly imposed as the novel careens towards conclusion, and as new technologies arrive and different societies begin to integrate, those of the old guard feel more and more isolated from the world. None of this moves in a straightforward manner, however, and the ending reveals history to be a cyclical process, one of constant creation and undoing. 鈥�...time was not passing...it was turning in a circle鈥�鈥�
One Hundred Years of Solitude is truly worth the read and holds a very special place in my heart. It is such a fascinating and fantastic blend of magical realism and historical insight that was a major work in world literature. One to read and read again.
5/5
Buend铆a family tree ()
Few memories of reading a book can match the sweetness of the warm spring day while at university when I sat in the grass down by a river and began Gabriel Garcia Marquez鈥檚 masterful One Hundred Years of Solitude. The novel gripped me immediately and I followed the myth-like tales of the Buend铆a family and the fictional town of Macondo across multiple generations until the sunlight had vanished, the sound of the river adding an idyllic rhythm to my reading that made me keenly aware of the passage of time the idea of one thing flowing into the next. This novel truly is a tour de force earning its canonization not only as a crucial work of Latin American literature but as an internationally renowned novel of great beauty and insight. The amalgamation of stories all colliding within the novel form a complex web of critical analysis of history that functions as commentary on colonialism, political struggles of war and life under dictatorship, as well as interpersonal issues of family, legacy and love or the lack of it, making this a dense yet delightful novel that will forever reside within the hearts and minds of its readers.
One Hundred Years of Solitude was but will linger on in immortality as an important work of 20th century literature. It has sold over 50 million copies in over 25 languages (translated into english by the incredible , the former WWII cryptologist was handpicked by Marquez for the task and reportedly said that Rabassa鈥檚 translation was better than his original in Spanish) and continues to charm readers everywhere. It is a cornerstone of modern Latin American Literature that has made Marquez a household name along with , from whom Marquez drew much inspiration (particularly from the story which you can and inspired the cyclical ending of the novel).
wrote of One Hundred Years of Solitude that 鈥�It is all story, where everything conceivable and inconceivable is happening at once.鈥� And indeed it does feel as if the whole of life is bursting forth from the book, which is a family epic that spans from the 1820鈥檚 through the 1920鈥檚. Marquez combines his mythmaking with historical events, using magical realism as a political action of uncovering the meaning hiding in plain sight of historical reality. writes in that Marquez鈥檚 storytelling serves 鈥�as an act of knowledge, as a negation of the false documents of the civil state which, until very recently papered over our reality.鈥� While Marquez says in a 鈥�there's not a single line in my novels which is not based on reality,鈥� it seems to affirm Fuente鈥檚 analysis and point to the reality in storytelling being a method to unlock a reality in life previously unobservable.
In this manner of magical realism, Marquez can move from tales of extraordinarily large men, women floating away into the sky, or absurdly long rain storms to actual historical events, such as the when the United Fruit Company (now known as Chiquita) called in the army to massacre striking workers at the request of the US. Through this work and it鈥檚 investigations into US military intervention, dictatorships and revolutionaries, Marquez wrests the official narrative of history from the colonialist lenses that would prescribe a narrative to the Latin American countries they sought to exploit and gives history its own mythological life to function more freely. This also opens the novel up to multiple ways of reading it, where any of the numerous themes could be emphasized.
鈥�The secret of a good old age is simply an honorable pact with solitude.鈥�
As one would expect, solitude is a major theme working through the novel, with Buend铆a's own sense of solitude enlarged in the isolation of Macondo, which is falling apart by the end of the book. The weight of feeling ones country collapsing to external forces is strongly imposed as the novel careens towards conclusion, and as new technologies arrive and different societies begin to integrate, those of the old guard feel more and more isolated from the world. None of this moves in a straightforward manner, however, and the ending reveals history to be a cyclical process, one of constant creation and undoing. 鈥�...time was not passing...it was turning in a circle鈥�鈥�
One Hundred Years of Solitude is truly worth the read and holds a very special place in my heart. It is such a fascinating and fantastic blend of magical realism and historical insight that was a major work in world literature. One to read and read again.
5/5
Buend铆a family tree ()
December 4, 2013
Revised 28 March 2012
Huh? Oh. Oh, man. Wow.
I just had the weirdest dream.
There was this little town, right? And everybody had, like, the same two names. And there was this guy who lived under a tree and a lady who ate dirt and some other guy who just made little gold fishes all the time. And sometimes it rained and sometimes it didn鈥檛, and鈥� and there were fire ants everywhere, and some girl got carried off into the sky by her laundry鈥�
Wow. That was messed up.
I need some coffee.
The was roughly how I felt after reading this book. This is really the only time I鈥檝e ever read a book and thought, 鈥淵ou know, this book would be awesome if I were stoned.鈥� And I don鈥檛 even know if being stoned works on books that way.
Gabriel Garcia Marquez (which is such a fun name to say) is one of those Writers You Should Read. You know the type 鈥� they鈥檙e the ones that everyone claims to have read, but no one really has. The ones you put in your online dating profile so that people will think you鈥檙e smarter than you really are. You get some kind of intellectual bonus points or something, the kind of highbrow cachet that you just don鈥檛 get from reading someone like Stephen King or Clive Barker.
Marquez was one of the first writers to use 鈥渕agical realism,鈥� a style of fantasy wherein the fantastic and the unbelievable are treated as everyday occurrences. While I鈥檓 sure it contributed to the modern genre of urban fantasy 鈥� which also mixes the fantastic with the real 鈥� magical realism doesn鈥檛 really go out of its way to point out the weirdness and the bizarrity. These things just happen. A girl floats off into the sky, a man lives far longer than he should, and these things are mentioned in passing as though they were perfectly normal.
In this case, Colonel Aureliano Buendia has seventeen illegitimate sons, all named Aureliano, by seventeen different women, and they all come to his house on the same day. Remedios the Beauty is a girl so beautiful that men just waste away in front of her, but she doesn鈥檛 even notice. The twins Aureliano Segundo and Jose Arcadio Segundo may have, in fact, switched identities when they were children, but no one knows for sure 鈥� not even them. In the small town of Macondo, weird things happen all the time, and nobody really notices. Or if they do notice that, for example, the town鈥檚 patriarch has been living for the last twenty years tied to a chestnut tree, nobody thinks anything is at all unusual about it.
This, of course, is a great example of Dream Logic 鈥� the weird seems normal to a dreamer, and you have no reason to question anything that鈥檚 happening around you. Or if you do notice that something is wrong, but no one else seems to be worried about it, then you try to pretend like coming to work dressed only in a pair of spangly stripper briefs and a cowboy hat is perfectly normal.
Another element of dreaminess that pervades this book is that there鈥檚 really no story here, at least not in the way that we have come to expect. Reading this book is kind of like a really weird game of The Sims - it鈥檚 about a family that keeps getting bigger and bigger, and something happens to everybody. So, the narrator moves around from one character to another, giving them their moment for a little while, and then it moves on to someone else, very smoothly and without much fanfare. There鈥檚 very little dialogue, so the story can shift very easily, and it often does.
Each character has their story to tell, but you鈥檙e not allowed to linger for very long on any one of them before Garcia shows you what鈥檚 happening to someone else. The result is one long, continuous narrative about this large and ultimately doomed family, wherein the Buendia family itself is the main character, and the actual family members are secondary to that.
It was certainly an interesting reading experience, but it took a while to get through. I actually kept falling asleep as I read it, which is unusual for me. But perhaps that鈥檚 what Garcia would have wanted to happen. By reading his book, I slipped off into that non-world of dreams and illusions, where the fantastic is commonplace and ice is something your father takes you to discover.
------
鈥淸Arcadio] imposed obligatory military service for men over eighteen, declared to be public property any animals walking the streets after six in the evening, and made men who were overage wear red armbands. He sequestered Father Nicanor in the parish house under pain of execution and prohibited him from saying mass or ringing the bells unless it was for a Liberal victory. In order that no one would doubt the severity of his aims, he ordered a firing squad organized in the square and had it shoot a scarecrow. At first no one took him seriously.鈥�
Huh? Oh. Oh, man. Wow.
I just had the weirdest dream.
There was this little town, right? And everybody had, like, the same two names. And there was this guy who lived under a tree and a lady who ate dirt and some other guy who just made little gold fishes all the time. And sometimes it rained and sometimes it didn鈥檛, and鈥� and there were fire ants everywhere, and some girl got carried off into the sky by her laundry鈥�
Wow. That was messed up.
I need some coffee.
The was roughly how I felt after reading this book. This is really the only time I鈥檝e ever read a book and thought, 鈥淵ou know, this book would be awesome if I were stoned.鈥� And I don鈥檛 even know if being stoned works on books that way.
Gabriel Garcia Marquez (which is such a fun name to say) is one of those Writers You Should Read. You know the type 鈥� they鈥檙e the ones that everyone claims to have read, but no one really has. The ones you put in your online dating profile so that people will think you鈥檙e smarter than you really are. You get some kind of intellectual bonus points or something, the kind of highbrow cachet that you just don鈥檛 get from reading someone like Stephen King or Clive Barker.
Marquez was one of the first writers to use 鈥渕agical realism,鈥� a style of fantasy wherein the fantastic and the unbelievable are treated as everyday occurrences. While I鈥檓 sure it contributed to the modern genre of urban fantasy 鈥� which also mixes the fantastic with the real 鈥� magical realism doesn鈥檛 really go out of its way to point out the weirdness and the bizarrity. These things just happen. A girl floats off into the sky, a man lives far longer than he should, and these things are mentioned in passing as though they were perfectly normal.
In this case, Colonel Aureliano Buendia has seventeen illegitimate sons, all named Aureliano, by seventeen different women, and they all come to his house on the same day. Remedios the Beauty is a girl so beautiful that men just waste away in front of her, but she doesn鈥檛 even notice. The twins Aureliano Segundo and Jose Arcadio Segundo may have, in fact, switched identities when they were children, but no one knows for sure 鈥� not even them. In the small town of Macondo, weird things happen all the time, and nobody really notices. Or if they do notice that, for example, the town鈥檚 patriarch has been living for the last twenty years tied to a chestnut tree, nobody thinks anything is at all unusual about it.
This, of course, is a great example of Dream Logic 鈥� the weird seems normal to a dreamer, and you have no reason to question anything that鈥檚 happening around you. Or if you do notice that something is wrong, but no one else seems to be worried about it, then you try to pretend like coming to work dressed only in a pair of spangly stripper briefs and a cowboy hat is perfectly normal.
Another element of dreaminess that pervades this book is that there鈥檚 really no story here, at least not in the way that we have come to expect. Reading this book is kind of like a really weird game of The Sims - it鈥檚 about a family that keeps getting bigger and bigger, and something happens to everybody. So, the narrator moves around from one character to another, giving them their moment for a little while, and then it moves on to someone else, very smoothly and without much fanfare. There鈥檚 very little dialogue, so the story can shift very easily, and it often does.
Each character has their story to tell, but you鈥檙e not allowed to linger for very long on any one of them before Garcia shows you what鈥檚 happening to someone else. The result is one long, continuous narrative about this large and ultimately doomed family, wherein the Buendia family itself is the main character, and the actual family members are secondary to that.
It was certainly an interesting reading experience, but it took a while to get through. I actually kept falling asleep as I read it, which is unusual for me. But perhaps that鈥檚 what Garcia would have wanted to happen. By reading his book, I slipped off into that non-world of dreams and illusions, where the fantastic is commonplace and ice is something your father takes you to discover.
------
鈥淸Arcadio] imposed obligatory military service for men over eighteen, declared to be public property any animals walking the streets after six in the evening, and made men who were overage wear red armbands. He sequestered Father Nicanor in the parish house under pain of execution and prohibited him from saying mass or ringing the bells unless it was for a Liberal victory. In order that no one would doubt the severity of his aims, he ordered a firing squad organized in the square and had it shoot a scarecrow. At first no one took him seriously.鈥�
August 10, 2023
*** 2023 reread -
In all of world literature there is a division: 1) One Hundred Years of Solitude and 2) all other books.
***
Mystical and captivating.
One Hundred Years of Solitude by Nobel laureate Gabriel Garc铆a M谩rquez, first published in 1967 in his native Colombia and then first published in English in 1970, is a unique literary experience, overwhelming in its virtuosity and magnificent in scope.
I recall my review of Tolstoy鈥檚 , trying to describe a book like it and realizing there are no other books like it; it is practically a genre unto itself. That said, One Hundred Years of Solitude is a masterpiece of narrative ability, and is itself unique as a statement, but reminiscent of many other great books: Pasternak鈥檚 , Lowry鈥檚 , Buck鈥檚 , and Joyce鈥檚 were the works that I thought of while reading, but no doubt this is a one of a kind.
Using all of the literary devices I have ever learned and making up many more as he went along, Garc铆a M谩rquez established a new epoch of descriptive resonance. Magic realism and hyperbole abound in his fantastic history of the mythical town of Macondo separated by mountains and a swamp road from everything else and of the Buend铆a family, whose lifeblood was the dramatic heart of the village from inception until the fateful end.
Garc铆a M谩rquez employs incestuous and repetitive family situations to emphasize his chronicle and a dynamic characterization that is labyrinthine in its complexity. Dark humor walks the ancient halls of the ancestral mansion home along with the ghosts of those who have come before. Incredibly Garc铆a M谩rquez ties it all together into a complete and prophetically sound ending that breathes like poetry to the finish.
Finally I must concede that this review is wholly inadequate. This is a book that must be read.
**** 2018 - I had a conversation about this book recently and I was asked "what was the big deal?why was this so special?" It had been a while since I had read but my response was that after turning the last page I was struck dumb, had to walk the earth metaphorically for a few days to gather my thoughts on what I had read - really more than that, what I had experienced. I read alot of books and a book that smacks me like that deserves some reflection.
Another indicator to me, and this is also subjective - is that I have thought about this book frequently since. I read a book and enjoy it, was entertained and escaped for a while into the writer's world, and then I finish and write a review, slap a 3 star on it and go to the next book. There are some books, years later that I have to refresh my memory: who wrote that? what was it about? Not so with 100 years. Like so many other five star ratings, this one has stayed with me and I think about Macondo sometimes and can see the weeds and vines growing up through the hardwood floors.
This is a special book.
In all of world literature there is a division: 1) One Hundred Years of Solitude and 2) all other books.
***
Mystical and captivating.
One Hundred Years of Solitude by Nobel laureate Gabriel Garc铆a M谩rquez, first published in 1967 in his native Colombia and then first published in English in 1970, is a unique literary experience, overwhelming in its virtuosity and magnificent in scope.
I recall my review of Tolstoy鈥檚 , trying to describe a book like it and realizing there are no other books like it; it is practically a genre unto itself. That said, One Hundred Years of Solitude is a masterpiece of narrative ability, and is itself unique as a statement, but reminiscent of many other great books: Pasternak鈥檚 , Lowry鈥檚 , Buck鈥檚 , and Joyce鈥檚 were the works that I thought of while reading, but no doubt this is a one of a kind.
Using all of the literary devices I have ever learned and making up many more as he went along, Garc铆a M谩rquez established a new epoch of descriptive resonance. Magic realism and hyperbole abound in his fantastic history of the mythical town of Macondo separated by mountains and a swamp road from everything else and of the Buend铆a family, whose lifeblood was the dramatic heart of the village from inception until the fateful end.
Garc铆a M谩rquez employs incestuous and repetitive family situations to emphasize his chronicle and a dynamic characterization that is labyrinthine in its complexity. Dark humor walks the ancient halls of the ancestral mansion home along with the ghosts of those who have come before. Incredibly Garc铆a M谩rquez ties it all together into a complete and prophetically sound ending that breathes like poetry to the finish.
Finally I must concede that this review is wholly inadequate. This is a book that must be read.
**** 2018 - I had a conversation about this book recently and I was asked "what was the big deal?why was this so special?" It had been a while since I had read but my response was that after turning the last page I was struck dumb, had to walk the earth metaphorically for a few days to gather my thoughts on what I had read - really more than that, what I had experienced. I read alot of books and a book that smacks me like that deserves some reflection.
Another indicator to me, and this is also subjective - is that I have thought about this book frequently since. I read a book and enjoy it, was entertained and escaped for a while into the writer's world, and then I finish and write a review, slap a 3 star on it and go to the next book. There are some books, years later that I have to refresh my memory: who wrote that? what was it about? Not so with 100 years. Like so many other five star ratings, this one has stayed with me and I think about Macondo sometimes and can see the weeds and vines growing up through the hardwood floors.
This is a special book.
May 29, 2011
I guarantee that 95% of you will hate this book, and at least 70% of you will hate it enough to not finish it, but I loved it. Guess I was just in the mood for it. Here's how it breaks down:
AMAZING THINGS: I can literally feel new wrinkles spreading across the surface of my brain when I read this guy. He's so wicked smart that there's no chance he's completely sane. His adjectives and descriptions are 100% PERFECT, and yet entirely nonsensical. After reading three chapters, it starts making sense... and that's when you realize you're probably crazy, too. And you are. We all are.
The magical realism style of the book is DELICIOUS. Sure, it's an epic tragedy following a long line of familial insanity, but that doesn't stop the people from eating dirt, coming back from the dead, spreading a plague of contagious insomnia, or enjoying a nice thunderstorm of yellow flowers. It's all presented in such a natural light that you think, "Of course. Of course he grows aquatic plants in his false teeth. Now why wouldn't he?"
This guy is the epitome of unique. Give me a single sentence, ANY SENTENCE the man has ever written, and I will recognize it. Nobody writes like him. (Also, his sentences average about 1,438 words each, so pretty much it's either him or Faulkner)
REASONS WHY MOST OF YOU WILL HATE THIS BOOK: I have to engage every ounce of my mental ability just to understand what the *@ is going on! Most people who read for relaxation and entertainment will want to send Marquez hate mail.
Also, there are approximately 20 main characters and about 4 names that they all share. I realize that's probably realistic in Hispanic cultures of the era, but SERIOUSLY, by the time you get to the sixth character named Aureliano, you'll have to draw yourself a diagram. Not even the classic Russians suffer from as much name-confusion as this guy.
On an uber-disturbing note, Marquez has once again (as he did in Love in the Time of Cholera) written a grown man having sex with a girl as young as 9... which is pretty much #1 on my list of "Things That Make You Go EWW!!!" He makes Lolita look like Polyanna on the virtue chart! (Note to authors: You give ONE of your characters a unique, but disgusting characteristic and it's good writing. Give it to more than one, and we start thinking we're reading your psychological profile, ya creep!)
If you feel like pushing your brain to its max, read it. The man did win the Nobel after all, it's amazing. But get ready to work harder to understand something than you ever have before in your life. And may God be with you.
FAVORITE QUOTES: (coincidentally also the shortest ones in the book)
She had the rare virtue of never existing completely except at the opportune moment.
He soon acquired the forlorn look that one sees in vegetarians.
Children inherit their parents' madness.
He really had been through death, but he had returned because he could not bear the solitude.
The air was so damp that fish could have come in through the doors and swum out the windows.
He was unable to bear in his soul the crushing weight of so much past.
It's enough for me to be sure that you and I exist at this moment.
A person doesn't die when he should but when he can.
AMAZING THINGS: I can literally feel new wrinkles spreading across the surface of my brain when I read this guy. He's so wicked smart that there's no chance he's completely sane. His adjectives and descriptions are 100% PERFECT, and yet entirely nonsensical. After reading three chapters, it starts making sense... and that's when you realize you're probably crazy, too. And you are. We all are.
The magical realism style of the book is DELICIOUS. Sure, it's an epic tragedy following a long line of familial insanity, but that doesn't stop the people from eating dirt, coming back from the dead, spreading a plague of contagious insomnia, or enjoying a nice thunderstorm of yellow flowers. It's all presented in such a natural light that you think, "Of course. Of course he grows aquatic plants in his false teeth. Now why wouldn't he?"
This guy is the epitome of unique. Give me a single sentence, ANY SENTENCE the man has ever written, and I will recognize it. Nobody writes like him. (Also, his sentences average about 1,438 words each, so pretty much it's either him or Faulkner)
REASONS WHY MOST OF YOU WILL HATE THIS BOOK: I have to engage every ounce of my mental ability just to understand what the *@ is going on! Most people who read for relaxation and entertainment will want to send Marquez hate mail.
Also, there are approximately 20 main characters and about 4 names that they all share. I realize that's probably realistic in Hispanic cultures of the era, but SERIOUSLY, by the time you get to the sixth character named Aureliano, you'll have to draw yourself a diagram. Not even the classic Russians suffer from as much name-confusion as this guy.
On an uber-disturbing note, Marquez has once again (as he did in Love in the Time of Cholera) written a grown man having sex with a girl as young as 9... which is pretty much #1 on my list of "Things That Make You Go EWW!!!" He makes Lolita look like Polyanna on the virtue chart! (Note to authors: You give ONE of your characters a unique, but disgusting characteristic and it's good writing. Give it to more than one, and we start thinking we're reading your psychological profile, ya creep!)
If you feel like pushing your brain to its max, read it. The man did win the Nobel after all, it's amazing. But get ready to work harder to understand something than you ever have before in your life. And may God be with you.
FAVORITE QUOTES: (coincidentally also the shortest ones in the book)
She had the rare virtue of never existing completely except at the opportune moment.
He soon acquired the forlorn look that one sees in vegetarians.
Children inherit their parents' madness.
He really had been through death, but he had returned because he could not bear the solitude.
The air was so damp that fish could have come in through the doors and swum out the windows.
He was unable to bear in his soul the crushing weight of so much past.
It's enough for me to be sure that you and I exist at this moment.
A person doesn't die when he should but when he can.
March 17, 2020
"What is your favourite book, mum?"
How many times have my children asked me that, growing up with a mother who spends most of her time reading - to them, alone, for work, for pleasure - or looking for new books in bookstores wherever we happen to be.
"I can't answer that, there are so many books I love, and in different ways!"
"Just name one that comes to mind!"
And I said, without really knowing why, and without thinking:
"One Hundred Years Of Solitude!"
"Why?"
"Because..."
This novel taught me that chaos and order are two sides of the same medal - called family life. It taught me that sadness and love go hand in hand, and that life is easy and complicated at the same time. It taught me that many wishes actually come true, but never in the way we expect, and most often with a catch. It taught me that sun and rain follow each other, even though we might have to wait for four years, eleven months and two days for rain to stop falling sometimes. It taught me that there are as many recipes for love as there are lovers in the world, and that human beings are lazy and energetic, good and bad, young and old, ugly and beautiful, honest and dishonest, happy and sad, all at the same time, - together and lonely.
It taught me that we are forever longing for what we do not have, until we get what we long for. Then we start longing for what we lost when our dreams came true.
This novel opened up the world of absurdities to me, and dragged me in like no other. In each member of the Buend铆a family, I recognise some relation, or myself, or both. Macondo is the world in miniature, and wherever I go, it follows me like a shadow. It is not rich, peaceful, or beautiful. It is just Macondo. No more, no less.
My favourite book? I don't know. There are so many. But I don't think any other could claim to be more loved than this one.
How many times have my children asked me that, growing up with a mother who spends most of her time reading - to them, alone, for work, for pleasure - or looking for new books in bookstores wherever we happen to be.
"I can't answer that, there are so many books I love, and in different ways!"
"Just name one that comes to mind!"
And I said, without really knowing why, and without thinking:
"One Hundred Years Of Solitude!"
"Why?"
"Because..."
This novel taught me that chaos and order are two sides of the same medal - called family life. It taught me that sadness and love go hand in hand, and that life is easy and complicated at the same time. It taught me that many wishes actually come true, but never in the way we expect, and most often with a catch. It taught me that sun and rain follow each other, even though we might have to wait for four years, eleven months and two days for rain to stop falling sometimes. It taught me that there are as many recipes for love as there are lovers in the world, and that human beings are lazy and energetic, good and bad, young and old, ugly and beautiful, honest and dishonest, happy and sad, all at the same time, - together and lonely.
It taught me that we are forever longing for what we do not have, until we get what we long for. Then we start longing for what we lost when our dreams came true.
This novel opened up the world of absurdities to me, and dragged me in like no other. In each member of the Buend铆a family, I recognise some relation, or myself, or both. Macondo is the world in miniature, and wherever I go, it follows me like a shadow. It is not rich, peaceful, or beautiful. It is just Macondo. No more, no less.
My favourite book? I don't know. There are so many. But I don't think any other could claim to be more loved than this one.
March 28, 2008
So I know that I'm supposed to like this book because it is a classic and by the same author who wrote Love in the Time of Cholera. Unfortunately, I just think it is unbelievably boring with a jagged plot that seems interminable. Sure, the language is interesting and the first line is the stuff of University English courses. Sometimes I think books get tagged with the "classic" label because some academics read them and didn't understand and so they hailed these books as genius. These same academics then make a sport of looking down their noses at readers who don't like these books for the very same reasons. (If this all sounds too specific, yes I had this conversation with a professor of mine).
I know that other people love this book and more power to them, I've tried to read it all the way through three different times and never made it past 250 pages before I get so bored keeping up with all the births, deaths, magical events and mythical legends. I'll put it this way, I don't like this book for the same reason that I never took up smoking. If I have to force myself to like it, what's the point. When I start coughing and hacking on the first cigarette, that is my body telling me this isn't good for me and I should quit right there. When I start nodding off on the second page of One Hundred Years of Solitude that is my mind trying to tell me I should find a better way to pass my time.
I know that other people love this book and more power to them, I've tried to read it all the way through three different times and never made it past 250 pages before I get so bored keeping up with all the births, deaths, magical events and mythical legends. I'll put it this way, I don't like this book for the same reason that I never took up smoking. If I have to force myself to like it, what's the point. When I start coughing and hacking on the first cigarette, that is my body telling me this isn't good for me and I should quit right there. When I start nodding off on the second page of One Hundred Years of Solitude that is my mind trying to tell me I should find a better way to pass my time.
June 11, 2008
More like A Hundred Years of Torture. I read this partly in a misguided attempt to expand my literary horizons and partly because my uncle was a big fan of Gabriel Garcia Marquez. Then again, he also used to re-read Ulysses for fun, which just goes to show that you should never take book advice from someone whose IQ is more than 30 points higher than your own.
I have patience for a lot of excesses, like verbiage and chocolate, but not for 5000 pages featuring three generations of people with the same names. I finally tore out the family tree at the beginning of the book and used it as a bookmark! To be fair, the book isn鈥檛 actually 5000 pages, but also to be fair, the endlessly interwoven stories of bizarre exploits and fantastical phenomena make it seem like it is. The whole time I read it I thought, 鈥淭his must be what it鈥檚 like to be stoned.鈥� Well, actually most of the time I was just trying to keep the characters straight. The rest of the time I was wondering if I was the victim of odorless paint fumes. However, I think I was simply the victim of Marquez鈥檚 brand of magical realism, which I can take in short stories but find a bit much to swallow in a long novel. Again, to be fair, this novel is lauded and loved by many, and I can sort of see why. A shimmering panoramic of a village鈥檚 history would appeal to those who enjoy tragicomedy laced heavily with fantasy. It鈥檚 just way too heavily laced for me.
I have patience for a lot of excesses, like verbiage and chocolate, but not for 5000 pages featuring three generations of people with the same names. I finally tore out the family tree at the beginning of the book and used it as a bookmark! To be fair, the book isn鈥檛 actually 5000 pages, but also to be fair, the endlessly interwoven stories of bizarre exploits and fantastical phenomena make it seem like it is. The whole time I read it I thought, 鈥淭his must be what it鈥檚 like to be stoned.鈥� Well, actually most of the time I was just trying to keep the characters straight. The rest of the time I was wondering if I was the victim of odorless paint fumes. However, I think I was simply the victim of Marquez鈥檚 brand of magical realism, which I can take in short stories but find a bit much to swallow in a long novel. Again, to be fair, this novel is lauded and loved by many, and I can sort of see why. A shimmering panoramic of a village鈥檚 history would appeal to those who enjoy tragicomedy laced heavily with fantasy. It鈥檚 just way too heavily laced for me.
September 5, 2022
"Upset by two nostalgias facing each other like two mirrors, he lost his marvellous sense of unreality and he ended up recommending to all of them that they leave Macondo, that they forget everything he had taught them about the world and the human heart, that they shit on Horace, and that wherever they might be they always remember that the past was a lie, that memory has no return, that every spring gone by could never be recovered, and that the wildest and most tenacious love was an ephemeral truth in the end."
November 20, 2024
Years are passing by but time stands still 鈥� such is a perception of solitude鈥� Such is a feeling created by One Hundred Years of Solitude 苍辞惫别濒鈥�
A myth, legend, fable, allegory, chronicle, epopee, saga, fairytale 鈥� call it as you please but magical realism applied by Gabriel Garc铆a M谩rquez to his narration encompasses all those.
Tempus fugit鈥�
鈥淥ne generation passeth away, and another generation cometh: but the earth abideth for ever.
The sun also ariseth, and the sun goeth down, and hasteth to his place where he arose.
The wind goeth toward the south, and turneth about unto the north; it whirleth about continually, and the wind returneth again according to his circuits.鈥� Ecclesiastes 1:4-6
A myth, legend, fable, allegory, chronicle, epopee, saga, fairytale 鈥� call it as you please but magical realism applied by Gabriel Garc铆a M谩rquez to his narration encompasses all those.
Remedios the Beauty was proclaimed queen. 脷rsula, who shuddered at the disquieting beauty of her great-granddaughter, could not prevent the choice. Until then she had succeeded in keeping her off the streets unless it was to go to mass with Amaranta, but she made her cover her face with a black shawl. The most impious men, those who would disguise themselves as priests to say sacrilegious masses in Catarino鈥檚 store, would go to church with an aim to see, if only for an instant, the face of Remedios the Beauty, whose legendary good looks were spoken of with alarming excitement throughout the swamp. It was a long time before they were able to do so, and it would have been better for them if they never had, because most of them never recovered their peaceful habits of sleep. The man who made it possible, a foreigner, lost his serenity forever, became involved in the sloughs of abjection and misery, and years later was cut to pieces by a train after he had fallen asleep on the tracks. From the moment he was seen in the church, wearing a green velvet suit and an embroidered vest, no one doubted that he came from far away, perhaps from some distant city outside of the country, attracted by the magical fascination of Remedios the Beauty. He was so handsome, so elegant and dignified, with such presence, that Pietro Crespi would have been a mere fop beside him, and many women whispered with spiteful smiles that he was the one who really should have worn the shawl. He did not speak to anyone in Macondo. He appeared at dawn on Sunday like a prince in a fairy tale, riding a horse with silver stirrups and a velvet blanket, and he left town after mass.
Tempus fugit鈥�
鈥淥ne generation passeth away, and another generation cometh: but the earth abideth for ever.
The sun also ariseth, and the sun goeth down, and hasteth to his place where he arose.
The wind goeth toward the south, and turneth about unto the north; it whirleth about continually, and the wind returneth again according to his circuits.鈥� Ecclesiastes 1:4-6
August 30, 2022
welcome to...ONE HUNDRED YEARS OF AUGUSTUDE!
while logically i know that is far from my best month / title pun, and is also actually among the worst, and in point of fact that's even worse than it sounds because my puns have never been good...
i like it. and that's that.
we are back for another exciting round of Project Long Classics, in which elle and i find it within our cowardly hearts to brave long books from old times only by dividing them up into teeny-tiny chunks for four entire weeks.
if it works, it works.
i have been putting off reading this for a long time, and i am still very scared, but i do have this joke to get off: one hundred years of solitude? sounds like quarantine, am i right?
buh dum ch!
okay. i'm ready to get started.
we're also reading this for our book club -
join the discussion
follow on instagram
let's go.
DAY 1: PAGES 1-15
it's august 3, i won't lie to you. i could never. my nose would grow. pinocchio was based on a true story from the future about a human woman who writes book reviews.
okay, i'm procrastinating. i'm scared and i have to read 50 pages today!!! sue me!
all right. couple of things: this is beautiful; i have a used copy, acquired at an unknown time but probably 5+ years ago, and it smells good as hell; i'm not catching up today.
DAY 2: PAGES 16-30
okay. honesty hour: it's day 7, and i'm 15 pages into this book. folks...i am SLUMPED. (also i've been busy and i have trouble prioritizing these projects NOTORIOUSLY when i'm busy, but who cares about that part.)
anyway, i've decided i'm ignoring it in order to indulge in my favorite way to spend a sunday: bringing 5-10 books in bed with me and alternating chapters all day, absolutely refusing to so much as make eye contact with another human being. so hopefully we catch up!
DAY 3: PAGES 31-45
okay...dare i say...i'm starting to have fun with this.
i'm definitely liking it more than a good number of the collected stories, i'll say that much.
DAY 4: PAGES 46-60
so far this is giving very much no plot just vibes, and i can't say i'm not into it. and it's a collected stories crossover episode!
DAY 5: PAGES 61-75
the drama!!! sheesh. although you have to respect a classic that just comes right out and admits that nothing in life is more interesting or important than love and sex.
most old books are always pretending it's something boring, like politics, or accounting, or blood feuds.
DAY 6: PAGES 76-90
maybe it's just me, but personally if i were selecting a wife out of everybody i knew, i'd probably pick someone who wasn't still literally wetting the bed. genuinely. not metaphorically.
but that's just my pref.
DAY 7: PAGES 91-105
caught up!!! in our third consecutive hour of reading!!! alternating with 6 other books!!! is there nothing a project cannot do!!!
there is just...so much going on here.
DAY 8: PAGES 106-120
pretty badass behavior happening here...i love it when women
DAY 9: PAGES 121-135 i took major advantage of the included family tree today, i'll say that. hoo boy.
DAY 10: PAGES 136-150
this is like. Intense to read. it never gets natural or easy in the way that most books do, even really old timey ones of major significance.
but it is so damn good.
DAY 11: PAGES 151-165
a lot of these fellas up to no damn good...
DAY 12: PAGES 166-180
did anyone else notice that i accidentally started numbering the days in decreasing order. (now fixed.)
how did that happen?! am i being pranked?? if someone hacked my account, please go to my messages and see how funny it is when men send desperate DMs to faceless book reviewers. i don't wanna be alone in the humor anymore.
anyway. amaranta pulls.
DAY 13: PAGES 181-195
another weekend, another two days i accidentally took off from reading in their entirety.
this is the first time that my 15 page intervals have actually lined up with a chapter. this is the height of luxury!!
DAY 14: PAGES 196-210
this is such a fever-dream way to read a fever-dream book - cut up into senseless little chunks like this. it's already such a discombobulated and nonlinear read, and absolutely refusing to acknowledge chapters or page breaks of any kind is insane!
but fun.
DAY 15: PAGES 211-225
all the women in this book slay...they are very sexualized but also very badass. it's very fun to read about.
caught up!
DAY 16: PAGES 226-240
HOW is ursula still alive. we're on, like, our 8th aureliano.
DAY 17: PAGES 241-255
imagine being so hot it kills literally any man who doesn't leave you alone...
goals.
DAY 18: PAGES 256-270
make that like. 25 aurelianos.
back to 8 again.
DAY 19: PAGES 271-285
URSULA!!!!!!! I LOVE YOU DON'T GO!!!!!!!
i know you're like 200 years old and i just took you for granted like 3 days ago. but still.
DAY 20: PAGES 286-300
since my mourning cry for ursula, multiple people have died but she is not among them?? what a rollercoaster of emotions.
there is a girl whose name is truly Meme in this and she is just as wonderful as her name would indicate. anyway generally the women in this remain discernible and one of a kind and interesting through this whole crazy book, while the men continue to bore me and be absolutely impossible to keep straight.
DAY 21: PAGES 301-315
folks, we're behind again.
because even when my weekends are extremely lazy (read: indoors and conducted in solitude, as is my wont), and even when my weeks consist of little to no reading, something in my soul says that i should take at LEAST one saturday or sunday off entirely.
i can't help it.
DAY 22: PAGES 316-330
there are like 200 characters in this book and 196 of them have been publicly executed.
DAY 23: PAGES 331-345
ursula somehow still alive and kicking. i love when magical realism is just like..."it rained for four years straight and this woman is like 180 years old."
DAY 24: PAGES 346-360
under 100 pages to go and i feel confident stating there will never be a plot! and for that reason i have to stan.
i cannot keep these men straight for even one second and yet i could summarize each female character in a paragraph by first name alone. it's the misandrist in me. also the fact that every man has one of two names. but still.
DAY 25: PAGES 361-375
aaaand it's an almost-no-paragraph-breaks day. of course. on a morning when my entire operating system feels like it's been replaced by a rube goldberg machine, which i just almost called a lou gehrig's machine.
did i say morning? it's 12:48 p.m.
onward and upward. anyway. intense chapter!
DAY 26: PAGES 376-390
how does a book with no plot conclude? not sure. seems like a lot of death but that's also par for the course for the most part.
DAY 27: PAGES 391-405
goddamn this is one cursed family.
DAY 28: PAGES 406-420
seems pretty late to be introducing new major characters but what do i know! this book plays by its own rules.
DAY 29: PAGES 421-435
the penultimate day! and we've reached the Sweeping Statements About Love And Decline And Meaning section. i'll miss reading this book but i'm so excited to see how it concludes.
DAY 30: PAGES 436-448
whoa.
OVERALL
this book is wild, lovely, and weird, conveying in a completely unique way themes about family and time and suffering and love. i can't decide whether reading it in arbitrary doses over a month is the best or worst way to do so, but i had a good time!
rating: 3.5
while logically i know that is far from my best month / title pun, and is also actually among the worst, and in point of fact that's even worse than it sounds because my puns have never been good...
i like it. and that's that.
we are back for another exciting round of Project Long Classics, in which elle and i find it within our cowardly hearts to brave long books from old times only by dividing them up into teeny-tiny chunks for four entire weeks.
if it works, it works.
i have been putting off reading this for a long time, and i am still very scared, but i do have this joke to get off: one hundred years of solitude? sounds like quarantine, am i right?
buh dum ch!
okay. i'm ready to get started.
we're also reading this for our book club -
join the discussion
follow on instagram
let's go.
DAY 1: PAGES 1-15
it's august 3, i won't lie to you. i could never. my nose would grow. pinocchio was based on a true story from the future about a human woman who writes book reviews.
okay, i'm procrastinating. i'm scared and i have to read 50 pages today!!! sue me!
all right. couple of things: this is beautiful; i have a used copy, acquired at an unknown time but probably 5+ years ago, and it smells good as hell; i'm not catching up today.
DAY 2: PAGES 16-30
okay. honesty hour: it's day 7, and i'm 15 pages into this book. folks...i am SLUMPED. (also i've been busy and i have trouble prioritizing these projects NOTORIOUSLY when i'm busy, but who cares about that part.)
anyway, i've decided i'm ignoring it in order to indulge in my favorite way to spend a sunday: bringing 5-10 books in bed with me and alternating chapters all day, absolutely refusing to so much as make eye contact with another human being. so hopefully we catch up!
DAY 3: PAGES 31-45
okay...dare i say...i'm starting to have fun with this.
i'm definitely liking it more than a good number of the collected stories, i'll say that much.
DAY 4: PAGES 46-60
so far this is giving very much no plot just vibes, and i can't say i'm not into it. and it's a collected stories crossover episode!
DAY 5: PAGES 61-75
the drama!!! sheesh. although you have to respect a classic that just comes right out and admits that nothing in life is more interesting or important than love and sex.
most old books are always pretending it's something boring, like politics, or accounting, or blood feuds.
DAY 6: PAGES 76-90
maybe it's just me, but personally if i were selecting a wife out of everybody i knew, i'd probably pick someone who wasn't still literally wetting the bed. genuinely. not metaphorically.
but that's just my pref.
DAY 7: PAGES 91-105
caught up!!! in our third consecutive hour of reading!!! alternating with 6 other books!!! is there nothing a project cannot do!!!
there is just...so much going on here.
DAY 8: PAGES 106-120
pretty badass behavior happening here...i love it when women
DAY 9: PAGES 121-135 i took major advantage of the included family tree today, i'll say that. hoo boy.
DAY 10: PAGES 136-150
this is like. Intense to read. it never gets natural or easy in the way that most books do, even really old timey ones of major significance.
but it is so damn good.
DAY 11: PAGES 151-165
a lot of these fellas up to no damn good...
DAY 12: PAGES 166-180
did anyone else notice that i accidentally started numbering the days in decreasing order. (now fixed.)
how did that happen?! am i being pranked?? if someone hacked my account, please go to my messages and see how funny it is when men send desperate DMs to faceless book reviewers. i don't wanna be alone in the humor anymore.
anyway. amaranta pulls.
DAY 13: PAGES 181-195
another weekend, another two days i accidentally took off from reading in their entirety.
this is the first time that my 15 page intervals have actually lined up with a chapter. this is the height of luxury!!
DAY 14: PAGES 196-210
this is such a fever-dream way to read a fever-dream book - cut up into senseless little chunks like this. it's already such a discombobulated and nonlinear read, and absolutely refusing to acknowledge chapters or page breaks of any kind is insane!
but fun.
DAY 15: PAGES 211-225
all the women in this book slay...they are very sexualized but also very badass. it's very fun to read about.
caught up!
DAY 16: PAGES 226-240
HOW is ursula still alive. we're on, like, our 8th aureliano.
DAY 17: PAGES 241-255
imagine being so hot it kills literally any man who doesn't leave you alone...
goals.
DAY 18: PAGES 256-270
make that like. 25 aurelianos.
back to 8 again.
DAY 19: PAGES 271-285
URSULA!!!!!!! I LOVE YOU DON'T GO!!!!!!!
i know you're like 200 years old and i just took you for granted like 3 days ago. but still.
DAY 20: PAGES 286-300
since my mourning cry for ursula, multiple people have died but she is not among them?? what a rollercoaster of emotions.
there is a girl whose name is truly Meme in this and she is just as wonderful as her name would indicate. anyway generally the women in this remain discernible and one of a kind and interesting through this whole crazy book, while the men continue to bore me and be absolutely impossible to keep straight.
DAY 21: PAGES 301-315
folks, we're behind again.
because even when my weekends are extremely lazy (read: indoors and conducted in solitude, as is my wont), and even when my weeks consist of little to no reading, something in my soul says that i should take at LEAST one saturday or sunday off entirely.
i can't help it.
DAY 22: PAGES 316-330
there are like 200 characters in this book and 196 of them have been publicly executed.
DAY 23: PAGES 331-345
ursula somehow still alive and kicking. i love when magical realism is just like..."it rained for four years straight and this woman is like 180 years old."
DAY 24: PAGES 346-360
under 100 pages to go and i feel confident stating there will never be a plot! and for that reason i have to stan.
i cannot keep these men straight for even one second and yet i could summarize each female character in a paragraph by first name alone. it's the misandrist in me. also the fact that every man has one of two names. but still.
DAY 25: PAGES 361-375
aaaand it's an almost-no-paragraph-breaks day. of course. on a morning when my entire operating system feels like it's been replaced by a rube goldberg machine, which i just almost called a lou gehrig's machine.
did i say morning? it's 12:48 p.m.
onward and upward. anyway. intense chapter!
DAY 26: PAGES 376-390
how does a book with no plot conclude? not sure. seems like a lot of death but that's also par for the course for the most part.
DAY 27: PAGES 391-405
goddamn this is one cursed family.
DAY 28: PAGES 406-420
seems pretty late to be introducing new major characters but what do i know! this book plays by its own rules.
DAY 29: PAGES 421-435
the penultimate day! and we've reached the Sweeping Statements About Love And Decline And Meaning section. i'll miss reading this book but i'm so excited to see how it concludes.
DAY 30: PAGES 436-448
whoa.
OVERALL
this book is wild, lovely, and weird, conveying in a completely unique way themes about family and time and suffering and love. i can't decide whether reading it in arbitrary doses over a month is the best or worst way to do so, but i had a good time!
rating: 3.5
February 19, 2022
卮毓賭賭賭賭賭賵乇賰 亘丕賱毓噩賭賭賭賭賭夭
賴匕賴 賴賷 賲卮賰賱丞 丕賱乇賵丕賷丞 丕賱賰亘乇賶
兀賳鬲 賮賷 丨丕賱 賲賳 丕賱丕賮鬲賳丕賳 賵丕賱賳卮賵丞 賱丕 賷賵氐賮
賵丕賳毓賯丕丿 賱爻丕賳賰 賷爻亘賯 兀賮賰丕乇賰
賵賷亘賯賶 亘丿丕禺賱賰 氐乇丕毓 丿丕卅賲
賷鬲噩爻丿 賮賷 賲丨丕賵賱丕鬲 賲囟丨賰丞 賱賱鬲毓亘賷乇 毓賳 賴匕賴 丕賱賲鬲毓丞
賱匕丕 賰賳鬲 丕丨丕賵賱 賲乇丕乇丕賸 禺賱賯 丕賱鬲毓亘賷乇丕鬲 丕賱賲賳丕爻亘丞 賮兀噩丿賴丕 鬲禺乇噩 賱爻丕賳賴丕 賮賷 爻禺乇賷丞 鬲丕乇賰丞 廿賷丕賷 賮賷 丨賷乇丞 賵賯賱丞 丨賷賱丞
毓賳丿賲丕 兀賲爻賰鬲 亘賴匕賴 丕賱乇賵丕賷丞 賱兀賵賱 賲乇賾丞 卮毓乇鬲 亘丕賳賮氐丕賱 鬲丕賲 毓賳 丕賱賵丕賯毓 賲賳 丨賵賱賷
賵噩丿鬲賳賷 亘丿丕禺賱 賲丕賰賵賳丿賵 丨賷賾丞 兀鬲賳賮爻 賵兀乇賶 丕賱卮禺氐賷丕鬲 賲賳 丨賵賱賷 鬲鬲氐丕乇毓 賲毓 丨賷賵丕鬲賴丕 賰賲丕 兀乇丕丿 賱賴丕 禺丕賱賯賴丕 丕賱毓亘賯乇賷
兀賳丕 賰賳鬲購 賴賳丕賰 賵賱丕 兀亘丕賱睾 亘丨乇賮
丨賱賾賯鬲購 亘禺賮丞 亘賷賳 賲賵噩丕鬲 丕賱丨乇 丕賱毓賳賷賮丞
兀丨爻爻鬲購 亘賰賱 卮賴賯丞 賵亘賰賱 賯胤乇丞 毓乇賯
匕亘鬲購 亘賷賳 卮賯賵賯 丕賱噩丿乇丕賳 賵 丿丕毓亘鬲購 丕賱賮乇丕卮丕鬲 丕賱氐賮乇丕亍
賵賴賰匕丕 賳丕賱鬲 丕賱乇賵丕賷丞 賲賳賷 孬賱丕孬 賯乇丕亍丕鬲 賮賷 兀賵賯丕鬲 賲禺鬲賱賮丞
賵賰賱 賲乇丞 賰丕賳 賷賱鬲氐賯 亘賷 亘毓囟 賲賳 賴匕丕 丕賱毓丕賱賲
賵賴匕賴 丕賱賲乇丞
卮毓乇鬲購 亘賰賱 賲丕 賴賵 丨賷 賵丨賯賷賯賷 亘丿丕禺賱賷 賷賳賮氐賱 毓賳賷 賱賷丨賱賯 賵丨丿賴 亘毓賷丿丕賸
亘毓賷丿丕賸 毓賳 賰賱 賲丕 鬲丨胤賲 亘丿丕禺賱賷 鈥徹屬堎冑� 賲丕 賲夭賯鬲賴 丕賱爻賳賵賳 賮賷 賲丕賰賵賳丿賵
賲夭噩鬲 丕賱毓丕賱賲賷賳 賲毓丕賸 賮賷 賲禺賷賱鬲賷 賵鬲賲丕夭噩鬲 丕賱兀賵噩丕毓 亘亘毓囟賴丕
賲賳 賷爻鬲胤賷毓 丕賱鬲賳丕睾賲 賲毓 丕賱毓夭賱丞 兀賰孬乇 賲賳 賮乇丿 賲毓夭賵賱 毓賳 丕賱毓丕賱賲 賮賷 亘賯毓丞 氐睾賷乇丞 賲賳 丕賱爻賰賵賳責
毓卮鬲購 丕賱毓夭賱丞 兀睾賱亘 爻賳賵丕鬲 毓賲乇賷
兀賯賱賾亘 賮鬲丕賮賷鬲 毓丕賱賲賷 亘賲賱毓賯丞
鬲胤丕乇丿賳賷 賰賱 兀賮賰丕乇 丕賱丿賳賷丕 貙賵兀賳丕 賲毓夭賵賱丞 亘賷賳 噩丿乇丕賳 賱丕 兀乇賷丿 賲賮丕乇賯鬲賴丕
賰丕賳鬲 禺賱丕賷丕賷 鬲賳丕囟賱 賱鬲亘賯賶 賵丨賷丿丞 賮賷 毓丕賱賲 兀乇丕賳賷 賱丕 兀賳鬲賲賷 廿賱賷賴
亘丿丕禺賱賷 兀賯賲鬲 賲丿賳丕賸 賱丕 賷爻賰賳賴丕 爻賵丕賷
丨丿丕卅賯 兀夭賴丕乇賴丕 賱丕 鬲賳鬲賲賷 賱鬲乇丕亘 賴匕賴 丕賱兀乇囟
毓丕賳賯鬲購 賰賱 賲丕 賴賵 匕賷 賲毓賳賶 賵鬲乇賰鬲購 丕賱賱丕賲毓賳賶 禺丕乇噩丕賸 賷丿丕毓亘 兀賱賵賮 賲賳 丕賱亘卮乇 賷賵賲賷丕賸
賰賷賮 賷賲賰賳 賱毓丕卅賱丞 兀賳 鬲賳丕爻亘賳賷 兀賰孬乇 賲賳 毓丕卅賱丞 亘賵賷賳丿賷丕丕賱囟丕乇亘丞 亘噩匕賵乇賴丕 賮 賷 毓夭賱丞 丕賱乇賵丨 鈥徺堌з勜池�
賱兀賳賴 賲賯丿乇丕賸 賱賲丿賷賳丞 丕賱爻乇丕亘 兀賳 鬲匕賵乇賴丕 丕賱乇賷丕丨 賵鬲購賳賮賶 賲賳 匕丕賰乇丞 丕賱亘卮乇
賮賷 丕賱賱丨馗丞 丕賱鬲賷 賷賳鬲賴賷 賮賷賴丕 兀賵乇賱賷丕賳賵 亘賵賷賳丿賷丕 賲賳 丨賱賾 乇賲賵夭 丕賱乇賯丕賯
賵兀賳 賰賱 賲丕 賴賵 賲賰鬲賵亘 賮賷賴丕 賱丕 賷賲賰賳 兀賳 賷鬲賰乇乇 賲賳匕 丕賱兀夭賱 廿賱賶 丕賱兀亘丿
賱兀賳 丕賱爻賱丕賱丕鬲 丕賱賲丨賰賵賲丞 亘賲卅丞 毓丕賲 賲賳 丕賱毓夭賱丞 貙 賱賷爻鬲 賱賴丕 賮乇氐丞 兀禺乇賶 毓賱賶 丕賱兀乇囟
賲丕 丕賱匕賷 賮毓賱賴 賲丕乇賰賷夭 亘賷責
賰賷賮 兀賳鬲噩 毓丕賱賲丕賸 賰丕賲賱丕賸 亘賷賳 丿賮鬲賷 賰鬲丕亘 貙賵兀鬲賯賳 氐賳賷毓鬲賴 廿賱賶 賴匕丕 丕賱丨丿責
賵 丕爻鬲胤丕毓 亘亘囟毓 兀爻賲丕亍 兀賳 賷禺賱賯 鬲噩丕賳爻丕賸 賮賷 丕賱卮賰賱 賵丕賱賲賱丕賲丨
賮賷 丕賱禺賵丕胤乇 賵丕賱兀丨賱丕賲
賮賷 賯乇丕乇丕鬲 丕賱丨賷丕丞
賵賮賷 丕賱賲氐賷乇 丕賱賲丐賱賲
賵賮賷 賳賮爻 丕賱賵賯鬲 禺賱賯 丕賱丕禺鬲賱丕賮 賷丿丕毓亘 丕賱鬲噩丕賳爻 禺胤賵丞 亘禺胤賵丞 賵賷鬲賲乇丿 毓賱賷賴
賮氐丕睾 兀亘胤丕賱賴 亘丨乇賮賷丞 氐賷丕睾丞 丕賱賰賵賱賵賳賷賱 兀賵乇賱賷丕賳賵 賱兀爻賲丕賰賴 丕賱匕賴亘賷丞
賰賳鬲購 兀鬲禺賷賱 賲丕乇賰賷夭 賷噩賱爻 賲賳毓夭賱丕 賮賷 睾乇賮丞
賷賲爻賰 亘卮禺氐賷丕鬲賴 賰賲丕 賷賲爻賰 丕賱賰賵賱賵賳賷賱 亘爻賲賰丕鬲賴鈥�
賷毓噩賳賴丕 亘賷丿賷賴 賵賷卮賰賱 兀賵賴丕賲賴丕 賵丨賯賷賯鬲賴丕 亘賲賴丕乇丞 鈥�
賷囟賷賮 賱賲丕爻鬲賴 丕賱賲賲賵賴丞 亘亘氐賲鬲賴
賰賲丕 賷賱氐賯 兀賵乇賱賷丕賳賵 毓賷賵賳 丕賱爻賲賰 丕賱賷丕賯賵鬲賷丞 賮鬲鬲賵賴噩 丕賱賲賱丕賲丨 賮賷 乇賵丨賰
賵毓賳丿賲丕 賷賰鬲賲賱 毓丿丿賴丕 賷氐賴乇賴丕 賲賳 噩丿賷丿 賰賷 賷賳鬲噩 噩賷賱丕賸 噩丿賷丿丕賸 賷丨賲賱 賳賮爻 丕賱廿爻賲 賵丕賱賲賱丕賲丨 亘胤毓賲 鈥徺堎呚蒂娯� 賲丐賱賲 噩丿賷丿賷賳
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亘賷賳 鬲毓爻賾賮 丌賲丕乇丕賳鬲丕 賵丨夭賳賴丕 丕賱賲匕毓賵乇貙 賵氐賱賮 賮乇賳丕丿賳丕 賵兀胤亘丕亍賴丕 丕賱賲鬲禺賷賱賷賳
賵亘乇丕亍丞 乇賷賲賷丿賷賵爻 丕賱胤賮賱丞 賵丿賲丕賴丕 貙 賵 賯爻賵丞 兀乇賰丕丿賷賵 丕賱鬲賷 胤丕乇丿鬲賴 賲賳匕 丕賱賱丨馗丞 丕賱鬲賷 乇兀賶 賮賷賴丕 毓賲賱賷丞 廿毓丿丕賲
賵氐賱丕亘丞 兀賵乇爻賵賱丕 賵毓夭賷賲鬲賴丕 丕賱賲孬賷乇丞 賱賱廿毓噩丕亘
鬲毓賷卮 賱丨馗丕鬲 爻丨乇賷丞 賱丕 賲毓賯賵賱丞
賱丕卮賷亍 賮賷賴丕 亘賱賵賳賺 賵丕丨丿 賵賱丕 賷毓乇賮 丨丿丞 丕賱兀亘賷囟 兀賵 丕賱兀爻賵丿
賮賯丿 賷兀鬲賷 丕賱毓匕丕亘 賲賳 丕賱噩賲丕賱 丕賱亘丕賴乇 賵丕賱爻匕丕噩丞 亘胤乇賷賯丞 賱丕 鬲鬲賵賯毓賴丕 廿賱丕 賲毓 賵丨卮賷丞 丕賱賯鬲丕賱 賵丿賲賵賷鬲賴
賮乇賷賲賷丿賷賵爻 丕賱噩賲賷賱丞 鬲兀鬲賷 賮賷 賵爻胤 丕賱乇賵丕賷丞 賲孬賱 賰丕卅賳賺 亘賱賵乇賷 卮賮丕賮
鬲賯鬲乇亘 賲賳賴 賲亘賴賵乇丕賸 亘賱卅賱丕卅賴
賮鬲毓丕賳賯 噩亘賱丕賸 噩賱賷丿賷丕賸 鬲鬲噩賲丿 賲毓賴 丨鬲賶 丕賱賲賵鬲
兀賵 賰鬲賱丞 夭噩丕噩賷丞 氐丕賮賷丞 亘乇賷卅丞 鬲賲夭賯 賱丨賲賰 賵鬲鬲卮乇亘 丿賲賰 丨鬲賶 丕賱賲賵鬲
賲孬賱 丕賱噩賱賷丿 丕賱匕賷 亘賯賶 賷胤丕乇丿 乇賵丨 丕賱賰賵賱賵賳賷賱 兀賵乇賱賷丕賳賵
賵賲孬賱 卮亘丨 匕賷賱 丕賱禺賳夭賷乇 丕賱匕賷 馗賱 賷丨賵賲 丨賵賱 丕賱亘賷鬲 丕賱賰亘賷乇 丨鬲賶 鬲賲賰賳 賲賳賴
賱賷賳亘毓孬 賲賳賴丕 兀賳賮丕爻 賲賵鬲 貙 賱丕 賱賮丨丕鬲 丨亘
賵鬲賳鬲賴賷 賲丨賱賯丞 賲毓 賲賱丕亍丕鬲 丕賱亘賷鬲 廿賱賶 丕賱爻賲丕亍 賮賷 胤亘賯丕鬲 丕賱賴賵丕亍 丕賱毓賱賷丕 丨賷孬 賱丕 鬲爻鬲胤賷毓 丕賱賵氐賵賱 廿賱賷賴丕 兀毓賱賶 胤賷賵乇 丕賱匕丕賰乇丞 鬲丨賱賷賯丕賸
賲賷賳 兀賷賳 賷亘丿兀 丕賱爻丨乇 賴賳丕責
賴賱 乇兀賶 賲賷賱賰丕丿賷爻 賯丿乇 丕賱毓丕卅賱丞 兀賲 禺胤賴 賴賵 亘賷丿賷賴責
賴賱 鬲卮賵賮 丕賱丨賵丕丿孬 丕賱毓噩賷亘丞 賮賷 亘賱賱賵乇鬲賴 丕賱爻丨乇賷丞 兀賲 賰丕賳鬲 賱毓賳丞 鬲賱賰 丕賱鬲賷 兀胤賱賯鬲賴丕 鬲毓丕賵賷匕賴 毓亘乇 乇賲賵夭賴丕 丕賱爻賳爻賰乇賷鬲賷丞責
賰賷賮 賮毓賱賴丕 賲賷賱賰丕丿賷爻 亘賷賳 賲賵丕賯丿 丕賱賲禺亘乇 賵賮賯丕毓丕鬲 丕賱鬲噩丕乇亘 賮賷 丕賱賯賵丕乇賷乇 賵兀夭賷夭 睾賱賷丕賳 丕賱夭卅亘賯責
賵賰賷賮 賳卮兀鬲 賲丕賰賵賳丿賵 丨賯丕賸責
兀賴賷 氐購賲賲鬲 亘毓乇賯 禺賵爻賷賴 丕賱兀賰亘乇 賵賰賮丕丨 兀賵乇爻賵賱丕 兀賲 賳卮兀鬲 亘賷賳 兀亘禺乇丞 賲禺亘乇 亘丿丕卅賷 賯丿賾乇 賱賴 兀賳 賷賰賵賳 丕賱賲亘鬲丿賶 賲賳賴 賵廿賱賷賴 丕賱賲賳鬲賴賶責
賲賳 兀賷賳 噩丕亍鬲 賴匕賴 丕賱毓丕卅賱丞 丕賱鬲賷 賷賵賱丿 胤賮賱賴丕 丕賱兀賵賱 亘賷賳 丕賱賲爻鬲賳賯毓丕鬲
亘丿賵賳 匕賷賱 禺賳夭賷乇 賵亘乇睾亘丞 兀亘丿賷丞 賮賷 丕賱噩賳賵賳
賱賷卮賴丿 亘丿丕賷丞 賲丕賰賵賳丿賵
賵賷賵賱丿 胤賮賱賴丕 丕賱兀禺賷乇 亘賷賳 兀賳賯丕囟 丕賱亘賷鬲 賵爻胤 丕賱丨卮乇丕鬲 賵賱賮丨丕鬲 丕賱丨乇 丕賱兀禺賷乇丞
亘匕賷賱 禺賳夭賷乇 賲賳 丨亘賺賾 丨乇丕賲
賰賷 鬲鬲丨賯賯 丕賱賳亘丐丞
賵賰賷 賷賲賵鬲 丕賱噩賳賵賳 賮賷賴 賯亘賱 兀賳 賷亘丿兀
賱賷卮賴丿 賳賴丕賷丞 賲丕賰賵賳丿賵
賵賮賷 噩賵 賷卮亘賴 丕賱賲爻鬲賳賯毓丕鬲 鬲爻賯胤 兀賵乇丕賯 賲丕乇賰賷夭 丕賱丨丕賲賱丞 丕賱乇賵丕賷丞 丕賱賲賳賯丨丞 賮賷 丕賱賵丨賱 賰賷 鬲毓賵丿 賱鬲噩賮賮賴丕 夭賵噩鬲賴 賵乇賯丞 賵乇賯丞
鬲乇丕賴丕 兀賰丕賳鬲 賱毓賳丞 賲賷賱賰丕丿賷爻 賱丨賯鬲 亘賴丕責
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禺丕囟 丕賱賰賵賱賵賳賷賱 兀賵乇賷賱賷丕賳賵 亘賵賷賳丿賷丕 32 丨乇亘丕賸 兀賴賱賷丞 禺爻乇賴丕 噩賲賷毓丕賸
賵賲賳 禺賱丕賱 賰賮丕丨賴 丕賱賲賰賱賱 亘禺賷亘丞 丕賱兀賲賱
賵廿丿乇丕賰賴 賮賷 丕賱賳賴丕賷丞 兀賳賴 禺丕囟 鬲賱賰 丕賱丨乇賵亘 賱賷賳鬲賴賷 賲賳毓夭賱丕賸 兀賰孬乇 賲賲丕 賰丕賳 爻丕禺胤丕賸 毓賱賶 丕賱毓丕賱賲 賵毓賱賶 賳賮爻賴
賵毓賱賶 賰賱 賮賰乇丞 亘丿兀鬲 賳亘賷賱丞 賵丕賳鬲賴鬲 賲丨胤賲丞 亘賵丨卮賷丞 丕賱丿賲 賵卮賴賵丞 丕賱爻賱胤丞
賵 賲丕乇賰賷夭 賰丕賳 丿賵賲丕 賲賳丕賴囟丕賸 賱噩賲賷毓 丕賱賲賲丕乇爻丕鬲 丕賱賯賲毓賷丞 賱丿賰鬲丕鬲賵乇賷丕鬲 丕賱毓丕賱賲 賵丿賰鬲丕鬲賵乇賷丞 兀賲賷乇賰丕 丕賱賱丕鬲賷賳賷丞 亘卮賰賱 禺丕氐 貙 賵賲丐賷丿丕賸 賱孬賵乇丕鬲 丕賱鬲丨乇乇
賵賯丿 禺丕囟 噩丿賴 丨乇賵亘丕賸 賮賷 兀賲乇賷賰丕 丕賱賱丕鬲賷賳賷丞 貙 賵賰丕賳 賲賷賱丕丿 賲丕乇賰賷夭 賷賵丕賮賯 爻賳丞 賲匕亘丨丞 廿囟乇丕亘 賲夭丕乇毓 丕賱賲賵夭 賵丕賱鬲賷 兀賳賰乇鬲賴丕 丕賱丨賰賵賲丞 賮兀毓丕丿 廿丨賷丕亍賴丕 賮賷 丕賱乇賵丕賷丞
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"賷賯賵賱 賲丕乇賰賷夭 "丕賱禺賷丕賱 賴賵 鬲賴賷卅丞 丕賱賵丕賯毓 賱賷氐亘丨 賮賳丕賸
鬲賳鬲賲賷 賴匕賴 丕賱乇賵丕賷丞 賱賳賵毓 兀丿亘賷 賷爻賲賾賶
magical realism
賵賮賷 賴匕丕 丕賱賳賵毓 賷爻乇賷 丕賱禺賷丕賱 賲丨賱賯丕賸 賮賷 亘賷卅丞 賵丕賯毓賷丞 亘丨賷孬 賷卮賰賱 噩夭亍丕賸 胤亘賷毓賷丕賸 賲賳賴丕
丨賷孬 賷賯賵賲 丨丿孬 卮丿賷丿 丕賱睾乇丕亘丞 亘睾夭賵 丨賷丕丞 賲賳胤賯賷丞 賵丕賯毓賷丞
賵廿賳 賰丕賳 丕賱賲丐賱賮 賯丿 賵氐賮 乇賵丕賷鬲賴 亘兀賳賴丕 鬲賳鬲賲賷 賱兀丿亘 丕賱賴乇賵亘 賲賳 丕賱賵丕賯毓
賰孬賷乇丞 賰丕賳鬲 丕賱乇賲賵夭 丕賱賲賲夭賵噩丞 亘丕賱禺賷丕賱 賮賷 丕賱乇賵丕賷丞
賮亘賷賳 丕賱爻賮賷賳丞 丕賱睾丕乇賯丞 貙 賵賵丨賱 丕賱賲爻鬲賳賯毓丕鬲 貙 賵卮噩乇丞 賰爻鬲賳丕亍 氐亘賵乇
賵亘賷丕賳賵賱丕 鬲乇賯丿 賮賷 丕賱馗賱丕賲 鬲氐丕丨亘賴丕 賲賱丕亍丞 亘賷囟丕亍
毓丕卮 丕賱兀亘胤丕賱 丨賷賵丕鬲賴賲 丕賱毓噩賷亘丞 賮賷 毓夭賱丞 兀亘丿賷丞 鬲丨鬲囟賳 亘乇賮賯 賴匕賴 丕賱氐賵乇 賮賷 丿賵丕禺賱賴賲 廿賱賶 丕賱兀亘丿
兀賰孬乇 孬賱丕孬 賲卮丕賴丿 鬲锟斤拷賱睾賱賵丕 廿賱賶 乇賵丨賷 兀賱賲丕賸
丌賲丕乇賳鬲丕 鬲囟毓 賷丿賴丕 賮賷 賮賷 噩賲乇 丕賱賲賵賯丿 廿賱賶 兀賳 鬲兀賱賲鬲 廿賱賶 丨丿 賱賲 鬲毓丿 鬲卮毓乇 賲毓賴 亘丕賱兀賱賲
賱賷亘賯賶 賱丨賲賴丕 丕賱賲丨乇賵賯 賵囟賲丕丿丞 丕賱卮丕卮 丕賱爻賵丿丕亍 賮賷 匕賴賳賷 胤賵丕賱 丕賱乇賵丕賷丞 賷胤丕乇丿賳賷
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賱丨馗丞 廿胤賱丕賯 丕賱賳丕乇 毓賱賶 賲丕賵乇賷爻賷賵 亘丕亘賷賱賵賳賷丕 賵賰兀賳賳賷 兀賳丕 丕賱鬲賷 兀賳賴丕乇 賮賷 睾乇賮丞 賳賵賲 賲賷賲賷
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賵賱丨馗丞 丕賰鬲卮丕賮 丌禺乇 兀賵乇賱賷丕賳賵 賲賳 丕賱爻賱丕賱丞 丕賱賵賱賷丿 賷鬲丨賵賱 賱噩賱丿 賲賳賮賵禺 亘毓丿 丕賱鬲賴丕賲 丕賱賳賲賱 丕賱兀丨賲乇 廿賷丕賴鈥�
亘賷賳 氐賮丨丕鬲 丕賱乇賵丕賷丞 賯囟賷鬲購 賵賯鬲丕賸 賱丕 賷囟丕賴賶
兀賯乇兀 賲賱丨賲丞 賲賳 兀毓馗賲 賲丕 賰購鬲亘 毓賱賶 賲乇 丕賱毓氐賵乇
毓賳 賲丿賷賳丞 賳亘鬲鬲 賮賷 丕賱賵丨賱 賵睾丕氐鬲 賮賷賴 賲噩丿丿丕賸
賱鬲鬲乇賰賳賷 賲毓 丌禺乇 氐賮丨丞 兀賵丿 丕賱毓賵丿丞 廿賱賷賴丕 賲賳 噩丿賷丿
賰賷 兀鬲賲鬲毓 亘賴匕丕 丕賱毓丕賱賲 丕賱禺乇丕賮賷 丨鬲賶 丕賱孬賲丕賱丞
賱鬲匕乇賵賴 丕賱乇賷丕丨 賲噩丿丿丕 貙賵賷禺鬲賮賷 賲賳 匕丕賰乇丞 丕賱亘卮乇
孬賲 賷毓賵丿 賳丕亘囟丕賸 賮賷 氐賮丨丕鬲 賲丕乇賰賷夭
賮鬲鬲卮乇亘賴 匕丕賰乇丞 丕賱賯乇丕亍 廿賱賶 丕賱兀亘丿
April 16, 2020
One Hundred Years of Solitude is an absolute ground-breaking book; it is intelligent, creative and full of powerful anecdotal wisdom. It deservedly won the noble prize for literature. But how enjoyable is it? How readable is it?
Gabriel Garc铆a M谩rquez, plays around with reality itself; he plays around with the limitations of fiction; he uses elements of magic, of the fantastic, to give voice to things that could never be said quite as effectively in normal terms: he breaks through realism and establishes his own original style. He did nothing short of launching a new mode of literary address: magical realism. He wasn鈥檛 the first writer to do such a thing, though his writing was the first to attract criticism which, in effect, allowed for it to be defined and recognised.
For me, the strongest element of the book resides in its inherent pessimism, with its unfortunate understanding that history can (and will) repeat itself. All good intentions go awry, indeed, One Hundred Years of Solitude challenges the progress (or lack thereof) of society. It creates a self-contained history in its isolated framework, which, arguably, reflects the nature of mankind or, at least, it echoes Columbian history with its liberal history in the face of imperialism. No matter how much we want to change the world (or how much we believe in a revolution or a new political ideal) these good intentions often become warped when faced with the horrors of war and bloodshed. Nothing really changes.
There鈥檚 no denying the success of M谩rquez鈥檚 epic; there鈥檚 no denying its ingenuity. I really enjoyed parts of the novel but it was awfully difficult to read, uncomfortably so. The prose is extremely loose and free flowing to the point where it feels like thought; it鈥檚 like a torrent of verbal diarrhoea that feels like it will never end. Characters die, eerily similar characters take their place within the story and the narrative continues until the well has completely run dry of any actual life. It is pushed so terribly far, one hundred years to be precise.
And that鈥檚 my biggest problem. I鈥檓 a sentimentalist. I like to feel when I read. I like to be moved either to anger or excitement. I want to invest in the characters. I want to care about their lives and I want to be provoked by their actions. M谩rquez鈥檚 approach meant that this was impossible to do so. It鈥檚 a huge story, told in just a few hundred pages. It鈥檚 sweeps across the lives of the characters, some exceedingly important characters in the story are introduced and die a very short time after to establish the sheer futility of human existence and effort M谩rquez tried to demonstrate.
M谩rquez writes against European tradition and the legacy of colonialism; he creates something totally new, which is becoming increasingly hard to do. Although I do appreciate this novel, I did not enjoy reading it as much as I could have done.
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Gabriel Garc铆a M谩rquez, plays around with reality itself; he plays around with the limitations of fiction; he uses elements of magic, of the fantastic, to give voice to things that could never be said quite as effectively in normal terms: he breaks through realism and establishes his own original style. He did nothing short of launching a new mode of literary address: magical realism. He wasn鈥檛 the first writer to do such a thing, though his writing was the first to attract criticism which, in effect, allowed for it to be defined and recognised.
For me, the strongest element of the book resides in its inherent pessimism, with its unfortunate understanding that history can (and will) repeat itself. All good intentions go awry, indeed, One Hundred Years of Solitude challenges the progress (or lack thereof) of society. It creates a self-contained history in its isolated framework, which, arguably, reflects the nature of mankind or, at least, it echoes Columbian history with its liberal history in the face of imperialism. No matter how much we want to change the world (or how much we believe in a revolution or a new political ideal) these good intentions often become warped when faced with the horrors of war and bloodshed. Nothing really changes.
There鈥檚 no denying the success of M谩rquez鈥檚 epic; there鈥檚 no denying its ingenuity. I really enjoyed parts of the novel but it was awfully difficult to read, uncomfortably so. The prose is extremely loose and free flowing to the point where it feels like thought; it鈥檚 like a torrent of verbal diarrhoea that feels like it will never end. Characters die, eerily similar characters take their place within the story and the narrative continues until the well has completely run dry of any actual life. It is pushed so terribly far, one hundred years to be precise.
And that鈥檚 my biggest problem. I鈥檓 a sentimentalist. I like to feel when I read. I like to be moved either to anger or excitement. I want to invest in the characters. I want to care about their lives and I want to be provoked by their actions. M谩rquez鈥檚 approach meant that this was impossible to do so. It鈥檚 a huge story, told in just a few hundred pages. It鈥檚 sweeps across the lives of the characters, some exceedingly important characters in the story are introduced and die a very short time after to establish the sheer futility of human existence and effort M谩rquez tried to demonstrate.
M谩rquez writes against European tradition and the legacy of colonialism; he creates something totally new, which is becoming increasingly hard to do. Although I do appreciate this novel, I did not enjoy reading it as much as I could have done.
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March 20, 2018
賲丕 丕賱匕賷 賰賳鬲 鬲賳鬲馗乇賴責- 鬲賳賴丿鬲 兀賵乇爻賵賱丕貙 賵兀囟丕賮鬲 :- 廿賳 丕賱賭賭夭賲賭賭賭賳 賷賭賲賭囟賭賷
丕賱賭夭賲賭賳 賵賯爻賵丞 賲乇賵乇賴貙 賴賵 亘丕賱賳爻亘丞 賱賷 丕賱鬲賷賲丞 丕賱兀爻丕爻賷丞 亘賴匕賴 丕賱乇賵丕賷丞
丿賵乇丞 丨賷丕丞 夭賵噩賷賳 賵丕胤賮丕賱賴賲貙 鬲丨賵賱賴賲 賱卮亘丕亘 孬賲 賱賱賰亘乇 賵丕賱毓噩夭. 賵鬲賵丕賱賷 丕賱兀噩賷丕賱 賲毓 丕賱賰孬賷乇 賲賳 丕賱丨亘 賵丕賱卮睾賮..丕賱爻丨乇 賵丕賱毓噩亘
賲赌赌丕賰赌赌賵賳赌丿賵
兀賵賱丕: 兀夭丕賷 鬲爻鬲賲鬲毓 亘賴匕賴 丕賱乇賵丕賷丞
**丕亘毓丿 鬲賲丕賲丕 毓賳 丕賷 丕賮賰丕乇 賲爻亘賯丞 毓賳賴丕貙 丕賱賮氐賱 丨賵丕賱賷 25 氐賮丨丞貙 鬲丨鬲丕噩 賱賲丕 賱丕賷賯賱 毓賳 45 丿賯賷賯丞 廿賱賷 爻丕毓丞 賱賯乇丕亍鬲賴貙 賮丕賱乇賵丕賷丞 賱丕 鬲氐賱丨 賲胤賭賱賯賭丕 賱賱賯乇丕亍丞 丕賱爻乇賷毓丞
-"賲賱丨賵馗丞: 丕賱賳爻禺丞 丕賱鬲賷 賯乇兀鬲賴丕 賱賱賲鬲乇噩賲 丕賱賲亘丿毓 氐丕賱丨 毓賱賲丕賳賷 "505 氐賮丨丞
-賵賱丕 鬲賯乇兀 兀爻丕爻丕 丕賱乇賵丕賷丞 爻賵賷 亘鬲乇噩賲鬲賴-
**賱丕 鬲毓鬲賲丿 毓賱賷 "鬲丨丿賷" 兀賵 兀賷丕賲 賲毓賷賳丞 賱兀賳賴丕亍 丕賱乇賵丕賷丞貙 亘丿兀鬲賴丕 ..兀匕賳 丕毓鬲亘乇 賳賮爻賰 賮賷 賲丕賰賵賳丿賵 賱賲丿丞 賲丕卅丞 毓丕賲 賲毓 丕賱兀賵賱賷賳 丕賱匕賷賳 丨囟乇賵丕 廿賱賷賴丕 賲毓 禺賵爻賷賴 丕乇賰丕丿賷賵 亘賵賷賳丿賷丕 賵夭賵噩鬲賴 兀賵乇爻賵賱丕
**賴賱 鬲乇賷丿 丕賳 鬲鬲毓乇賮 兀賰孬乇 毓賱賷 丕賱夭賵噩賷賳 丕賱匕賷賳 爻鬲氐胤丨亘賴賲 賵匕乇賷鬲賴賲 賱賲丕卅丞 毓丕賲 賵毓賳 鬲丕乇賷禺賴賲 賵丕爻亘丕亘 賳卮兀鬲賴賲 賱鬲賱賰 丕賱賲丿賷賳丞責..丕賱賮氐賱 丕賱孬丕賳賷 爻賷賲賳丨賰 賴匕丕 丕賱鬲丕乇賷禺
丕匕丕 賲丕 賮毓賱鬲 賰賱 賴匕丕貙 爻鬲噩丿 賳賮爻賰 鬲毓賷卮 亘丕賱兀丨丿丕孬 賵鬲鬲毓乇賮 毓賱賷 兀噩賷丕賱 禺賵爻賷丞 賲賳 丕賱賭-'兀賵乇賷賱賷丕賳賵'-丕鬲 賵 丕賱-'禺賵爻賷賴賭'-丕鬲 丿賵賳 丕賱丨丕噩丞 賱鬲賰乇丕乇 丕賱毓賵丿丞 丕賱賷 卮噩乇丞 丕賱毓丕卅賱丞貙 賵丕賱鬲賷 爻鬲噩丿賴丕 賮賷 兀禺乇 氐賮丨丞 亘丕賱乇賵丕賷丞貙 丨賷孬 爻鬲噩丿 兀賳賰 鬲鬲毓乇賮 毓賱賷 丕賱兀噩賷丕賱 賰兀賳賴賲 兀賮乇丕丿 賲賳 毓丕卅賱丞 鬲毓賷卮 賲毓賴丕
賮賮賷 丕賰亘乇 亘賷賵鬲 賲丿賷賳丞 賲丕賰賵賳丿賵 丕賱氐睾賷乇丞 爻鬲毓賷卮 丕賷丕賲丕 賵卮賴賵乇 賵丕毓賵丕賲 賲毓 鬲賱賰 丕賱毓丕卅賱丞
爻鬲毓賷卮 賲毓賴賲 賲賳匕 亘丿丕賷丞 賵賱丕丿丞 貙禺賵爻賷賴 兀乇賰丕丿賷賵 丕賱丕亘賳 丕賱亘賰乇賷 賱禺賵爻賷賴 丕乇賰丕丿賷賵 亘賵賷賳丿賷丕 賵禺賵賮 兀賲賴 兀賵乇爻賵賱丕 賲賳 兀賳 賷賰賵賳 亘匕賷賱 禺賳夭賷乇 賱鬲禺賵賮賴丕 賲賳 丨賯賷賯丞 丕賳賴丕 賵夭賵噩賴丕 丕亘賳丕亍 毓賲賵賲丞, 賵爻鬲賮乇丨 賱兀賳 丕賱賱賴 丕爻鬲噩丕亘 丿毓丕卅賴丕 賵乇夭賯賴丕 亘禺賵爻賷賴 胤賮賱丕 賰丕賲賱 丕賱氐丨丞
賵丕亘賳賴賲丕 丕賱孬丕賳賷 貙兀賵乇賷賱賷丕賳賵 丕賱賲賵賱賵丿 亘毓賷賵賳 賲賮鬲賵丨丞 毓賱賷 丕賱毓丕賱賲 賷乇賷丿 丕賳 賷鬲毓乇賮 毓賱賷 賰賱 賲丕亘賴 賵賷毓賷卮賴
賷賳丿賴卮 賰賵丕賱丿賴 亘丕賱兀禺鬲乇丕毓丕鬲 丕賱鬲賷 賷噩賱亘賴丕 丕賱睾噩乇 賲毓賴賲 賲賳 賰賱 丕乇噩丕亍 丕賱毓丕賱賲 , 亘丕賱丕禺氐 丕賱睾噩乇賷 賲賷賱賰賱賷丕丿爻 丕賱爻丕丨乇 丕賱匕賷 賷匕賰乇賳賷 亘賭噩丕賳丿賱賮 賲賳 賲賱賰 丕賱禺賵丕鬲賲
爻鬲毓賷卮 卮睾賮 丕賱兀亘 亘鬲噩丕乇亘賴 丕賱禺賷賲賷丕卅賷丞 賲毓 賲賷賱賰賱賷丕丿爻貙 賵丕賳亘賴丕乇 亘賱丿丞 賲丕賰賵賳丿賵 丕賱氐睾賷乇丞 亘丕賱亘爻丕胤 丕賱爻丨乇賷 賵爻鬲鬲匕賵賯 丨賱賵賷 爻賰丕賰乇 丕賱丨賷賵丕賳丕鬲 丕賱鬲賷 鬲毓丿賴丕 丕賵乇爻賵賱丕 賵爻鬲鬲毓乇賮 毓賱賷 丕賱囟丨賰丞 丕賱賲噩賱噩賱丞 賱賭亘賷賱丕乇 鬲賷乇賳賷乇丕 賵丕賱鬲賷 爻鬲賱賴亘 卮亘丕亘 毓丕卅賱丞 禺賵爻賷賴 賰兀賲乇兀丞 賰丕賲賱丞 丕賱賳囟噩 賵鬲賰賵賳 丕爻賴丕賲丕鬲賴丕 丕賱睾賷乇 卮乇毓賷丞 爻亘亘丕 賮賷 夭賷丕丿丞 丕賮乇丕丿 丕賱毓丕卅賱丞
賵爻鬲兀鬲賷 乇賷亘賷賰丕 亘賰乇爻賷賴丕 丕賱賴夭丕夭 賵丕氐亘毓賴丕 賮賷 賮賲賴丕 賲賳匕 氐睾乇賴丕 賵丨鬲賷 賵賮丕鬲賴丕貙 賲毓賴丕 噩賵丕賱 賲賳 丕賱賯賲丕卮 亘賴 毓馗丕賲 賲賯乇賯毓丞 賴賷 賰賱 賲丕鬲亘賯賷 賲賳 賵丕賱丿賷賴丕貙 賱賷鬲亘賳丕賴丕 禺賵爻賷賴 兀乇賰丕丿賷賵 亘賵賷賳丿賷丕 貙 賵賱鬲卮毓賱 睾賷乇丞 賱丕 鬲賳胤賮卅 亘賯賱亘 兀賲丕乇丕賳鬲丕 亘毓丿賴丕 亘爻賳賵丕鬲 賱鬲氐丕乇毓賴賲丕 毓賱賷 丕賱賮賵夭 亘賯賱亘 乇噩賱 賵丕丨丿
睾噩乇 貙 爻丨乇 貙 丕賳亘賴丕乇 貙 丕爻鬲賰卮丕賮丕鬲 賵丕禺鬲乇丕毓丕鬲 貙 爻賮賷賳丞 毓賱賷 賲亘毓丿丞 賰亘賷乇丞 毓賳 丕賱亘丨乇 貙 亘爻丕胤 爻丨乇賷 貙 爻賰丕賰乇 毓賱賷 卮賰賱 丨賷賵丕賳丕鬲 貙 匕賴亘 賲丨乇賵賯 貙 丨噩乇 丕賱賮賷賱爻賵賮 貙 噩賱賷丿 貙 卮賴賵丞 貙 丨亘 貙 睾賷乇丞 貙 賲賵爻賷賯賷 丕賱亘賷丕賳賵賱丕 貙 賵兀賮乇丕丨 爻鬲毓賷卮賴丕 賮賷 賲丕賰賵賳丿賵 賲毓 鬲賱賰 丕賱毓丕卅賱丞
賵賱賰賳 賰賱 卮卅 亘丿兀 賮賷 丕賱鬲睾賷乇 毓賳丿賲丕 賯乇乇鬲 兀賵乇爻賵賱丕 丿賴丕賳 賵丕噩賴丞 亘賷鬲賴丕 亘毓丿 丕賱鬲賵爻毓丕鬲 廿賱賷 丕賱丕亘賷囟
賮亘丕賱乇睾賲 賲賳 賵亘丕亍 丕賱兀乇賯 -丕賱匕賷 賴乇亘鬲 賲賳賴 兀賲賷乇丞 賴賳丿賷丞 賵兀禺賷賴丕 賲賳 亘賱丿賴賲 賱賷毓賲賱賵丕 賰禺丿賲 亘亘賷鬲 禺賵爻賷賴 兀乇賰丕丿賷賵 亘賵賷賳丿賷丕- 亘賱 賵兀賷 兀賲乇丕囟 亘丕賱丿賳賷丕 兀氐丕亘鬲 賲丕賰賳丿賵 賱丕 鬲賯丕乇賳 兀亘丿丕 亘兀賯匕乇 丕賱兀賲乇丕囟 賵丕賱鬲賷 鬲爻亘亘鬲 賮賷 賲賵鬲 丕賱賰孬賷乇賷賳 賲賳 丕賴賱 丕賱賯乇賷丞
丕賱爻賷丕爻丞
賵丕賱鬲賷 亘賲噩乇丿 兀賳 丿禺賱鬲 亘賵丕賯毓賷鬲賴丕 賵賯匕丕乇鬲賴丕貙 馗賴乇 丕賱賲賵鬲 賵丕賱丿賲丕亍 賮賷 賲丕賰賵賳丿賵
丕賱賳馗丕賲賷賵賳 丕賱匕賷 賷賯鬲賱賵賳 賲賳 丕噩賱 丨賮馗 丕賱賳馗丕賲 亘丕賱賯賲毓 貙 賵丕賱賱賷亘乇丕賱賷賵賳 丕賱匕賷賳 賷賯鬲賱賵賳 -丕賷囟丕- 賲賳 丕噩賱 丕賱丨乇賷丞 賵賳亘匕 丕賱賯賲毓
賵亘賲噩乇丿 丕賱兀毓賱丕賳 毓賳 鬲賲孬賷賱 賮賷 丕賱亘乇賱賲丕賳 貙 鬲賳氐賱 丕賱賱賷亘乇丕賱賷賵賳 丕賱孬賵丕乇 毓賳 賰賵賱賵賳賷賱賴賲 賵 孬賵丕乇賴賲 賵孬賵乇鬲賴賲..賵亘丿兀鬲 丨賲賱丕鬲 丕賱兀毓丿丕賲 賱賱孬賵丕乇..賵亘丿兀鬲 鬲馗賴乇 賲毓丕賱賲 丕賱夭賲賳 賵丕賱卮賷禺賵禺丞 毓賱賷 賲丕賰賵賳丿賵 貙 亘賲噩乇丿 丿禺賵賱賴丕 賳胤丕賯 丕賱爻賷丕爻丞 丕賱賯匕乇丞
賵賴賳丕 賮毓賱丕 卮毓乇鬲 亘賯爻賵丞 丕賱夭賲賳 亘賴匕丕 丕賱賲卮賴丿 丕賱毓亘賯乇賷 毓賳丿賲丕 鬲夭賵乇 兀賵乇爻賵賱丕 丕亘賳賴丕 丕賱孬賵乇賷 丕賱匕賷 鬲賳氐賱 毓賳賴 丕賱噩賲賷毓
賵賴賳丕 卮毓乇鬲 賵賰兀賳賴丕 賱賷爻鬲 兀賵乇爻賵賱丕 賲賳 賷賯賵賱 賴匕丕貙 亘賱 爻賲毓鬲賴 賲賳 噩丿鬲賷貙 賲賳 兀賲賷... 賰賱賲丕 鬲乇賰 丕賱夭賲丕賳 丌孬丕乇 賲乇賵乇賴 丕賱賯丕爻賷丞 毓賱賷賳丕 賵賰賱 賲丕丨賵賱賳丕.. 賴賳丕 卮毓乇鬲 賮毓賱丕 亘賯爻賵丞 丕賱夭賲丕賳 賲鬲噩爻丿丕 賮賷 丌孬丕乇賴 毓賱賷 丕賱賲丿賷賳丞 丕賱鬲賷 卮賴丿鬲 兀賳卮丕亍賴丕 賵丨鬲賷 賳賴丕賷鬲賴丕
亘賱 賵賱丕丨馗 賲丿賷 丨賳賯 -丕賱胤亘賷毓賷 丕賱賵丕賯毓賷 賵丕賱匕賷 兀鬲賮賯 賲毓丕賴 鬲賲丕賲丕- 丕賱賲丕乇賰賷夭 賲賳 賱毓亘丞 丕賱爻賷丕爻丞 丕賱賯匕乇丞
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賵鬲鬲賵丕賱賷 丕賱兀噩賷丕賱 賵丕賱兀丨丿丕孬 亘氐賵乇丞 兀爻乇毓貙 丕賱賲夭賷丿 賲賳 丕賱噩賳賵賳 賵丕賱毓夭賱丞貙 丕賱賲夭賷丿 賲賳 爻賰丕賰乇 丕賱丨賷賵丕賳丕鬲貙 丨賮賱丕鬲 賵 乇賯氐 賵 乇禺丕亍貙 毓夭賱丞 賵 兀賳睾賱丕賯 賵 鬲賲丕孬賷賱 賯丿賷爻賷賳 賵賲禺胤賵胤丕鬲 賲賷賱賰賱賷丕丿爻 丕賱睾噩乇賷 丕賱鬲賷 賱賲 賷氐賱 兀丨丿 賱鬲賮爻賷乇賴丕 亘毓丿
賯賱亘 毓匕乇丕亍 兀丨鬲乇賯 亘丕賱丨亘 賷賲賳毓賴 禺賵賮賴 賲賳 丕賱兀毓鬲乇丕賮 亘賴 賵 鬲賯亘賱賴 貙 囟丨賰丕鬲 賯丕乇卅丞 兀賵乇丕賯 丕賱胤丕賱毓 丕賱毓噩賵夭 賲丕夭丕賱鬲 鬲孬賷乇 丕賱卮亘丕亘 貙 乇賵丨 丕賱噩賲賷賱丞 丕賱亘乇賷卅丞 鬲氐毓丿 賱亘丕乇卅賴丕 貙 爻賲賰丕鬲 匕賴亘賷丞 賵 兀賰賮丕賳 鬲氐賳毓 賵 鬲睾夭賱 賲乇丞 鬲賱賵 兀禺乇賷
賵 鬲鬲賵丕賱賷 丕锘坟娯з� 賮賷 賲丕賰賵賳丿賵 賵 亘賷鬲 毓丕卅賱丞 丕賱賮賯賷丿 噩賵爻賷賴 丌乇賰丕丿賷賵 亘賵賷賳丿賷丕 丕賱匕賷 賯丕賵賲 丕賱兀賳睾賱丕賯 乇睾賲 鬲賯賱亘丕鬲 丕賱丨賷丕丞
爻鬲卮賴丿 丿禺賵賱 丕賱兀爻鬲孬賲丕乇 丕锘坟嗀ㄙ� 賵卮乇賰丞 丕賱賲賵夭 賲丿賷賳鬲賰 丕賱氐睾賷乇丞 賵 爻鬲丿乇賰 賲賳 禺賱丕賱 丕賱兀丨丿丕孬 賰賷賮 氐賵乇 賯亘丨 賵丕賯毓 丕賱丕爻鬲睾賱丕賱 丕賱兀噩賳亘賷 ... 賵賱賳 鬲賲賱賰 爻賵賷 丕賱鬲毓噩亘 賲賳 鬲卮丕亘賴賴 亘賵丕賯毓賳丕 賰賲丕 氐賵乇賴 賴匕丕 丕賱賲卮賴丿
賵鬲鬲賵丕賱賷 賲乇丞 兀禺乇賷 丕賱兀噩賷丕賱 .. 賵丕賱囟丨丕賷丕
囟丨丕賷丕 賵卮賴丿丕亍 丕賱兀爻鬲毓賲丕乇 丕賱兀噩賳亘賷 賷鬲賲 丕賱鬲睾胤賷丞 毓賱賷賴賲 亘鬲毓鬲賷賲 丕毓賱丕賲賷 貙 賯胤丕乇 賲丨賲賱 亘丕賱賲賵鬲賷 貙 丨賱賲 亘丕賱亘丕亘賵賷賴 貙 賵乇睾亘丕鬲 賲賰亘賵鬲丞 賵丕亘賳丕亍 丨乇丕賲 兀禺乇賷 貙 賵賲丨丕賵賱丕鬲 兀禺乇賷 賱鬲賮爻賷乇 賲禺胤賵胤丕鬲 賲賷賱賰賱賷丕丿爻
賵賷丿賵乇 丕賱夭賲賳 賮賷 丿丕卅乇鬲賴 丕賱賲睾賱賯丞 賰賲丕 爻鬲賱丕丨馗 賲毓 兀賵乇爻賵賱丕 賮賷 匕賱賰 丕賱賲卮賴丿 丕賱賲丐孬乇 丕賱毓亘賯乇賷
賮乇丕卮丕鬲 氐賮乇丕亍 貙 賵賮賷丕鬲 睾賷乇 賲賮丕噩兀丞 賵卮噩賳 賲鬲賵賯毓 貙 賲胤乇 睾夭賷乇 賷爻鬲賲乇 賱兀乇亘毓 爻賳賵丕鬲 貙 禺乇丕亘 賵賳賲賱 丕亘賷囟 賵兀丨賲乇... 賵丕賱賭賭夭賲賳 賷賲囟賷 貙 賵廿賳 賰丕賳 亘卮賰賱 兀爻乇毓 賰賲丕 爻鬲賱丕丨馗 賲毓 兀賵乇爻賵賱丕 丕賷囟丕 亘賴匕丕 丕賱賲卮賴丿
賱賯丿 賯丕賲 丕賱毓亘賯乇賷 亘鬲賱禺賷氐 賰孬賷乇 賲賳 丕賱兀丨丿丕孬 賲賳匕 亘丿丕賷丞 丕賱乇賵丕賷丞 賮賷 鬲賱賰 丕賱爻胤賵乇 丕賱賯賱賷賱丞 亘乇亘毓賴丕 丕賱兀禺賷乇 賲賳 賵噩賴賴 賳馗乇 兀賯賵賷 亘胤賱丕鬲賴 兀賵乇爻賵賱丕
賰賲 賲乇丞 卮毓乇鬲 亘兀賳 賴匕丕 丕賱賰賱丕賲 爻賲毓鬲賴 賮賷 丕賱丨賯賷賯丞 賲賳 丕丨丿 丕賱賰亘丕乇責 亘賱 賰賲 賲乇丞 丕賳鬲 賳賮爻賰 卮毓乇鬲 亘氐丨鬲賴 賮毓賱丕責
丕賱夭賲賳 丕賱睾丕丿乇
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賵鬲鬲賵丕賱賷 丕賱兀丨丿丕孬 兀爻乇毓 亘鬲爻丕乇毓 丨乇賰丞 丕賱夭賲丕賳 丕賱賯丕爻賷丞.. 爻鬲夭丿丕丿 毓夭賱鬲賰 賵鬲毓丕賷卮賰 丨鬲賷 鬲賱賲爻 卮賷禺賵禺鬲賰 賲毓 卮賷禺賵禺丞 丕賱賲丿賷賳丞 亘丕賱乇睾賲 賲賳 氐睾乇 爻賳 兀禺乇 丕噩賷丕賱賴丕.. 賵丕賱匕賷 爻賷賮賰 乇賲賵夭 乇賯丕卅賯 賲賷賱賰賷丕丿爻 丕賱睾噩乇賷 丕賱鬲賷 賰鬲亘鬲 賲賳 賲丕卅丞 毓丕賲 賲賳 鬲丕乇賷禺 賲丕賰賵賳丿賵
丨鬲賷 鬲氐賱 賱賱賳賴丕賷丞
賲丕卅賴 毓丕賲 賲賳 丕賱爻丨乇 貙 丕賱丨亘 貙 丕賱噩賵 丕賱兀爻乇賷 貙 丨亘 丕賱丕爻鬲賰卮丕賮 貙 丕賱禺賵賮 貙 丕賱毓卮賯 貙 丕賱禺胤賷卅丞 貙 丕賱賯丿丕爻丞 貙 丕賱爻賷丕爻丞 貙 賰乇賲 丕賱囟賷丕賮丞 貙 丕賱兀賳睾賱丕賯 貙 賯乇丕亍丞 丕賱胤丕賱毓 賵丕賱賳亘賵亍丕鬲
賲丕卅賴 毓丕賲 賲賳 賯爻賵丞 丕賱夭賲丕賳 貙 賲賳 丕賱禺賱賵丿 賵賲賳 丕賱賮賳丕亍貙, 賲賳 丕賱爻賷丕爻丞 賵賲賳 丕賱亘乇丕亍丞 貙 賲丕卅賴 毓丕賲 賲賳 丕賱毓夭賱丞
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賳賯胤丞 賴丕賲丞 兀禺賷乇丞
兀毓鬲賯丿 兀賳 賲賳 爻賱亘賷丕鬲 丕賱乇賵丕賷丞 賴賷 亘毓囟 兀丨丿丕孬 丕賱噩賳爻 亘賷賳 丕锘焚傌ж必� 亘胤乇賷賯丞 卮丕匕丞 兀丨賷丕賳丕 賵廿賳 賰丕賳鬲 丕賱賱睾丞 賴賳丕 賱賷爻鬲 亘亘匕丕亍丞 丕賱亘毓囟 賵賱賷爻鬲 丨鬲賷 賰卮胤丨丕鬲 夭賷丿丕賳 兀賵 丕賱兀爻賵丕賳賷 兀賵 丨鬲賷 兀爻賱賵亘 賲乇丕丿 丕賱賲爻鬲賮夭
賵賱賰賳 賯丿 賱丕 鬲賳鬲亘賴 賱賲禺丕賵賮 兀賵乇爻賵賱丕 丨賵賱 匕賷賱 丕賱禺賳夭賷乇 丕賱鬲賷 匕賰乇鬲 亘丕賱亘丿丕賷丞貙 賵賱賰賳賰 亘丕賱鬲兀賰賷丿 毓賳丿 廿賳鬲賴丕卅賰 賲賳 丕賱乇賵丕賷丞 爻鬲丿乇賰 丕賱賲睾夭賷 丕賱乇丕賯賷 賱賱乇賵丕賷丞 賵兀賳丞 賰丕賳 丿丕卅賲丕 亘賴丕 賲賳匕 丕賱亘丿丕賷丞... 毓賳 丕禺鬲賱丕胤 丕賱兀賳爻丕亘
賵爻鬲丿乇賰 兀賳 賲丕 馗賳賳鬲賴 賲噩乇丿 爻賱亘賷丕鬲 賴賷 丨賰賲丞 兀禺乇賷 賷賯丿賲賴丕 噩丕亘乇賷賱 噩丕乇爻賷丕 賲丕乇賰賷夭 亘丕爻賱賵亘賴 丕賱乇丕賯賷 -賵丕賷囟丕 亘丕賱鬲兀賰賷丿 丕賱賲鬲乇噩賲 丕賱乇丕卅毓 氐丕賱丨 毓賱賲丕賳賷- 賵亘丨乇賮賷丞 睾乇賷亘丞 賲鬲賲賷夭丞
賮兀爻賱賵亘 爻乇丿 噩丕亘乇賷賷賱 噩丕乇爻賷丕 賲丕乇賰賷夭 丕賱睾乇賷亘 爻賷睾乇賯賰 賮賷 丕賱兀丨丿丕孬 丕賱賵丕賯毓賷丞 丕賱賲賲夭賵噩丞 亘爻丨乇 睾乇賷亘
賰兀爻賱賵亘 丨賰丕賷丕鬲 丕賱噩丿丕鬲 賲毓 亘毓囟 丨乇丕乇丞 丕賱卮亘丕亘 賱賷禺賱賯 噩賵丕 毓噩賷亘丕 賲賳 丕賱爻乇丿 賷禺賱胤 賮賷賴 亘賷賳 兀丨丿丕孬 賱丕丨賯丞 賵 丕丨丿丕孬 賲囟鬲 '賮賱丕卮 亘丕賰 賵 賮賱丕卮 賮賵乇賵丕乇丿' 亘胤乇賷賯丞 毓噩賷亘丞 賱賳 鬲賯賱賱 賲賳 丕爻鬲賲丕毓賰 賵 廿賳賲丕 賯丿 鬲夭賷丿 卮睾賮賰 賵 兀孬丕乇鬲賰 賱賲氐賷乇 鬲賱賰 丕賱毓丕卅賱丞 賵丕賱賲丿賷賳丞
爻鬲氐丕乇毓 賲毓 兀賵乇爻賵賱丕 兀賷噩賵丕乇丕賳 夭賵噩丞 禺賵爻賷賴 兀乇賰丕丿賷賵 亘賵賷賳丿丕 丕賱夭賲賳 賮賷 賲丕卅丞 毓丕賲 .. 鬲賴夭賲 丕賱爻賷丕爻丞 丕賱賮丕爻丿丞 賵丕賱丕爻鬲孬賲丕乇貙亘賱 丕賱丕爻鬲毓賲丕乇貙 丕賱丕噩賳亘賷 丕賱賲爻鬲睾賱 ..賵賱賰賳 廿賱丕 丕賱夭賲賳... 賮賱丕 賴丕夭賲 賱賱夭賲賳
爻鬲馗賱 賲鬲卮亘孬丕 賲毓賴丕 亘亘賷鬲 丕賱賲噩丕賳賷賳貙 亘賷鬲 鬲賱賰 丕賱毓丕卅賱丞 丕賱睾乇賷亘丞 賵鬲賮賴賲賴 賵鬲鬲鬲毓丕胤賮 賲毓賴 賵鬲丨丕賵賱 丕賳 鬲噩毓賱賴 賲賮鬲賵丨丕 丿丕卅賲丕 賱賱夭賵丕乇 賱賷賯囟賷 毓賱賷 丕賱毓夭賱丞 丕賱鬲賷 賷賮乇囟賴丕 毓賱賷賳丕 丕賱夭賲賳
爻鬲卮賮賯 毓賱賷 鬲賱賰 丕賱賲賴賲丞 丕賱噩賱賷賱丞 丕賱丨夭賷賳丞 丕賱鬲賷 爻鬲鬲丨賲賱賴丕 兀賲丕乇丕賳鬲丕 賯亘賱 賵賮丕鬲賴丕... 賵賮賷 賳賮爻 丕賱賵賯鬲 爻鬲噩丿 賳賮爻賰 丕賷囟丕 賲鬲毓丕胤賮丕 賲毓 丕賵乇賱賷丕賳賵 丕賱孬丕賳賷 丕賱匕賷 噩丕賴丿 丕賱夭賲賳 賱賷爻鬲賲鬲毓 亘丕賱丨賷丕丞 丕賱賯氐賷乇丞
賵賮賷 乇兀賷賷 賮毓賱丕 兀賵乇爻賵賱丕 賲賳 兀噩賲賱 丕賱卮禺氐賷丕鬲 丕賱賳爻丕卅賷丞 丕賱鬲賷 賯乇兀鬲賴丕 貙 乇兀賷鬲 賮賷賴丕 卮賷卅丕 兀賱賮鬲賴 噩丿丕 貙 卮毓乇鬲 賲毓賴丕 亘兀丨爻丕爻 丕賱兀賲賵賲丞 賵乇亘丞 丕賱丿丕乇 貙 賲賳 兀賰孬乇 丕賱卮禺氐賷丕鬲 丕賱鬲賷 兀孬乇鬲 賮賷 賮毓賱丕
亘氐乇丕丨賴 賲賳 丕賱丕卮賷丕亍 丕賱鬲賷 丿丕卅賲丕 鬲噩毓賱賳賷 丕毓賷卮 亘丕賱乇賵丕賷丞 賴賵 丕賳賷 丿丕卅賲丕 賲丕 丕賯賵賲 亘鬲賵夭賷毓 丕賱卮禺氐賷丕鬲 賵丕賱丕丿賵丕乇 毓賱賷 賮賳丕賳賷賳 賮賷 亘丕賱賷 賰賷 丕乇賷 鬲毓亘賷乇丕鬲賴賲 賵賴賲 賷賲孬賱賵賳賴丕 丕孬賳丕亍 賯乇丕卅鬲賷 賮賷 禺賷丕賱賷.. 賵賴匕丕 賷賮賷丿 賰孬賷乇丕
賵亘丕賱乇睾賲 丕賱丕禺鬲賷丕乇 丕賱毓卮賵丕卅賷 丕賱賷 丨丿 賲丕 賱賭"廿賷賮丕 賱賵賳噩賵乇賷丕" 亘胤賱丞 乇亘丕鬲 丕賱亘賷賵鬲 丕賱賷丕卅爻丕鬲 賯丿 鬲禺賵賮鬲 賲賳賴 毓賳丿賲丕 賵噩丿鬲 丿賵乇 兀賵乇爻賵賱丕 賱賷爻 亘氐睾賷乇
廿賱丕 兀賳 乇爻賲 丕賱卮禺氐賷丞 賮毓賱丕 丕毓噩亘賳賷 賵丕噩丕丿鬲 丕賱丿賵乇 賮賷 禺賷丕賱賷 賵鬲賱賷賯 亘賴 賮毓賱丕
賲丕 丕賱匕賷 賰賳鬲 鬲賳鬲馗乇賴責- 鬲賳賴丿鬲 兀賵乇爻賵賱丕, 賵兀囟丕賮鬲 :- 廿賳 丕賱賭賭夭賲賭賭賭賳 賷賭賲賭囟賭賷
爻鬲馗賱 賲丕賰賵賳丿賵 丨賱賲丕 噩賲賷賱丕 賲賴賲丕 睾夭鬲賴 丕賱賰賵丕亘賷爻 賮賷 亘毓囟 賲丨胤丕鬲賴..賵爻賷馗賱 丨賳賷賳賷 丕賱賷賴丕 賰兀賳賴丕 賲丕囟 毓卮鬲賴
賵亘丕賱乇睾賲 賲賳 兀鬲賮丕賯賷 卮賷卅丕 賲丕 賲毓 賲賵賯賮 氐丕丨亘 丕賱賲賰鬲亘丞 亘賲丕賰賵賳丿賵 毓賳丿賲丕 賯丕賱 賮賷 丕賱丕丨丿丕孬
廿賱丕 兀賳 賰賲丕 賯丕賱 噩丕亘乇賷賱 噩丕乇爻賷丕 賲丕乇賰賷夭 賳賮爻賴 丕賳賴 賱丕 賷賴賲 賲丕 丨丿孬 賮賷 丕賱賲丕囟賷貙 賵丕賳賲丕 賰賷賮 賳鬲匕賰乇賴 賴匕丕 賴賵 丕賱賲賴賲
賰賲丕 賮賷 鬲賱賰 丕賱賲賯賵賱丞 丕賱鬲賷 賵囟毓鬲賴丕 賮賷 丕賱乇賷賮賷賵 丕賱賲亘丿卅賷
賵兀賯賱 賲丕賷賲賰賳 丕賳 賳丨賵賱 匕賰乇賷 賴匕丕 丕賱乇噩賱 亘丌丨賷丕亍 丕賱賵丕賯毓賷丞 丕賱爻丨乇賷丞 貙 丨賰丕賷丕鬲 丕賱噩丿丕鬲 丕賱噩匕丕亘丞 丕賱睾乇賷亘丞 丕賱鬲賷 鬲毓賵丿 亘賳丕 賱匕賰乇賷丕鬲 丕賷丕賲 丕賱氐亘丕... 丕賱賵丕賯毓賷丞 丕賱爻丨乇賷丞 丕賱鬲賷 廿賳 馗賱鬲 賵毓丕卮鬲 亘賯賱賵亘賳丕 賮賱賳 賷賳噩丨 丕賷 乇賰丕賰丞 兀賵 亘匕丕亍丞 兀賵 賯鬲丕賲丞 賷賳爻亘 賱賴丕 丕賱賵丕賯毓 丕賱丨丕賱賷 賮賷 廿馗賱丕賲 賯賱賵亘賳丕.. 賱賳賯乇兀 賵丕賯毓賷鬲賴 丕賱爻丨乇賷丞..丕賱丨丕賱賲丞
賵賷毓賷卮 丕賱爻丨乇 賮賷 賯賱賵亘賳丕 貙 賱賳鬲匕賰乇賴 賱賱兀亘丿
R I P Gabriel Marcus
Your Magical Realism will always enchanting and illuminating our hearts , will defeat the dirty realism that we unfortunately stuck in..
Your magical words and novels will be read....forever
you're enchanted
賲丨賲丿 丕賱毓乇亘賷
賲賳 24 丕亘乇賷賱 2014
丕賱賷 2 賲丕賷賵 2014
丕卮賰乇 噩丿丕 賰賱 賲賳 乇卮丨 丕賱乇賵丕賷丞 賱賷 賲賳 丕賱兀氐丿賯丕亍 貙 賵兀卮賰乇 兀賷囟丕 丿毓賲 丕賱兀氐丿賯丕亍 賮賷 丕賳鬲馗丕乇 乇丕賷賷 賮賷 丕賱乇賵丕賷丞 亘鬲毓賱賷賯丕鬲賰賲 賵丕鬲賲賳賷 兀賳 鬲毓噩亘賰賲 賰賲丕 丕毓噩亘鬲賳賷 貙 賵丕鬲賲賳賷 丕賳 賷賰賵賳 乇丕賷賷 -丕賱匕賷 丨丕賵賱鬲 丕禺鬲氐丕乇賴 賵丕賱賱賴- 兀賳 賷賰賵賳 賵丕囟丨丕 賵賲賱丕卅賲丕
丕賱賭夭賲賭賳 賵賯爻賵丞 賲乇賵乇賴貙 賴賵 亘丕賱賳爻亘丞 賱賷 丕賱鬲賷賲丞 丕賱兀爻丕爻賷丞 亘賴匕賴 丕賱乇賵丕賷丞
丿賵乇丞 丨賷丕丞 夭賵噩賷賳 賵丕胤賮丕賱賴賲貙 鬲丨賵賱賴賲 賱卮亘丕亘 孬賲 賱賱賰亘乇 賵丕賱毓噩夭. 賵鬲賵丕賱賷 丕賱兀噩賷丕賱 賲毓 丕賱賰孬賷乇 賲賳 丕賱丨亘 賵丕賱卮睾賮..丕賱爻丨乇 賵丕賱毓噩亘
賵賴匕丕 丕賱爻胤乇 賲賳 丕賱兀賲 賴賵 兀賵賱 賲丕 亘孬 賮賷賾 賯卮毓乇賷乇丞 睾賷乇 賲鬲賵賯毓丞 亘毓丿 乇亘毓 丕賱乇賵丕賷丞貙 賵兀禺鬲乇鬲賴 賱兀亘丿兀 亘賴 丨賰丕賷鬲賷 賲毓 鬲賱賰 丕賱賲丿賷賳丞 丕賱鬲賷 丕亘鬲丿毓賴丕 噩丕亘乇賷賱 噩丕乇爻賷丕 賲丕乇賰賷夭 -乇丨賲賴 丕賱賱賴- 賮賷 毓夭賱丞 賲賳 丕賱夭賲賳
賲赌赌丕賰赌赌賵賳赌丿賵
兀賵賱丕: 兀夭丕賷 鬲爻鬲賲鬲毓 亘賴匕賴 丕賱乇賵丕賷丞
**丕亘毓丿 鬲賲丕賲丕 毓賳 丕賷 丕賮賰丕乇 賲爻亘賯丞 毓賳賴丕貙 丕賱賮氐賱 丨賵丕賱賷 25 氐賮丨丞貙 鬲丨鬲丕噩 賱賲丕 賱丕賷賯賱 毓賳 45 丿賯賷賯丞 廿賱賷 爻丕毓丞 賱賯乇丕亍鬲賴貙 賮丕賱乇賵丕賷丞 賱丕 鬲氐賱丨 賲胤賭賱賯賭丕 賱賱賯乇丕亍丞 丕賱爻乇賷毓丞
-"賲賱丨賵馗丞: 丕賱賳爻禺丞 丕賱鬲賷 賯乇兀鬲賴丕 賱賱賲鬲乇噩賲 丕賱賲亘丿毓 氐丕賱丨 毓賱賲丕賳賷 "505 氐賮丨丞
-賵賱丕 鬲賯乇兀 兀爻丕爻丕 丕賱乇賵丕賷丞 爻賵賷 亘鬲乇噩賲鬲賴-
**賱丕 鬲毓鬲賲丿 毓賱賷 "鬲丨丿賷" 兀賵 兀賷丕賲 賲毓賷賳丞 賱兀賳賴丕亍 丕賱乇賵丕賷丞貙 亘丿兀鬲賴丕 ..兀匕賳 丕毓鬲亘乇 賳賮爻賰 賮賷 賲丕賰賵賳丿賵 賱賲丿丞 賲丕卅丞 毓丕賲 賲毓 丕賱兀賵賱賷賳 丕賱匕賷賳 丨囟乇賵丕 廿賱賷賴丕 賲毓 禺賵爻賷賴 丕乇賰丕丿賷賵 亘賵賷賳丿賷丕 賵夭賵噩鬲賴 兀賵乇爻賵賱丕
**賴賱 鬲乇賷丿 丕賳 鬲鬲毓乇賮 兀賰孬乇 毓賱賷 丕賱夭賵噩賷賳 丕賱匕賷賳 爻鬲氐胤丨亘賴賲 賵匕乇賷鬲賴賲 賱賲丕卅丞 毓丕賲 賵毓賳 鬲丕乇賷禺賴賲 賵丕爻亘丕亘 賳卮兀鬲賴賲 賱鬲賱賰 丕賱賲丿賷賳丞責..丕賱賮氐賱 丕賱孬丕賳賷 爻賷賲賳丨賰 賴匕丕 丕賱鬲丕乇賷禺
丕匕丕 賲丕 賮毓賱鬲 賰賱 賴匕丕貙 爻鬲噩丿 賳賮爻賰 鬲毓賷卮 亘丕賱兀丨丿丕孬 賵鬲鬲毓乇賮 毓賱賷 兀噩賷丕賱 禺賵爻賷丞 賲賳 丕賱賭-'兀賵乇賷賱賷丕賳賵'-丕鬲 賵 丕賱-'禺賵爻賷賴賭'-丕鬲 丿賵賳 丕賱丨丕噩丞 賱鬲賰乇丕乇 丕賱毓賵丿丞 丕賱賷 卮噩乇丞 丕賱毓丕卅賱丞貙 賵丕賱鬲賷 爻鬲噩丿賴丕 賮賷 兀禺乇 氐賮丨丞 亘丕賱乇賵丕賷丞貙 丨賷孬 爻鬲噩丿 兀賳賰 鬲鬲毓乇賮 毓賱賷 丕賱兀噩賷丕賱 賰兀賳賴賲 兀賮乇丕丿 賲賳 毓丕卅賱丞 鬲毓賷卮 賲毓賴丕
賮賮賷 丕賰亘乇 亘賷賵鬲 賲丿賷賳丞 賲丕賰賵賳丿賵 丕賱氐睾賷乇丞 爻鬲毓賷卮 丕賷丕賲丕 賵卮賴賵乇 賵丕毓賵丕賲 賲毓 鬲賱賰 丕賱毓丕卅賱丞
爻鬲毓賷卮 賲毓賴賲 賲賳匕 亘丿丕賷丞 賵賱丕丿丞 貙禺賵爻賷賴 兀乇賰丕丿賷賵 丕賱丕亘賳 丕賱亘賰乇賷 賱禺賵爻賷賴 丕乇賰丕丿賷賵 亘賵賷賳丿賷丕 賵禺賵賮 兀賲賴 兀賵乇爻賵賱丕 賲賳 兀賳 賷賰賵賳 亘匕賷賱 禺賳夭賷乇 賱鬲禺賵賮賴丕 賲賳 丨賯賷賯丞 丕賳賴丕 賵夭賵噩賴丕 丕亘賳丕亍 毓賲賵賲丞, 賵爻鬲賮乇丨 賱兀賳 丕賱賱賴 丕爻鬲噩丕亘 丿毓丕卅賴丕 賵乇夭賯賴丕 亘禺賵爻賷賴 胤賮賱丕 賰丕賲賱 丕賱氐丨丞
賵丕亘賳賴賲丕 丕賱孬丕賳賷 貙兀賵乇賷賱賷丕賳賵 丕賱賲賵賱賵丿 亘毓賷賵賳 賲賮鬲賵丨丞 毓賱賷 丕賱毓丕賱賲 賷乇賷丿 丕賳 賷鬲毓乇賮 毓賱賷 賰賱 賲丕亘賴 賵賷毓賷卮賴
賷賳丿賴卮 賰賵丕賱丿賴 亘丕賱兀禺鬲乇丕毓丕鬲 丕賱鬲賷 賷噩賱亘賴丕 丕賱睾噩乇 賲毓賴賲 賲賳 賰賱 丕乇噩丕亍 丕賱毓丕賱賲 , 亘丕賱丕禺氐 丕賱睾噩乇賷 賲賷賱賰賱賷丕丿爻 丕賱爻丕丨乇 丕賱匕賷 賷匕賰乇賳賷 亘賭噩丕賳丿賱賮 賲賳 賲賱賰 丕賱禺賵丕鬲賲
爻鬲毓賷卮 卮睾賮 丕賱兀亘 亘鬲噩丕乇亘賴 丕賱禺賷賲賷丕卅賷丞 賲毓 賲賷賱賰賱賷丕丿爻貙 賵丕賳亘賴丕乇 亘賱丿丞 賲丕賰賵賳丿賵 丕賱氐睾賷乇丞 亘丕賱亘爻丕胤 丕賱爻丨乇賷 賵爻鬲鬲匕賵賯 丨賱賵賷 爻賰丕賰乇 丕賱丨賷賵丕賳丕鬲 丕賱鬲賷 鬲毓丿賴丕 丕賵乇爻賵賱丕 賵爻鬲鬲毓乇賮 毓賱賷 丕賱囟丨賰丞 丕賱賲噩賱噩賱丞 賱賭亘賷賱丕乇 鬲賷乇賳賷乇丕 賵丕賱鬲賷 爻鬲賱賴亘 卮亘丕亘 毓丕卅賱丞 禺賵爻賷賴 賰兀賲乇兀丞 賰丕賲賱丞 丕賱賳囟噩 賵鬲賰賵賳 丕爻賴丕賲丕鬲賴丕 丕賱睾賷乇 卮乇毓賷丞 爻亘亘丕 賮賷 夭賷丕丿丞 丕賮乇丕丿 丕賱毓丕卅賱丞
賵爻鬲兀鬲賷 乇賷亘賷賰丕 亘賰乇爻賷賴丕 丕賱賴夭丕夭 賵丕氐亘毓賴丕 賮賷 賮賲賴丕 賲賳匕 氐睾乇賴丕 賵丨鬲賷 賵賮丕鬲賴丕貙 賲毓賴丕 噩賵丕賱 賲賳 丕賱賯賲丕卮 亘賴 毓馗丕賲 賲賯乇賯毓丞 賴賷 賰賱 賲丕鬲亘賯賷 賲賳 賵丕賱丿賷賴丕貙 賱賷鬲亘賳丕賴丕 禺賵爻賷賴 兀乇賰丕丿賷賵 亘賵賷賳丿賷丕 貙 賵賱鬲卮毓賱 睾賷乇丞 賱丕 鬲賳胤賮卅 亘賯賱亘 兀賲丕乇丕賳鬲丕 亘毓丿賴丕 亘爻賳賵丕鬲 賱鬲氐丕乇毓賴賲丕 毓賱賷 丕賱賮賵夭 亘賯賱亘 乇噩賱 賵丕丨丿
睾噩乇 貙 爻丨乇 貙 丕賳亘賴丕乇 貙 丕爻鬲賰卮丕賮丕鬲 賵丕禺鬲乇丕毓丕鬲 貙 爻賮賷賳丞 毓賱賷 賲亘毓丿丞 賰亘賷乇丞 毓賳 丕賱亘丨乇 貙 亘爻丕胤 爻丨乇賷 貙 爻賰丕賰乇 毓賱賷 卮賰賱 丨賷賵丕賳丕鬲 貙 匕賴亘 賲丨乇賵賯 貙 丨噩乇 丕賱賮賷賱爻賵賮 貙 噩賱賷丿 貙 卮賴賵丞 貙 丨亘 貙 睾賷乇丞 貙 賲賵爻賷賯賷 丕賱亘賷丕賳賵賱丕 貙 賵兀賮乇丕丨 爻鬲毓賷卮賴丕 賮賷 賲丕賰賵賳丿賵 賲毓 鬲賱賰 丕賱毓丕卅賱丞
賵賱賰賳 賰賱 卮卅 亘丿兀 賮賷 丕賱鬲睾賷乇 毓賳丿賲丕 賯乇乇鬲 兀賵乇爻賵賱丕 丿賴丕賳 賵丕噩賴丞 亘賷鬲賴丕 亘毓丿 丕賱鬲賵爻毓丕鬲 廿賱賷 丕賱丕亘賷囟
賮亘丕賱乇睾賲 賲賳 賵亘丕亍 丕賱兀乇賯 -丕賱匕賷 賴乇亘鬲 賲賳賴 兀賲賷乇丞 賴賳丿賷丞 賵兀禺賷賴丕 賲賳 亘賱丿賴賲 賱賷毓賲賱賵丕 賰禺丿賲 亘亘賷鬲 禺賵爻賷賴 兀乇賰丕丿賷賵 亘賵賷賳丿賷丕- 亘賱 賵兀賷 兀賲乇丕囟 亘丕賱丿賳賷丕 兀氐丕亘鬲 賲丕賰賳丿賵 賱丕 鬲賯丕乇賳 兀亘丿丕 亘兀賯匕乇 丕賱兀賲乇丕囟 賵丕賱鬲賷 鬲爻亘亘鬲 賮賷 賲賵鬲 丕賱賰孬賷乇賷賳 賲賳 丕賴賱 丕賱賯乇賷丞
丕賱爻賷丕爻丞
賵丕賱鬲賷 亘賲噩乇丿 兀賳 丿禺賱鬲 亘賵丕賯毓賷鬲賴丕 賵賯匕丕乇鬲賴丕貙 馗賴乇 丕賱賲賵鬲 賵丕賱丿賲丕亍 賮賷 賲丕賰賵賳丿賵
丕賱賳馗丕賲賷賵賳 丕賱匕賷 賷賯鬲賱賵賳 賲賳 丕噩賱 丨賮馗 丕賱賳馗丕賲 亘丕賱賯賲毓 貙 賵丕賱賱賷亘乇丕賱賷賵賳 丕賱匕賷賳 賷賯鬲賱賵賳 -丕賷囟丕- 賲賳 丕噩賱 丕賱丨乇賷丞 賵賳亘匕 丕賱賯賲毓
賵亘賲噩乇丿 丕賱兀毓賱丕賳 毓賳 鬲賲孬賷賱 賮賷 丕賱亘乇賱賲丕賳 貙 鬲賳氐賱 丕賱賱賷亘乇丕賱賷賵賳 丕賱孬賵丕乇 毓賳 賰賵賱賵賳賷賱賴賲 賵 孬賵丕乇賴賲 賵孬賵乇鬲賴賲..賵亘丿兀鬲 丨賲賱丕鬲 丕賱兀毓丿丕賲 賱賱孬賵丕乇..賵亘丿兀鬲 鬲馗賴乇 賲毓丕賱賲 丕賱夭賲賳 賵丕賱卮賷禺賵禺丞 毓賱賷 賲丕賰賵賳丿賵 貙 亘賲噩乇丿 丿禺賵賱賴丕 賳胤丕賯 丕賱爻賷丕爻丞 丕賱賯匕乇丞
賵賴賳丕 賮毓賱丕 卮毓乇鬲 亘賯爻賵丞 丕賱夭賲賳 亘賴匕丕 丕賱賲卮賴丿 丕賱毓亘賯乇賷 毓賳丿賲丕 鬲夭賵乇 兀賵乇爻賵賱丕 丕亘賳賴丕 丕賱孬賵乇賷 丕賱匕賷 鬲賳氐賱 毓賳賴 丕賱噩賲賷毓
賵丕賱丨賯賷賯丞 兀賳賴 馗賱 賲爻鬲睾乇賯丕 賮賷 兀賮賰丕乇賴貙 賲匕賴賵賱丕 賲賳 丕賱胤乇賷賯丞 丕賱鬲賷 卮丕禺鬲 亘賴丕 丕賱賯乇賷丞 禺賱丕賱 爻賳賵丕鬲 賯賱賷賱丞貙 賰丕賳鬲 兀賵乇丕賯 兀卮噩丕乇 丕賱賱賵夭 亘丕賱賷丞. 賵丕賱亘賷賵鬲 丕賱賲胤賱賷丞 亘丕賱賱賵賳 丕賱兀夭乇賯貙 孬賲 亘丕賱兀丨賲乇貙 賵丕賱鬲賷 兀毓賷丿 胤賱丕丐賴丕 亘丕賱兀夭乇賯 孬丕賳賷丞貙 賮賯丿 丕賳鬲賴鬲 廿賱賷 賱賵賳 睾賷乇 賲丨丿賵丿
賲丕 丕賱匕賷 賰賳鬲 鬲賳鬲馗乇賴責- 鬲賳賴丿鬲 兀賵乇爻賵賱丕貙 賵兀囟丕賮鬲 :- 廿賳 丕賱賭賭夭賲賭賭賭賳 賷賭賲賭囟賭賷
-賵賴賵 賰匕賱賰 -賵丕賮賯賴丕 兀賵乇賷賱賷丕賳賵 -貙 賵賱賰賳 賱賷爻 廿賱賷 賴匕丕 丕賱丨丿
賵賴賰匕丕貙 賮廿賳 丕賱賲賯丕亘賱丞 丕賱賲賳鬲馗乇丞 賲賳匕 賵賯鬲 胤賵賷賱貙 賵丕賱鬲賷 兀毓丿 賱賴丕 賰賱 賲賳賴賲丕 丕賱兀爻卅賱丞貙 亘賱 賵鬲賵賯毓 丕賱兀噩賵亘丞 毓賳賴丕貙 鬲丨賵賱鬲 廿賱賷 丨丿賷孬 賷賵賲賷 毓丕丿賷
賵賴賳丕 卮毓乇鬲 賵賰兀賳賴丕 賱賷爻鬲 兀賵乇爻賵賱丕 賲賳 賷賯賵賱 賴匕丕貙 亘賱 爻賲毓鬲賴 賲賳 噩丿鬲賷貙 賲賳 兀賲賷... 賰賱賲丕 鬲乇賰 丕賱夭賲丕賳 丌孬丕乇 賲乇賵乇賴 丕賱賯丕爻賷丞 毓賱賷賳丕 賵賰賱 賲丕丨賵賱賳丕.. 賴賳丕 卮毓乇鬲 賮毓賱丕 亘賯爻賵丞 丕賱夭賲丕賳 賲鬲噩爻丿丕 賮賷 丌孬丕乇賴 毓賱賷 丕賱賲丿賷賳丞 丕賱鬲賷 卮賴丿鬲 兀賳卮丕亍賴丕 賵丨鬲賷 賳賴丕賷鬲賴丕
亘賱 賵賱丕丨馗 賲丿賷 丨賳賯 -丕賱胤亘賷毓賷 丕賱賵丕賯毓賷 賵丕賱匕賷 兀鬲賮賯 賲毓丕賴 鬲賲丕賲丕- 丕賱賲丕乇賰賷夭 賲賳 賱毓亘丞 丕賱爻賷丕爻丞 丕賱賯匕乇丞
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賵鬲鬲賵丕賱賷 丕賱兀噩賷丕賱 賵丕賱兀丨丿丕孬 亘氐賵乇丞 兀爻乇毓貙 丕賱賲夭賷丿 賲賳 丕賱噩賳賵賳 賵丕賱毓夭賱丞貙 丕賱賲夭賷丿 賲賳 爻賰丕賰乇 丕賱丨賷賵丕賳丕鬲貙 丨賮賱丕鬲 賵 乇賯氐 賵 乇禺丕亍貙 毓夭賱丞 賵 兀賳睾賱丕賯 賵 鬲賲丕孬賷賱 賯丿賷爻賷賳 賵賲禺胤賵胤丕鬲 賲賷賱賰賱賷丕丿爻 丕賱睾噩乇賷 丕賱鬲賷 賱賲 賷氐賱 兀丨丿 賱鬲賮爻賷乇賴丕 亘毓丿
賯賱亘 毓匕乇丕亍 兀丨鬲乇賯 亘丕賱丨亘 賷賲賳毓賴 禺賵賮賴 賲賳 丕賱兀毓鬲乇丕賮 亘賴 賵 鬲賯亘賱賴 貙 囟丨賰丕鬲 賯丕乇卅丞 兀賵乇丕賯 丕賱胤丕賱毓 丕賱毓噩賵夭 賲丕夭丕賱鬲 鬲孬賷乇 丕賱卮亘丕亘 貙 乇賵丨 丕賱噩賲賷賱丞 丕賱亘乇賷卅丞 鬲氐毓丿 賱亘丕乇卅賴丕 貙 爻賲賰丕鬲 匕賴亘賷丞 賵 兀賰賮丕賳 鬲氐賳毓 賵 鬲睾夭賱 賲乇丞 鬲賱賵 兀禺乇賷
賵 鬲鬲賵丕賱賷 丕锘坟娯з� 賮賷 賲丕賰賵賳丿賵 賵 亘賷鬲 毓丕卅賱丞 丕賱賮賯賷丿 噩賵爻賷賴 丌乇賰丕丿賷賵 亘賵賷賳丿賷丕 丕賱匕賷 賯丕賵賲 丕賱兀賳睾賱丕賯 乇睾賲 鬲賯賱亘丕鬲 丕賱丨賷丕丞
爻鬲卮賴丿 丿禺賵賱 丕賱兀爻鬲孬賲丕乇 丕锘坟嗀ㄙ� 賵卮乇賰丞 丕賱賲賵夭 賲丿賷賳鬲賰 丕賱氐睾賷乇丞 賵 爻鬲丿乇賰 賲賳 禺賱丕賱 丕賱兀丨丿丕孬 賰賷賮 氐賵乇 賯亘丨 賵丕賯毓 丕賱丕爻鬲睾賱丕賱 丕賱兀噩賳亘賷 ... 賵賱賳 鬲賲賱賰 爻賵賷 丕賱鬲毓噩亘 賲賳 鬲卮丕亘賴賴 亘賵丕賯毓賳丕 賰賲丕 氐賵乇賴 賴匕丕 丕賱賲卮賴丿
禺乇噩 禺賵爻賷賴 丌乇賰丕丿賷賵 丕賱孬丕賳賷 賲賳 丕賱睾賮賱丞 賵鬲禺賱賷 毓賳 賲賵賯毓賴 賰乇卅賷爻 賮乇賷賯 毓賲賱 賮賷 卮乇賰丞 丕賱賲賵夭 賵賵賯賮 廿賱賷 噩丕賳亘 丕賱毓賲丕賱. 賵爻乇毓丕賳 賲丕 丕鬲賴賲 亘兀賳賴 毓賲賷賱 賱廿丨丿賷 丕賱賲丐丕賲乇丕鬲 丕賱毓丕賱賲賷丞 囟丿 丕賱賳馗丕賲
賵鬲鬲賵丕賱賷 賲乇丞 兀禺乇賷 丕賱兀噩賷丕賱 .. 賵丕賱囟丨丕賷丕
囟丨丕賷丕 賵卮賴丿丕亍 丕賱兀爻鬲毓賲丕乇 丕賱兀噩賳亘賷 賷鬲賲 丕賱鬲睾胤賷丞 毓賱賷賴賲 亘鬲毓鬲賷賲 丕毓賱丕賲賷 貙 賯胤丕乇 賲丨賲賱 亘丕賱賲賵鬲賷 貙 丨賱賲 亘丕賱亘丕亘賵賷賴 貙 賵乇睾亘丕鬲 賲賰亘賵鬲丞 賵丕亘賳丕亍 丨乇丕賲 兀禺乇賷 貙 賵賲丨丕賵賱丕鬲 兀禺乇賷 賱鬲賮爻賷乇 賲禺胤賵胤丕鬲 賲賷賱賰賱賷丕丿爻
賵賷丿賵乇 丕賱夭賲賳 賮賷 丿丕卅乇鬲賴 丕賱賲睾賱賯丞 賰賲丕 爻鬲賱丕丨馗 賲毓 兀賵乇爻賵賱丕 賮賷 匕賱賰 丕賱賲卮賴丿 丕賱賲丐孬乇 丕賱毓亘賯乇賷
丨乇賰 乇兀爻賴 亘廿鬲噩丕賴 丕賱亘丕亘貙 賵丨丕賵賱 丕賱兀亘鬲爻丕賲貙 賵賰乇乇 丿賵賳 賲毓乇賮賴 賲爻亘賯丞貙 噩賲賱丞 賯丿賷賲丞 賱兀賵乇爻賵賱丕貙 廿匕 賯丕賱 賲丿賲丿賲丕
-賲丕匕丕 鬲乇賷丿賷賳貙 賮丕賱夭賲賳 賷賲囟賷
-氐丨賷丨 - 賯丕賱鬲 兀賵乇爻賵賱丕- 賵賱賰賳 賱賷爻 廿賱賷 賴匕丕 丕賱丨丿
賵賲丕 兀賳 賯丕賱鬲 匕賱賰 丨鬲賷 兀賳鬲亘賴鬲 廿賱賷 兀賳賴丕 鬲賯丿賲 丕賱噩賵丕亘 賳賮爻賴 丕賱匕賷 鬲賱賯鬲賴 賲賳 丕賱賰賵賱賵賳賷賱 兀賵乇賷賱賷丕賳賵 亘賵賷賳丿賷丕 賮賷 夭賳夭丕賳鬲賴貙 賵兀丨爻鬲 亘丕賱賯卮毓乇賷乇丞 賵賴賷 鬲鬲兀賰丿 賲噩丿丿丕 賲賳 兀賳 丕賱夭賲賳 賱丕 賷賲囟賷 賵廿賳賲丕 賷賱鬲賮 丿丕卅乇賷丕
賮乇丕卮丕鬲 氐賮乇丕亍 貙 賵賮賷丕鬲 睾賷乇 賲賮丕噩兀丞 賵卮噩賳 賲鬲賵賯毓 貙 賲胤乇 睾夭賷乇 賷爻鬲賲乇 賱兀乇亘毓 爻賳賵丕鬲 貙 禺乇丕亘 賵賳賲賱 丕亘賷囟 賵兀丨賲乇... 賵丕賱賭賭夭賲賳 賷賲囟賷 貙 賵廿賳 賰丕賳 亘卮賰賱 兀爻乇毓 賰賲丕 爻鬲賱丕丨馗 賲毓 兀賵乇爻賵賱丕 丕賷囟丕 亘賴匕丕 丕賱賲卮賴丿
"丕賱爻賳賵賳 丕賱丌賳 賱丕 鬲兀鬲賷 賲孬賱 丕賱爻賳賵丕鬲 賲賳 賯亘賱"
丕毓鬲丕丿鬲 丕賳 鬲賯賵賱 匕賱賰貙 卮丕毓乇丞 亘兀賳 丕賱賵丕賯毓 丕賱賷賵賲賷 賷賮賱鬲 賲賳 亘賷賳 賷丿賷賴丕. 賮賲賳 賯亘賱 -賮賰乇鬲- 賰丕賳 丕賱兀胤賮丕賱 賷鬲兀禺乇賵賳 胤賵賷賱丕 賮賷 丕賱賳賲賵. 賵賱賷爻 毓賱賷賴丕 廿賱丕 兀賳 鬲鬲匕賰乇 賰賱 丕賱夭賲賳 丕賱匕賷 兀賳賯囟賷 賯亘賱 兀賳 賷匕賴亘 兀亘賳賴丕 丕賱亘賰乇 禺賵爻賷賴 兀乇賰丕丿賷賵 賲毓 丕賱睾噩乇貙 賵賰賱 賲丕噩乇賷 賯亘賱 兀賳 賷毓賵丿 賲賱賵賳丕 賰丨賷丞貙 賵賲鬲丨丿孬丕 賲孬賱 賮賱賰賷 ; 賵丕賱兀卮賷丕亍 丕賱鬲賷 丨丿孬鬲 賮賷 丕賱亘賷鬲 賯亘賱 兀賳 賷賳爻賷 丌乇賰丕丿賷賵 賵丌賲丕乇丕賳鬲丕 賱睾丞 丕賱賴賳賵丿貙 賵賷鬲毓賱賲丕 丕賱賯卮鬲丕賱賷丞. 賵賱丕 亘丿 賲賳 乇丐賷丞 兀賷丕賲 丕賱卮賲爻 賵丕賱氐丨賵 丕賱鬲賷 鬲丨賲賱賴丕 禺賵爻賷賴 兀乇賰丕丿賷賵 丕賱賲爻賰賷賳貙 鬲丨鬲 卮噩乇丞 丕賱賰爻鬲賳丕亍貙 賵賰賲 賰丕賳 毓賱賷賴丕 兀賳 鬲亘賰賷 賲賵鬲賴貙 賯亘賱 兀賳 賷丨賲賱賵丕 廿賱賷賴丕 賰賵賱賵賳賷賱丕 賷丨鬲囟乇 丕爻賲賴 丌賵乇賷賱賷丕賳賵 亘賵賷賳丿賷丕 賱鬲噩丿 兀賳賴 亘毓丿 賰孬賷乇 賲賳 丕賱丨乇賵亘貙 賵亘毓丿 賰賱 賲丕 毓丕賳鬲賴 賲賳 兀噩賱賴貙 賱賲 賷亘賱睾 丕賱禺賲爻賷賳 賲賳 毓賲乇賴 亘毓丿
賮賮賷 夭賲賳 丌禺乇貙 賵亘毓丿 兀賳 鬲賲囟賷 丕賱賳賴丕乇 亘胤賵賱賴 賮賷 氐賳毓 丨賷賵丕賳丕鬲 賲賳 丕賱爻賰乇貙 賰丕賳鬲 鬲噩丿 賮丕卅囟丕 賲賳 丕賱賵賯鬲 賱賱毓賳丕賷丞 亘丕賱兀胤賮丕賱. 兀賲丕 丕賱丌賳 亘丕賱賲賯丕亘賱貙 毓賳丿賲丕 賱賲 賷毓丿 賱丿賷賴丕 卮卅 鬲賮毓賱賴貙 鬲囟胤乇賴丕 賳賵毓賷丞 丕賱夭賲賳 丕賱乇丿卅 廿賱賷 鬲乇賰 丕賱兀賲賵乇 睾賷乇 賳丕噩夭丞 亘丕賱賰丕賲賱
賱賯丿 賯丕賲 丕賱毓亘賯乇賷 亘鬲賱禺賷氐 賰孬賷乇 賲賳 丕賱兀丨丿丕孬 賲賳匕 亘丿丕賷丞 丕賱乇賵丕賷丞 賮賷 鬲賱賰 丕賱爻胤賵乇 丕賱賯賱賷賱丞 亘乇亘毓賴丕 丕賱兀禺賷乇 賲賳 賵噩賴賴 賳馗乇 兀賯賵賷 亘胤賱丕鬲賴 兀賵乇爻賵賱丕
賰賲 賲乇丞 卮毓乇鬲 亘兀賳 賴匕丕 丕賱賰賱丕賲 爻賲毓鬲賴 賮賷 丕賱丨賯賷賯丞 賲賳 丕丨丿 丕賱賰亘丕乇責 亘賱 賰賲 賲乇丞 丕賳鬲 賳賮爻賰 卮毓乇鬲 亘氐丨鬲賴 賮毓賱丕責
丕賱夭賲賳 丕賱睾丕丿乇
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賵鬲鬲賵丕賱賷 丕賱兀丨丿丕孬 兀爻乇毓 亘鬲爻丕乇毓 丨乇賰丞 丕賱夭賲丕賳 丕賱賯丕爻賷丞.. 爻鬲夭丿丕丿 毓夭賱鬲賰 賵鬲毓丕賷卮賰 丨鬲賷 鬲賱賲爻 卮賷禺賵禺鬲賰 賲毓 卮賷禺賵禺丞 丕賱賲丿賷賳丞 亘丕賱乇睾賲 賲賳 氐睾乇 爻賳 兀禺乇 丕噩賷丕賱賴丕.. 賵丕賱匕賷 爻賷賮賰 乇賲賵夭 乇賯丕卅賯 賲賷賱賰賷丕丿爻 丕賱睾噩乇賷 丕賱鬲賷 賰鬲亘鬲 賲賳 賲丕卅丞 毓丕賲 賲賳 鬲丕乇賷禺 賲丕賰賵賳丿賵
丨鬲賷 鬲氐賱 賱賱賳賴丕賷丞
賲丕卅賴 毓丕賲 賲賳 丕賱爻丨乇 貙 丕賱丨亘 貙 丕賱噩賵 丕賱兀爻乇賷 貙 丨亘 丕賱丕爻鬲賰卮丕賮 貙 丕賱禺賵賮 貙 丕賱毓卮賯 貙 丕賱禺胤賷卅丞 貙 丕賱賯丿丕爻丞 貙 丕賱爻賷丕爻丞 貙 賰乇賲 丕賱囟賷丕賮丞 貙 丕賱兀賳睾賱丕賯 貙 賯乇丕亍丞 丕賱胤丕賱毓 賵丕賱賳亘賵亍丕鬲
賲丕卅賴 毓丕賲 賲賳 賯爻賵丞 丕賱夭賲丕賳 貙 賲賳 丕賱禺賱賵丿 賵賲賳 丕賱賮賳丕亍貙, 賲賳 丕賱爻賷丕爻丞 賵賲賳 丕賱亘乇丕亍丞 貙 賲丕卅賴 毓丕賲 賲賳 丕賱毓夭賱丞
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賳賯胤丞 賴丕賲丞 兀禺賷乇丞
兀毓鬲賯丿 兀賳 賲賳 爻賱亘賷丕鬲 丕賱乇賵丕賷丞 賴賷 亘毓囟 兀丨丿丕孬 丕賱噩賳爻 亘賷賳 丕锘焚傌ж必� 亘胤乇賷賯丞 卮丕匕丞 兀丨賷丕賳丕 賵廿賳 賰丕賳鬲 丕賱賱睾丞 賴賳丕 賱賷爻鬲 亘亘匕丕亍丞 丕賱亘毓囟 賵賱賷爻鬲 丨鬲賷 賰卮胤丨丕鬲 夭賷丿丕賳 兀賵 丕賱兀爻賵丕賳賷 兀賵 丨鬲賷 兀爻賱賵亘 賲乇丕丿 丕賱賲爻鬲賮夭
賵賱賰賳 賯丿 賱丕 鬲賳鬲亘賴 賱賲禺丕賵賮 兀賵乇爻賵賱丕 丨賵賱 匕賷賱 丕賱禺賳夭賷乇 丕賱鬲賷 匕賰乇鬲 亘丕賱亘丿丕賷丞貙 賵賱賰賳賰 亘丕賱鬲兀賰賷丿 毓賳丿 廿賳鬲賴丕卅賰 賲賳 丕賱乇賵丕賷丞 爻鬲丿乇賰 丕賱賲睾夭賷 丕賱乇丕賯賷 賱賱乇賵丕賷丞 賵兀賳丞 賰丕賳 丿丕卅賲丕 亘賴丕 賲賳匕 丕賱亘丿丕賷丞... 毓賳 丕禺鬲賱丕胤 丕賱兀賳爻丕亘
丨丿孬賴 丕賱禺賲丕乇 毓賳 賳賰亘丞 匕乇丕毓賴, 賮賯丿 賰丕賳鬲 賲鬲賷亘爻丞 賵卮亘賴 賲丨乇賵賯丞,賱兀賳賴 乇賮毓賴丕 毓賱賷 兀賲賴. 賵丨丿孬賴 兀賵乇賷賱賷丕賳賵 毓賳 賳賰亘丞 賯賱亘賴 丕賱賲鬲賷亘爻 賵卮亘賴 丕賱賲丨乇賵賯, 賱兀賳賴 乇賮毓賴 毓賱賷 兀禺鬲賴
賵爻鬲丿乇賰 兀賳 賲丕 馗賳賳鬲賴 賲噩乇丿 爻賱亘賷丕鬲 賴賷 丨賰賲丞 兀禺乇賷 賷賯丿賲賴丕 噩丕亘乇賷賱 噩丕乇爻賷丕 賲丕乇賰賷夭 亘丕爻賱賵亘賴 丕賱乇丕賯賷 -賵丕賷囟丕 亘丕賱鬲兀賰賷丿 丕賱賲鬲乇噩賲 丕賱乇丕卅毓 氐丕賱丨 毓賱賲丕賳賷- 賵亘丨乇賮賷丞 睾乇賷亘丞 賲鬲賲賷夭丞
賮兀爻賱賵亘 爻乇丿 噩丕亘乇賷賷賱 噩丕乇爻賷丕 賲丕乇賰賷夭 丕賱睾乇賷亘 爻賷睾乇賯賰 賮賷 丕賱兀丨丿丕孬 丕賱賵丕賯毓賷丞 丕賱賲賲夭賵噩丞 亘爻丨乇 睾乇賷亘
賰兀爻賱賵亘 丨賰丕賷丕鬲 丕賱噩丿丕鬲 賲毓 亘毓囟 丨乇丕乇丞 丕賱卮亘丕亘 賱賷禺賱賯 噩賵丕 毓噩賷亘丕 賲賳 丕賱爻乇丿 賷禺賱胤 賮賷賴 亘賷賳 兀丨丿丕孬 賱丕丨賯丞 賵 丕丨丿丕孬 賲囟鬲 '賮賱丕卮 亘丕賰 賵 賮賱丕卮 賮賵乇賵丕乇丿' 亘胤乇賷賯丞 毓噩賷亘丞 賱賳 鬲賯賱賱 賲賳 丕爻鬲賲丕毓賰 賵 廿賳賲丕 賯丿 鬲夭賷丿 卮睾賮賰 賵 兀孬丕乇鬲賰 賱賲氐賷乇 鬲賱賰 丕賱毓丕卅賱丞 賵丕賱賲丿賷賳丞
爻鬲氐丕乇毓 賲毓 兀賵乇爻賵賱丕 兀賷噩賵丕乇丕賳 夭賵噩丞 禺賵爻賷賴 兀乇賰丕丿賷賵 亘賵賷賳丿丕 丕賱夭賲賳 賮賷 賲丕卅丞 毓丕賲 .. 鬲賴夭賲 丕賱爻賷丕爻丞 丕賱賮丕爻丿丞 賵丕賱丕爻鬲孬賲丕乇貙亘賱 丕賱丕爻鬲毓賲丕乇貙 丕賱丕噩賳亘賷 丕賱賲爻鬲睾賱 ..賵賱賰賳 廿賱丕 丕賱夭賲賳... 賮賱丕 賴丕夭賲 賱賱夭賲賳
爻鬲馗賱 賲鬲卮亘孬丕 賲毓賴丕 亘亘賷鬲 丕賱賲噩丕賳賷賳貙 亘賷鬲 鬲賱賰 丕賱毓丕卅賱丞 丕賱睾乇賷亘丞 賵鬲賮賴賲賴 賵鬲鬲鬲毓丕胤賮 賲毓賴 賵鬲丨丕賵賱 丕賳 鬲噩毓賱賴 賲賮鬲賵丨丕 丿丕卅賲丕 賱賱夭賵丕乇 賱賷賯囟賷 毓賱賷 丕賱毓夭賱丞 丕賱鬲賷 賷賮乇囟賴丕 毓賱賷賳丕 丕賱夭賲賳
爻鬲卮賮賯 毓賱賷 鬲賱賰 丕賱賲賴賲丞 丕賱噩賱賷賱丞 丕賱丨夭賷賳丞 丕賱鬲賷 爻鬲鬲丨賲賱賴丕 兀賲丕乇丕賳鬲丕 賯亘賱 賵賮丕鬲賴丕... 賵賮賷 賳賮爻 丕賱賵賯鬲 爻鬲噩丿 賳賮爻賰 丕賷囟丕 賲鬲毓丕胤賮丕 賲毓 丕賵乇賱賷丕賳賵 丕賱孬丕賳賷 丕賱匕賷 噩丕賴丿 丕賱夭賲賳 賱賷爻鬲賲鬲毓 亘丕賱丨賷丕丞 丕賱賯氐賷乇丞
兀亘鬲毓丿賷 丕賷鬲賴丕 丕賱丕亘賯丕乇 ..賮丕賱丨賷丕丞 賯氐賷乇丞
賵賮賷 乇兀賷賷 賮毓賱丕 兀賵乇爻賵賱丕 賲賳 兀噩賲賱 丕賱卮禺氐賷丕鬲 丕賱賳爻丕卅賷丞 丕賱鬲賷 賯乇兀鬲賴丕 貙 乇兀賷鬲 賮賷賴丕 卮賷卅丕 兀賱賮鬲賴 噩丿丕 貙 卮毓乇鬲 賲毓賴丕 亘兀丨爻丕爻 丕賱兀賲賵賲丞 賵乇亘丞 丕賱丿丕乇 貙 賲賳 兀賰孬乇 丕賱卮禺氐賷丕鬲 丕賱鬲賷 兀孬乇鬲 賮賷 賮毓賱丕
亘氐乇丕丨賴 賲賳 丕賱丕卮賷丕亍 丕賱鬲賷 丿丕卅賲丕 鬲噩毓賱賳賷 丕毓賷卮 亘丕賱乇賵丕賷丞 賴賵 丕賳賷 丿丕卅賲丕 賲丕 丕賯賵賲 亘鬲賵夭賷毓 丕賱卮禺氐賷丕鬲 賵丕賱丕丿賵丕乇 毓賱賷 賮賳丕賳賷賳 賮賷 亘丕賱賷 賰賷 丕乇賷 鬲毓亘賷乇丕鬲賴賲 賵賴賲 賷賲孬賱賵賳賴丕 丕孬賳丕亍 賯乇丕卅鬲賷 賮賷 禺賷丕賱賷.. 賵賴匕丕 賷賮賷丿 賰孬賷乇丕
賵亘丕賱乇睾賲 丕賱丕禺鬲賷丕乇 丕賱毓卮賵丕卅賷 丕賱賷 丨丿 賲丕 賱賭"廿賷賮丕 賱賵賳噩賵乇賷丕" 亘胤賱丞 乇亘丕鬲 丕賱亘賷賵鬲 丕賱賷丕卅爻丕鬲 賯丿 鬲禺賵賮鬲 賲賳賴 毓賳丿賲丕 賵噩丿鬲 丿賵乇 兀賵乇爻賵賱丕 賱賷爻 亘氐睾賷乇
廿賱丕 兀賳 乇爻賲 丕賱卮禺氐賷丞 賮毓賱丕 丕毓噩亘賳賷 賵丕噩丕丿鬲 丕賱丿賵乇 賮賷 禺賷丕賱賷 賵鬲賱賷賯 亘賴 賮毓賱丕
賲丕 丕賱匕賷 賰賳鬲 鬲賳鬲馗乇賴責- 鬲賳賴丿鬲 兀賵乇爻賵賱丕, 賵兀囟丕賮鬲 :- 廿賳 丕賱賭賭夭賲賭賭賭賳 賷賭賲賭囟賭賷
爻鬲馗賱 賲丕賰賵賳丿賵 丨賱賲丕 噩賲賷賱丕 賲賴賲丕 睾夭鬲賴 丕賱賰賵丕亘賷爻 賮賷 亘毓囟 賲丨胤丕鬲賴..賵爻賷馗賱 丨賳賷賳賷 丕賱賷賴丕 賰兀賳賴丕 賲丕囟 毓卮鬲賴
賵亘丕賱乇睾賲 賲賳 兀鬲賮丕賯賷 卮賷卅丕 賲丕 賲毓 賲賵賯賮 氐丕丨亘 丕賱賲賰鬲亘丞 亘賲丕賰賵賳丿賵 毓賳丿賲丕 賯丕賱 賮賷 丕賱丕丨丿丕孬
兀賳 丕賱賲丕囟賷 賲丕 賴賵 廿賱丕 賰匕亘丞貙 賵兀賳賴 賱賷爻 賱賱匕丕賰乇丞 賲賳 丿乇賵亘 賱賱毓賵丿丞貙 賵兀賳 賰賱 乇亘賷毓 賯丿賷賲 賱丕 賷爻鬲毓丕丿貙 賵兀賳 兀卮丿 丕賱睾乇丕賲賷丕鬲 噩賲賵丨丕貙 賵兀賰孬乇賴丕 乇爻賵禺丕貙 賱賷爻鬲 賮賷 賳賴丕賷丞 丕賱賲胤丕賮 廿賱丕 丨賯賷賯丞 夭丕卅賱丞
廿賱丕 兀賳 賰賲丕 賯丕賱 噩丕亘乇賷賱 噩丕乇爻賷丕 賲丕乇賰賷夭 賳賮爻賴 丕賳賴 賱丕 賷賴賲 賲丕 丨丿孬 賮賷 丕賱賲丕囟賷貙 賵丕賳賲丕 賰賷賮 賳鬲匕賰乇賴 賴匕丕 賴賵 丕賱賲賴賲
賰賲丕 賮賷 鬲賱賰 丕賱賲賯賵賱丞 丕賱鬲賷 賵囟毓鬲賴丕 賮賷 丕賱乇賷賮賷賵 丕賱賲亘丿卅賷
賵兀賯賱 賲丕賷賲賰賳 丕賳 賳丨賵賱 匕賰乇賷 賴匕丕 丕賱乇噩賱 亘丌丨賷丕亍 丕賱賵丕賯毓賷丞 丕賱爻丨乇賷丞 貙 丨賰丕賷丕鬲 丕賱噩丿丕鬲 丕賱噩匕丕亘丞 丕賱睾乇賷亘丞 丕賱鬲賷 鬲毓賵丿 亘賳丕 賱匕賰乇賷丕鬲 丕賷丕賲 丕賱氐亘丕... 丕賱賵丕賯毓賷丞 丕賱爻丨乇賷丞 丕賱鬲賷 廿賳 馗賱鬲 賵毓丕卮鬲 亘賯賱賵亘賳丕 賮賱賳 賷賳噩丨 丕賷 乇賰丕賰丞 兀賵 亘匕丕亍丞 兀賵 賯鬲丕賲丞 賷賳爻亘 賱賴丕 丕賱賵丕賯毓 丕賱丨丕賱賷 賮賷 廿馗賱丕賲 賯賱賵亘賳丕.. 賱賳賯乇兀 賵丕賯毓賷鬲賴 丕賱爻丨乇賷丞..丕賱丨丕賱賲丞
賵賷毓賷卮 丕賱爻丨乇 賮賷 賯賱賵亘賳丕 貙 賱賳鬲匕賰乇賴 賱賱兀亘丿
R I P Gabriel Marcus
Your Magical Realism will always enchanting and illuminating our hearts , will defeat the dirty realism that we unfortunately stuck in..
Your magical words and novels will be read....forever
you're enchanted
賲丨賲丿 丕賱毓乇亘賷
賲賳 24 丕亘乇賷賱 2014
丕賱賷 2 賲丕賷賵 2014
丕卮賰乇 噩丿丕 賰賱 賲賳 乇卮丨 丕賱乇賵丕賷丞 賱賷 賲賳 丕賱兀氐丿賯丕亍 貙 賵兀卮賰乇 兀賷囟丕 丿毓賲 丕賱兀氐丿賯丕亍 賮賷 丕賳鬲馗丕乇 乇丕賷賷 賮賷 丕賱乇賵丕賷丞 亘鬲毓賱賷賯丕鬲賰賲 賵丕鬲賲賳賷 兀賳 鬲毓噩亘賰賲 賰賲丕 丕毓噩亘鬲賳賷 貙 賵丕鬲賲賳賷 丕賳 賷賰賵賳 乇丕賷賷 -丕賱匕賷 丨丕賵賱鬲 丕禺鬲氐丕乇賴 賵丕賱賱賴- 兀賳 賷賰賵賳 賵丕囟丨丕 賵賲賱丕卅賲丕
July 14, 2008
I must have missed something. Either that, or some wicked hypnotist has tricked the world (and quite a few of my friends, it would seem) into believing that One Hundred Years of Solitude is a great novel. How did this happen? One Hundred Years of Solitude is not a great novel. In fact, I'm not even sure it qualifies as a novel at all. Rather it reads like a 450-page outline for a novel which accidentally got published instead of the finished product. Oops.
Don't get me wrong. I'm not disputing that Marquez has an imaginative mind. He does, unquestionably. Nor am I disputing that he knows how to come up with an interesting story. He obviously does, or this wouldn't be the hugely popular book it is. As far as I'm concerned, though, he forgot to put the finishing touches to his story. In his rush to get the bare bones on paper, he forgot to add the things which bring a story alive. Such as, you know, dialogue. Emotions. Motivations. Character arcs. Pretty basic things, really. By focusing on the external side of things, and by never allowing his characters to speak for themselves (the dialogue in the book amounts to about five pages, if that), Marquez keeps his reader from getting to know his characters, and from understanding why they do the things they do. The lack of characterisation is such that the story basically reads like an unchronological chronicle of deeds and events that go on for ever without any attempt at an explanation or psychological depth. And yes, they're interesting events, I'll grant you that, but they're told with such emotional detachment that I honestly didn't care for any of the characters who experienced them. I kept waiting for Marquez to focus on one character long enough to make me care about what happened to him or her, but he never did, choosing instead to introduce new characters (more Aurelianos... sigh) and move on. I wish to all the gods of fiction he had left out some twenty Aurelianos and focused on the remaining four instead. With three-dimensional characters rather than two-dimensional ones, this could have been a fabulous book. As it is, it's just a shell.
What a waste of a perfectly good story.
Don't get me wrong. I'm not disputing that Marquez has an imaginative mind. He does, unquestionably. Nor am I disputing that he knows how to come up with an interesting story. He obviously does, or this wouldn't be the hugely popular book it is. As far as I'm concerned, though, he forgot to put the finishing touches to his story. In his rush to get the bare bones on paper, he forgot to add the things which bring a story alive. Such as, you know, dialogue. Emotions. Motivations. Character arcs. Pretty basic things, really. By focusing on the external side of things, and by never allowing his characters to speak for themselves (the dialogue in the book amounts to about five pages, if that), Marquez keeps his reader from getting to know his characters, and from understanding why they do the things they do. The lack of characterisation is such that the story basically reads like an unchronological chronicle of deeds and events that go on for ever without any attempt at an explanation or psychological depth. And yes, they're interesting events, I'll grant you that, but they're told with such emotional detachment that I honestly didn't care for any of the characters who experienced them. I kept waiting for Marquez to focus on one character long enough to make me care about what happened to him or her, but he never did, choosing instead to introduce new characters (more Aurelianos... sigh) and move on. I wish to all the gods of fiction he had left out some twenty Aurelianos and focused on the remaining four instead. With three-dimensional characters rather than two-dimensional ones, this could have been a fabulous book. As it is, it's just a shell.
What a waste of a perfectly good story.
November 12, 2023
i was a kid watching an episode of thundercats in which a few of the cats were trapped in some kind of superbubble thing and it hit me that, being cartoons, the characters could just be erased and redrawn outside the bubble or could just fly away or tunnel their way out. or teleport. or just do whatever they wanted. i mean, they were line and color in a world of line and color. now this applies to any work of fiction but it just felt different with a lowest-common-denominator cartoon. adherence to reality (reality as defined within the world of the cartoon) wasn鈥檛 a top priority. this ended my cartoon watching days. was it a lack of, or too much, imagination? dunno.
i had a similar experience with One Hundred Years of Solitude. gypsies bring items to Macondo, a village hidden away from mass civilization by miles of swamp and mountain. these everyday items (magnets, ice, etc.) are interpreted as 鈥榤agic鈥� by people who have never seen them and it forces the reader to reconfigure her perception of much of what she formerly found ordinary. amazing. and then the gypsies bring a magic carpet. a real one. one that works. and there is no distinction b/t magnets and the magic carpet. this, i guess, is magical realism. and i had a Thundercats moment in that i found the magic carpet to immediately render all that preceded it as irrelevant. are ice and magnets the same as magic carpets? what is the relation between magic and science? how can i trust and believe in a character who takes such pains to understand ice and magnets and who, using the most primitive scientific means, works day and night to discover that the earth is round -- but then blindly accepts that carpets can fly? or that people can instantaneously increase their body weight sevenfold by pure will? or that human blood can twist and turn through streets to find a specific person? fuck the characters, how can i trust the writer if the world is totally undefined? if people can refuse to die (and it鈥檚 not explained who or how or why) where are the stakes? how can i care about any situation if I can't trust Garcia Marquez not to simply make the persons involved sprout wings and fly away?
so i鈥檓 at page 200. and i鈥檓 gonna push on. but it鈥檚 tough. do i care when someone dies if death isn鈥檛 permanent? how do i give a fuk about characters who have seen death reversed but don鈥檛 freak the fuck out (which is inconsistent with what does make them freak the fuck out) and who also continue to cry when someone dies? yeah, there are some gems along the way, but i think had Solitude been structured as a large collection of interconnected short stories (kinda like a magical realism Winesberg, Ohio?) it would've worked much better.
should the book be read as fairy-tale? myth? allegory? no, i鈥檇 label anyone a fraud who tried to explain away this 500 page book as mere allegory. i don鈥檛 believe Garcia Marquez has as fertile an imagination as Borges or Cervantes or Mutis 鈥�- three chaps who could pull something like this off on storytelling power alone; but three chaps who, though they may dabble in this stuff, clearly define the world their characters inhabit.
this is one of the most beloved books of all time and i鈥檓 not so arrogant (damn close) to discount the word of all these people (although I do have gothboy, DFJ, and Borges on my side--a strong argument for or against anything), and not so blind to see the joy this brings to so many people. but i don鈥檛 get it. and i aggressively recommend The Adventures and Misadventures of Maqroll to any and all who find Solitude to be the end all and be all.
i had a similar experience with One Hundred Years of Solitude. gypsies bring items to Macondo, a village hidden away from mass civilization by miles of swamp and mountain. these everyday items (magnets, ice, etc.) are interpreted as 鈥榤agic鈥� by people who have never seen them and it forces the reader to reconfigure her perception of much of what she formerly found ordinary. amazing. and then the gypsies bring a magic carpet. a real one. one that works. and there is no distinction b/t magnets and the magic carpet. this, i guess, is magical realism. and i had a Thundercats moment in that i found the magic carpet to immediately render all that preceded it as irrelevant. are ice and magnets the same as magic carpets? what is the relation between magic and science? how can i trust and believe in a character who takes such pains to understand ice and magnets and who, using the most primitive scientific means, works day and night to discover that the earth is round -- but then blindly accepts that carpets can fly? or that people can instantaneously increase their body weight sevenfold by pure will? or that human blood can twist and turn through streets to find a specific person? fuck the characters, how can i trust the writer if the world is totally undefined? if people can refuse to die (and it鈥檚 not explained who or how or why) where are the stakes? how can i care about any situation if I can't trust Garcia Marquez not to simply make the persons involved sprout wings and fly away?
so i鈥檓 at page 200. and i鈥檓 gonna push on. but it鈥檚 tough. do i care when someone dies if death isn鈥檛 permanent? how do i give a fuk about characters who have seen death reversed but don鈥檛 freak the fuck out (which is inconsistent with what does make them freak the fuck out) and who also continue to cry when someone dies? yeah, there are some gems along the way, but i think had Solitude been structured as a large collection of interconnected short stories (kinda like a magical realism Winesberg, Ohio?) it would've worked much better.
should the book be read as fairy-tale? myth? allegory? no, i鈥檇 label anyone a fraud who tried to explain away this 500 page book as mere allegory. i don鈥檛 believe Garcia Marquez has as fertile an imagination as Borges or Cervantes or Mutis 鈥�- three chaps who could pull something like this off on storytelling power alone; but three chaps who, though they may dabble in this stuff, clearly define the world their characters inhabit.
this is one of the most beloved books of all time and i鈥檓 not so arrogant (damn close) to discount the word of all these people (although I do have gothboy, DFJ, and Borges on my side--a strong argument for or against anything), and not so blind to see the joy this brings to so many people. but i don鈥檛 get it. and i aggressively recommend The Adventures and Misadventures of Maqroll to any and all who find Solitude to be the end all and be all.
February 9, 2017
by Gabriel Garcia Marquez is a tremendous piece of literature. It's not an easy read. You're not going to turn its pages like you would the latest John Grisham novel, or The DaVinci Code. You have to read each page, soaking up every word, immersing yourself in the imagery. Mr. Marquez says that he tells the story as his grandmother used to tell stories to him: with a brick face. That's useful to remember while reading, because that is certainly the tone the book takes. If you can get through the first 50 pages, you will enjoy it. But those 50 are a doozy. It's hard to keep track of the characters, at times (mainly because they are all named Jose Arcadio or Aureliano), but a family tree at the beginning of my edition was helpful. The book follows the Buendia family, from the founding of fictional Macondo to a fitting and fulfilling conclusion. The family goes through wars, marriages, many births and deaths, as well as several technological advances and invasions by gypsies and banana companies (trust me, the banana company is important). You begin to realize, as matriarch Ursula does, that as time passes, time does not really pass for this family, but turns in a circle. And as the circle closes on Macondo and the Buendias, you realize that Mr. Marquez has taken you on a remarkable journey in his literature. Recommended, but be prepared for a hard read.
April 18, 2010
兀賳丕 兀丐賲賳 賮賷 丕賱廿賳爻丕賳 賵 賮賷 賯丿乇丕鬲賴 丕賱毓賯賱賷丞 賵 丕賱廿亘丿丕毓賷丞 賵 兀賳 丕賱毓亘賯乇賷丞 賱賷爻 賱賴丕 爻賯賮 兀賵 丨丿賵丿, 賵 賱賰賳 ..
兀爻鬲胤賷毓 兀賳 兀毓賯丿 賱賰賲 丕賱兀賷賲丕賳 毓賱賶 兀丨丿 卮賷卅賷賳..
廿賲丕 兀賳 "賲丕乇賰賷夭" 賱賷爻 賲賳 丕賱亘卮乇, 亘賱 賴賵 賲賲爻賵爻 . 賷鬲賱賯賶 丕賱賲爻丕毓丿丞 _賮賷 賰鬲丕亘丕鬲賴_ 賲賳 賲賱賰 丕賱噩丕賳 卮禺氐賷丕,, 兀賵 乇亘賲丕 賰丕賳 賷鬲賱賯丕賴丕 賲賳 丕賱噩丿丕鬲/丕賱噩賳賷丕鬲 丕賱賯丿賷賲丕鬲 丕賱賱丕賵鬲賷 卮賴丿賳 禺賱賯 丕賱賰賵賳 賵 賷丨賮馗賳 毓賳 馗賴乇 賯賱亘 賲丕 爻賷丐賵賱 廿賱賷賴 丨丕賱 丕賱禺賱賷賯丞 賲賳匕 兀賳 兀禺乇噩 丕賱賱賴 丕賱亘卮乇 賲賳 馗賴賵乇 丌亘丕卅賴賲 賵 兀卮賴丿賴賲 毓賱賶 兀賳賮爻賴賲 賵 兀胤賱賯賴賲 賮賷 丕賱兀乇囟 賱賷爻鬲毓賷丿賵丕 匕丕賰乇丞 賮賯丿賵賴丕.
兀賵 兀賳賴 廿賳爻賭丕賳 賲孬賱賳丕, 賷賲賱賰 賲丕 賳賲賱賰 賵 賱丕 賷夭賷丿 毓賳丕 賷丿丕 兀賵 賯丿賲 亘賱 賮賯胤 賱丿賷賴 賲賳 胤賵賱 丕賱亘丕賱 賲丕 賷爻賲丨 賱賴 亘賰鬲丕亘丞 乇賵丕賷丞 毓丕丿賷丞 賲鬲爻賱爻賱丞 丕賱兀丨丿丕孬 睾賷乇 賲鬲卮丕亘賴丞 丕賱兀爻賲丕亍 兀賵 賲鬲卮丕亘賰丞 丕賱賲賵丕賯賮 賮賷賲丕 賷賯乇亘 賲賳 500 氐賮丨丞 , 孬賲 賷毓賭賵丿 賵 賷丨囟乇 丿賮丕鬲乇丕賸 噩丿賷丿丞 賵 賷亘丿兀 賮賷 賳賯賱 丕賱兀丨丿丕孬 _ 丕賱鬲賷 賰鬲亘賴丕 爻賱賮丕賸_ 亘氐賵乇丞 賲鬲丿丕禺賱丞 丨賷孬 兀賳賴 毓賱賶 毓賱賲賺 亘丕賱賳賴丕賷丕鬲 賵 亘鬲賵丕賱賷 丕賱兀丨丿丕孬 賵 賲丕 爻鬲丐賵賱 廿賱賷賴 丕賱賳賴丕賷丕鬲.
賳毓賲.. 賱丕亘丿 兀賳賴 賮毓賱 匕賱賰.. 賮賱丕 賷毓賯賱 兀賳 廿賳爻丕賳丕賸 賲孬賱賳丕 賷爻鬲胤賷毓 兀賳 賷賰鬲亘 亘賴匕賴 丕賱毓亘賯乇賷丞 乇賵丕賷丞 賲鬲丿丕禺賱丞 賰賱 賴匕丕 丕賱鬲丿丕禺賱 賵 鬲鬲賰賵賳 賲賳 500 氐賮丨丞 賵 鬲賯毓 兀丨丿丕孬賴丕 賮賷 賲卅丞 毓丕賲 賵 賱丕 賷賵噩丿 賮賷 卮噩乇丞 丕賱毓丕卅賱丞 廿賱丕 丕爻賲賷賳 丕孬賳賷賳 , 兀賵乇賱賷丕賳賵 賵 禺賵爻賷賴 兀乇賰丕丿賷賵
兀賲丕 "氐丕賱丨 毓賱賲丕賳賷" ,, 賮賱丕亘丿 兀賳賴 賴賵 丕賱丌禺乇 賲賲爻賵爻 賵 廿賱丕 賮賰賷賮 鬲購賮爻乇賵賳 賯丿乇鬲賴 毓賱賶 鬲乇噩賲丞 賴匕丕 丕賱噩賳賵賳責
丕賱賱毓賳賭賭丞 毓賱賶 丕賱毓亘賯乇賷丞 丕賱鬲賷 爻鬲爻亘亘 賱賳丕 _賳丨賳 丕賱賯乇丕亍_ 賮賯丿 丕賱毓賯賵賱
March 14, 2025
The world is so unpredictable. Things happen suddenly, unexpectedly. We want to feel we are in control of our own existence. In some ways we are, in some ways we're not. We are ruled by the forces of chance and coincidence.
-Paul Auster
Many years later, as he faced the firing squad, Colonel Aureliano Buendia was to remember that distant afternoon when his father took him to discover ice. At that time Macondo was a village of twenty adobe houses, built on the bank of a river of clear water that ran along a bed of polished stones, which were white and enormous, like prehistoric eggs. The World was so recent that many things lacked names, and in order to indicate them it was necessary to point.
Life starts again after every stroke of death. 鈥楴ihilo ex Nihilo鈥�, the philosophical expression comes to my mind as soon as finished the book; the expression translates into 鈥榥othing out of nothing鈥� which means that there is no break in-between a world that did not exist and one that did, since it could not be created ex nihilo in the first place. Macondo recreates the history of universe/ s in such a way that when existence of one universe reduces to nill, the other universe takes shape out of nothing however the rules in the new universe may not conform to the laws of the first one. Eventually, we come across the solitude of existence, though we may develop myths- which become tradition/ culture over the years- but we may not be able to overcome it. Solitude and Freedom are two such themes which have been very close to human heart after being 鈥榗ivilized鈥�. Human beings may have indefinite degrees of freedom which allow them to act or define their life in infinite ways but eventually solitude of existence curbs their degrees of freedom. Or we may say that existence is solitude- since we crawl in nothingness. Every act of life is like a fast revolving axis on which all the possibilities or probabilities- including imaginations- throw themselves and some of those strike sometimes and others some other times, and those probabilities manifest themselves in the form of hope, myths, dreams, fears, madness and imaginations. There is perhaps one thing which is common between different universes- the endurance of life, the endurance to keep moving no matter what and that鈥檚 what underlines One Hundred Years of Solitude.
It is the second time I read this epic jewel of literature. One Hundred of Solitude, surely one of the most entertaining books ever written in Latin America, does not reveal what it conceals beyond simple text in first reading which may provide entertainment and recognition; rather it demands a second reading which is in effect the 鈥榬eal鈥� reading. And this demand is the essential secret of this great mythic and 鈥榮imultaneist鈥� novel. It demands multiple readings probably because it supposes multiple authorships. The first reading may be straight forward, having facts of founding family of Mocando, sequentially, chronologically, with a biblical and Rabelaisian hyberbole: Aureliano son of Jose Aureliano son of Aureliano son of Jose Aureliano- which also underlines the tradition of Latin America. The second reading begins the moment the first ends: the reader feels that the miracle-working gypsy Melquiades has already written the events of Mocando and he is revealed as the narrator of the book one hundred years later. The second reading did something unimaginable 鈥� it combines in a peculiar form, the order of the actual events with the order of the probable events so that the former destiny is liberated by latter wish. At that instant, you may realize that two things occur simultaneously: the book begins again, but this time the chronological history runs simultaneously as a mythic historicity, and perhaps that鈥檚 where the world famous- but least understood- genre of Magic Realism took its steps of adulthood and the whole world marvel at this ingenious literary achievement.
She finally mixed up the past with the present in such a way that in the two or three waves of lucidity that she had before she died, no one knew for certain whether she was speaking about what she felt or what she remembered. Little by little she was shrinking, turning into a foetus, becoming mummified in life to the point that in her last months she was a cherry raisin lost inside of her nightgown, and the arm that she always kept raised looked like the paw of a marimonda monkey.
The profusion and meticulous vagueness of the information seemed to Aureliano Segundo so similar to the tales of spiritualists that he kept on with his enterprise in spite of the fact that they were in August and they would have to wait at least three years in order to satisfy the conditions of the prediction.
The book 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 Buend铆a 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 Garc铆a M谩rquez always writes with the simplicity, ease, and purity that are the mark of a master. The survivors of the epic saga of Macondo- Aureliano and Amaranta Ursula, 鈥榮ecluded by solitude and love and by the solitude of love in a house where then begins to unfold the mythic, whose simultaneous and renewable character will not be made clear until the final pages, when the reader realizes that whole story has been written already by the gypsy Melquiades, the seer who was present at the foundation of Macondo and who, to keep it in existence, had to resort to the same trick as Jose Arcadio Buendia: writing. There lies the profound paradox of the second reading of One Hundred Years of Solitude: everything was known, before it happened, by the sacred, utopian, mythic, founding prophecies of Melquiades, but nothing will be known if Melquiades does not record it in writing. Like Cervantes, Garcia Marquez establishes the frontiers of reality within a book and the frontiers of a book within a reality.
The final protection, which Aureliano had begun to glimpse when he let himself be confused by the love of Amaranta Ursula, was based on the fact that Melquiades had not put events in the order of man's conventional time, but had concentrated a century of daily episodes, in such a way that they coexisted in one instant.
Ursula's lucidity, her ability to be sufficient unto herself made one think that she was naturally conquered by the weight of her hundred years, but even though it was obvious that she was having trouble seeing, no one suspected that she was totally blind. She had so much time at her disposal then and so much interior silence to watch over the life of the house that she was the first to notice Meme's silent tribulation.
The legends, stories which have been told us over generations through ancestors, society and other pillars of civilized society, become myths over long period of time, time plays important role in amalgamation of reality and myth. Memory also plays important role in creation and re creation of Macondo. Memory repeats the models, the matrixes of the beginning, in the same way as Colonel Buendia, again and again, makes gold fishes which he remelts to make them again鈥�.to be continually reborn, to ensure with strict, ritual, heartfelt acts the permanence of the cosmos. Macondo itself tell all its 鈥榬eal鈥� history and all its 鈥榝ictional鈥� history, all the notary鈥檚 evidence and all the rumors, legends, slanders, pious lies, exaggerations and inventions that no one written down, that the old have told to the children, that the village women have whispered to the priest, that the sorcerers have invoked in the middle of the night and the street vendors cried out in the square.
What are we up to now? Myth or reality. Myth denies reality or where there is reality, no scope for myth. Perhaps myth deny history but the dead, oppressive, factual history which Marquez sheds off in order to bring about, in this very book, a dream like mix of different Latin Americas set in different times. A meeting with the living past, the matrix, which is tradition of severance and risk: each generation of Buendia will know the death of one son in a revolution- a movement- that will never end. After which, we have meeting with imaginative- Utopian world: ice reaches the torrid jungle of Macondo for the first time casing the surprise of the supernatural: the magic will be inextricably linked to usefulness. And eventually, a meeting with the absolute present in which we remember and want: a vivid novel like the long chronicle of a century of solitude in Columbia, but read as an invention committed, precariously, to the peripatetic papers of Melaquiades. Macondo- A place that will hold everyone, that will hold all of us: the seat of time, the enshrinement of all times, the meeting ground of memory and a desire, a common place where everything can begin again: a book. Marquez transforms the evil in his work into beauty and humour- dark humour. Marquez realizes that our history is not only destined: in an obscure way, we have also wanted it. Garcia Marquez weaves a universe wherein a right to the imagination is able to distinguish between mystifications in which a dead past wants to pass for the living present and mystifications in which a living present reclaims the life of the past.
Upset by two nostalgias facing each other like two mirrors, he lost his marvellous sense of unreality and he ended up recommending to all of them that they leave Macondo, that they forget everything he had taught them about the world and the human heart, that they shit on Horace, and that wherever they might be they always remember that the past was a lie, that memory has no return, that every spring gone by could never be recovered, and that the wildest and most tenacious love was an ephemeral truth in the end .
It was then that she understood the vicious circle of Colonel Aureliano Buendia's little gold fishes. The world was reduced to the surface of her skin and her inner self was safe from all bitterness. It pained her not to have had that revelation many years before when it would have still been possible to purify memories and reconstruct the universe under a new light and evoke without trembling Pietro Crespi's smell of lavender at dusk and rescue Rebecca from her slough of misery, not out of hatred or out of love but because of the measureless understanding of solitude.
The books leaves you with a hollowness in your heart- the kind of hollowness you feel when you happens to encounter end of life- even in some other forms, a sense of exhaustion surrounds your mind and you find it hard to gather your thoughts and put them into words. I am feeling the same right now as I am writing this review, but life takes birth again and time moves on, that is also theme of the book. The book is must for everyone who wants to leave mundane and experience magic of life.
5/5
*edited on 29.05.18
-Paul Auster
Many years later, as he faced the firing squad, Colonel Aureliano Buendia was to remember that distant afternoon when his father took him to discover ice. At that time Macondo was a village of twenty adobe houses, built on the bank of a river of clear water that ran along a bed of polished stones, which were white and enormous, like prehistoric eggs. The World was so recent that many things lacked names, and in order to indicate them it was necessary to point.
Life starts again after every stroke of death. 鈥楴ihilo ex Nihilo鈥�, the philosophical expression comes to my mind as soon as finished the book; the expression translates into 鈥榥othing out of nothing鈥� which means that there is no break in-between a world that did not exist and one that did, since it could not be created ex nihilo in the first place. Macondo recreates the history of universe/ s in such a way that when existence of one universe reduces to nill, the other universe takes shape out of nothing however the rules in the new universe may not conform to the laws of the first one. Eventually, we come across the solitude of existence, though we may develop myths- which become tradition/ culture over the years- but we may not be able to overcome it. Solitude and Freedom are two such themes which have been very close to human heart after being 鈥榗ivilized鈥�. Human beings may have indefinite degrees of freedom which allow them to act or define their life in infinite ways but eventually solitude of existence curbs their degrees of freedom. Or we may say that existence is solitude- since we crawl in nothingness. Every act of life is like a fast revolving axis on which all the possibilities or probabilities- including imaginations- throw themselves and some of those strike sometimes and others some other times, and those probabilities manifest themselves in the form of hope, myths, dreams, fears, madness and imaginations. There is perhaps one thing which is common between different universes- the endurance of life, the endurance to keep moving no matter what and that鈥檚 what underlines One Hundred Years of Solitude.
It is the second time I read this epic jewel of literature. One Hundred of Solitude, surely one of the most entertaining books ever written in Latin America, does not reveal what it conceals beyond simple text in first reading which may provide entertainment and recognition; rather it demands a second reading which is in effect the 鈥榬eal鈥� reading. And this demand is the essential secret of this great mythic and 鈥榮imultaneist鈥� novel. It demands multiple readings probably because it supposes multiple authorships. The first reading may be straight forward, having facts of founding family of Mocando, sequentially, chronologically, with a biblical and Rabelaisian hyberbole: Aureliano son of Jose Aureliano son of Aureliano son of Jose Aureliano- which also underlines the tradition of Latin America. The second reading begins the moment the first ends: the reader feels that the miracle-working gypsy Melquiades has already written the events of Mocando and he is revealed as the narrator of the book one hundred years later. The second reading did something unimaginable 鈥� it combines in a peculiar form, the order of the actual events with the order of the probable events so that the former destiny is liberated by latter wish. At that instant, you may realize that two things occur simultaneously: the book begins again, but this time the chronological history runs simultaneously as a mythic historicity, and perhaps that鈥檚 where the world famous- but least understood- genre of Magic Realism took its steps of adulthood and the whole world marvel at this ingenious literary achievement.
She finally mixed up the past with the present in such a way that in the two or three waves of lucidity that she had before she died, no one knew for certain whether she was speaking about what she felt or what she remembered. Little by little she was shrinking, turning into a foetus, becoming mummified in life to the point that in her last months she was a cherry raisin lost inside of her nightgown, and the arm that she always kept raised looked like the paw of a marimonda monkey.
The profusion and meticulous vagueness of the information seemed to Aureliano Segundo so similar to the tales of spiritualists that he kept on with his enterprise in spite of the fact that they were in August and they would have to wait at least three years in order to satisfy the conditions of the prediction.
The book 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 Buend铆a 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 Garc铆a M谩rquez always writes with the simplicity, ease, and purity that are the mark of a master. The survivors of the epic saga of Macondo- Aureliano and Amaranta Ursula, 鈥榮ecluded by solitude and love and by the solitude of love in a house where then begins to unfold the mythic, whose simultaneous and renewable character will not be made clear until the final pages, when the reader realizes that whole story has been written already by the gypsy Melquiades, the seer who was present at the foundation of Macondo and who, to keep it in existence, had to resort to the same trick as Jose Arcadio Buendia: writing. There lies the profound paradox of the second reading of One Hundred Years of Solitude: everything was known, before it happened, by the sacred, utopian, mythic, founding prophecies of Melquiades, but nothing will be known if Melquiades does not record it in writing. Like Cervantes, Garcia Marquez establishes the frontiers of reality within a book and the frontiers of a book within a reality.
The final protection, which Aureliano had begun to glimpse when he let himself be confused by the love of Amaranta Ursula, was based on the fact that Melquiades had not put events in the order of man's conventional time, but had concentrated a century of daily episodes, in such a way that they coexisted in one instant.
Ursula's lucidity, her ability to be sufficient unto herself made one think that she was naturally conquered by the weight of her hundred years, but even though it was obvious that she was having trouble seeing, no one suspected that she was totally blind. She had so much time at her disposal then and so much interior silence to watch over the life of the house that she was the first to notice Meme's silent tribulation.
The legends, stories which have been told us over generations through ancestors, society and other pillars of civilized society, become myths over long period of time, time plays important role in amalgamation of reality and myth. Memory also plays important role in creation and re creation of Macondo. Memory repeats the models, the matrixes of the beginning, in the same way as Colonel Buendia, again and again, makes gold fishes which he remelts to make them again鈥�.to be continually reborn, to ensure with strict, ritual, heartfelt acts the permanence of the cosmos. Macondo itself tell all its 鈥榬eal鈥� history and all its 鈥榝ictional鈥� history, all the notary鈥檚 evidence and all the rumors, legends, slanders, pious lies, exaggerations and inventions that no one written down, that the old have told to the children, that the village women have whispered to the priest, that the sorcerers have invoked in the middle of the night and the street vendors cried out in the square.
What are we up to now? Myth or reality. Myth denies reality or where there is reality, no scope for myth. Perhaps myth deny history but the dead, oppressive, factual history which Marquez sheds off in order to bring about, in this very book, a dream like mix of different Latin Americas set in different times. A meeting with the living past, the matrix, which is tradition of severance and risk: each generation of Buendia will know the death of one son in a revolution- a movement- that will never end. After which, we have meeting with imaginative- Utopian world: ice reaches the torrid jungle of Macondo for the first time casing the surprise of the supernatural: the magic will be inextricably linked to usefulness. And eventually, a meeting with the absolute present in which we remember and want: a vivid novel like the long chronicle of a century of solitude in Columbia, but read as an invention committed, precariously, to the peripatetic papers of Melaquiades. Macondo- A place that will hold everyone, that will hold all of us: the seat of time, the enshrinement of all times, the meeting ground of memory and a desire, a common place where everything can begin again: a book. Marquez transforms the evil in his work into beauty and humour- dark humour. Marquez realizes that our history is not only destined: in an obscure way, we have also wanted it. Garcia Marquez weaves a universe wherein a right to the imagination is able to distinguish between mystifications in which a dead past wants to pass for the living present and mystifications in which a living present reclaims the life of the past.
Upset by two nostalgias facing each other like two mirrors, he lost his marvellous sense of unreality and he ended up recommending to all of them that they leave Macondo, that they forget everything he had taught them about the world and the human heart, that they shit on Horace, and that wherever they might be they always remember that the past was a lie, that memory has no return, that every spring gone by could never be recovered, and that the wildest and most tenacious love was an ephemeral truth in the end .
It was then that she understood the vicious circle of Colonel Aureliano Buendia's little gold fishes. The world was reduced to the surface of her skin and her inner self was safe from all bitterness. It pained her not to have had that revelation many years before when it would have still been possible to purify memories and reconstruct the universe under a new light and evoke without trembling Pietro Crespi's smell of lavender at dusk and rescue Rebecca from her slough of misery, not out of hatred or out of love but because of the measureless understanding of solitude.
The books leaves you with a hollowness in your heart- the kind of hollowness you feel when you happens to encounter end of life- even in some other forms, a sense of exhaustion surrounds your mind and you find it hard to gather your thoughts and put them into words. I am feeling the same right now as I am writing this review, but life takes birth again and time moves on, that is also theme of the book. The book is must for everyone who wants to leave mundane and experience magic of life.
5/5
*edited on 29.05.18
October 16, 2023
I cannot begin to tell you how much I love this book, and how much I adore the writing of Colombian author, Gabriel Garc铆a M谩rquez.
His style, el realismo m谩gico (magical realism), transcends the frugal prose that mildews the pages of so many joyless books.
Salman Rushdie was, and still is, heavily influenced by M谩rquez. He described him as "The greatest of us all."
Louis de Berni猫res was similarly inspired by the great man.
I first read this book more than twenty years ago, and it has remained part of my authorial psyche ever since.
As with Rushdie's work, you can literally point a pin at any sentence in this book to reveal an imaginative genius that most of us could never aspire to. A newcomer to M谩rquez's work might be alarmed to see barely a paragraph break to each page. Don't worry, deep breath, you'll get used to it.
I reread this fantastically demented, wonderfully brilliant book last week, only for my wife to shoot me quizzical looks as I had a Harry Met Salvatora bookgasm while pouting at his dazzling prose, purring at his human imagery and ohhhh, licking my lips at his sumptuous outlandishness. Trigger warning: Those who are easily offended should give it a swerve; magical events do rub shoulders with some very disturbing realities.
There is one line on the book's back cover, penned by The Times newspaper, that sums up this masterpiece perfectly:
"Sweeping, chaotic brilliance, often more poetry than prose ... one vast and musical saga."
So there you have it, a book so momentous that I will revisit it a few more times in my lifetime before I eventually pop my clogs.
His style, el realismo m谩gico (magical realism), transcends the frugal prose that mildews the pages of so many joyless books.
Salman Rushdie was, and still is, heavily influenced by M谩rquez. He described him as "The greatest of us all."
Louis de Berni猫res was similarly inspired by the great man.
I first read this book more than twenty years ago, and it has remained part of my authorial psyche ever since.
As with Rushdie's work, you can literally point a pin at any sentence in this book to reveal an imaginative genius that most of us could never aspire to. A newcomer to M谩rquez's work might be alarmed to see barely a paragraph break to each page. Don't worry, deep breath, you'll get used to it.
I reread this fantastically demented, wonderfully brilliant book last week, only for my wife to shoot me quizzical looks as I had a Harry Met Salvatora bookgasm while pouting at his dazzling prose, purring at his human imagery and ohhhh, licking my lips at his sumptuous outlandishness. Trigger warning: Those who are easily offended should give it a swerve; magical events do rub shoulders with some very disturbing realities.
There is one line on the book's back cover, penned by The Times newspaper, that sums up this masterpiece perfectly:
"Sweeping, chaotic brilliance, often more poetry than prose ... one vast and musical saga."
So there you have it, a book so momentous that I will revisit it a few more times in my lifetime before I eventually pop my clogs.
August 2, 2021
(Book 399 from 1001 books) - Cien A帽os de Soledad = One Hundred Years of Solitude, Gabriel Garc铆a M谩rquez
One Hundred Years of Solitude is a landmark 1967 novel by Colombian author Gabriel Garc铆a M谩rquez that tells the multi-generational story of the Buend铆a family, whose patriarch, Jos茅 Arcadio Buend铆a, founds the town of Macondo, a fictitious town in the country of Colombia.
Characters: 脷rsula Iguar谩n, Remedios Moscote, Remedios, la bella, Fernanda del Carpio, Aureliano Buend铆a, Jos茅 Arcadio Buend铆a, Amaranta Buend铆a, Amaranta 脷rsula Buend铆a, Aureliano Babilonia, Jos茅 Arcadio Segundo, Aureliano Segundo, Aureliano Jos茅, Pilar Ternera, Rebeca Buend铆a, Santa Sof铆a de la Piedad, Arcadio Buend铆a, Jos茅 Arcadio Buend铆a, hijo, Meme Buend铆a, Petra Cotes, Pietro Crespi, Melquiades.
One Hundred Years of Solitude is the story of seven generations of the Buend铆a Family in the town of Macondo.
The founding patriarch of Macondo, Jos茅 Arcadio Buend铆a, and 脷rsula Iguar谩n, his wife (and first cousin), leave Riohacha, Colombia, after Jos茅 Arcadio kills Prudencio Aguilar after a cockfight for suggesting Jos茅 Arcadio was impotent.
One night of their emigration journey, while camping on a riverbank, Jos茅 Arcadio dreams of Macondo, a city of mirrors that reflected the world in and about it.
Upon awakening, he decides to establish Macondo at the riverside; after days of wandering the jungle, his founding of Macondo is utopic.
Jos茅 Arcadio Buend铆a believes Macondo to be surrounded by water, and from that island, he invents the world according to his perceptions.
Soon after its foundation, Macondo becomes a town frequented by unusual and extraordinary events that involve the generations of the Buend铆a family, who are unable or unwilling to escape their periodic (mostly self-inflicted) misfortunes.
For years the town is solitary and unconnected to the outside world, with the exception of the annual visit of a band of gypsies, who show the townspeople technology such as magnets, telescopes, and ice.
The leader of the gypsies, a man named Melqu铆ades, maintains a close friendship with Jos茅 Arcadio, who becomes increasingly withdrawn, obsessed with investigating the mysteries of the universe presented to him by the gypsies.
Ultimately he is driven insane, speaking only in Latin, and is tied to a chestnut tree by his family for many years until his death. ...
氐丿 爻丕賱 鬲賳賴丕蹖蹖 - 诏丕亘乇蹖賱 诏丕乇爻蹖丕 賲丕乇讴夭 丕賳鬲卮丕乇丕鬲 丕賲蹖乇讴亘蹖乇貙 鬲乇噩賲賴 亘賴賲賳 賮乇夭丕賳賴貨 鬲丕乇蹖禺 賳禺爻鬲蹖賳 禺賵丕賳卮: 賲丕賴 丌賵乇蹖賱 爻丕賱 1978賲蹖賱丕丿蹖
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鬲丕乇蹖禺 亘賴賳诏丕賲 乇爻丕賳蹖 07/06/1399賴噩乇蹖 禺賵乇卮蹖丿蹖貨 10/05/1400賴噩乇蹖 禺賵乇卮蹖丿蹖貨 丕. 卮乇亘蹖丕賳蹖
One Hundred Years of Solitude is a landmark 1967 novel by Colombian author Gabriel Garc铆a M谩rquez that tells the multi-generational story of the Buend铆a family, whose patriarch, Jos茅 Arcadio Buend铆a, founds the town of Macondo, a fictitious town in the country of Colombia.
Characters: 脷rsula Iguar谩n, Remedios Moscote, Remedios, la bella, Fernanda del Carpio, Aureliano Buend铆a, Jos茅 Arcadio Buend铆a, Amaranta Buend铆a, Amaranta 脷rsula Buend铆a, Aureliano Babilonia, Jos茅 Arcadio Segundo, Aureliano Segundo, Aureliano Jos茅, Pilar Ternera, Rebeca Buend铆a, Santa Sof铆a de la Piedad, Arcadio Buend铆a, Jos茅 Arcadio Buend铆a, hijo, Meme Buend铆a, Petra Cotes, Pietro Crespi, Melquiades.
One Hundred Years of Solitude is the story of seven generations of the Buend铆a Family in the town of Macondo.
The founding patriarch of Macondo, Jos茅 Arcadio Buend铆a, and 脷rsula Iguar谩n, his wife (and first cousin), leave Riohacha, Colombia, after Jos茅 Arcadio kills Prudencio Aguilar after a cockfight for suggesting Jos茅 Arcadio was impotent.
One night of their emigration journey, while camping on a riverbank, Jos茅 Arcadio dreams of Macondo, a city of mirrors that reflected the world in and about it.
Upon awakening, he decides to establish Macondo at the riverside; after days of wandering the jungle, his founding of Macondo is utopic.
Jos茅 Arcadio Buend铆a believes Macondo to be surrounded by water, and from that island, he invents the world according to his perceptions.
Soon after its foundation, Macondo becomes a town frequented by unusual and extraordinary events that involve the generations of the Buend铆a family, who are unable or unwilling to escape their periodic (mostly self-inflicted) misfortunes.
For years the town is solitary and unconnected to the outside world, with the exception of the annual visit of a band of gypsies, who show the townspeople technology such as magnets, telescopes, and ice.
The leader of the gypsies, a man named Melqu铆ades, maintains a close friendship with Jos茅 Arcadio, who becomes increasingly withdrawn, obsessed with investigating the mysteries of the universe presented to him by the gypsies.
Ultimately he is driven insane, speaking only in Latin, and is tied to a chestnut tree by his family for many years until his death. ...
氐丿 爻丕賱 鬲賳賴丕蹖蹖 - 诏丕亘乇蹖賱 诏丕乇爻蹖丕 賲丕乇讴夭 丕賳鬲卮丕乇丕鬲 丕賲蹖乇讴亘蹖乇貙 鬲乇噩賲賴 亘賴賲賳 賮乇夭丕賳賴貨 鬲丕乇蹖禺 賳禺爻鬲蹖賳 禺賵丕賳卮: 賲丕賴 丌賵乇蹖賱 爻丕賱 1978賲蹖賱丕丿蹖
毓賳賵丕賳 蹖讴: 氐丿 爻丕賱 鬲賳賴丕蹖蹖貨 丕孬乇: 诏丕亘乇蹖賱 诏丕乇爻蹖丕 賲丕乇讴夭貨 賲鬲乇噩賲: 亘賴賲賳 賮乇夭丕賳賴貨 丕賳鬲卮丕乇丕鬲 丕賲蹖乇讴亘蹖乇 丿乇 爻丕賱 1353貙 丿乇 363氐貙 丕賲丕 賴賲蹖賳 鬲乇噩賲賴 亘賴賲賳 賮乇夭丕賳賴 亘丕乇賴丕 鬲賵爻胤 丕賳鬲卮丕乇丕鬲蹖賴丕蹖 賲鬲賮丕賵鬲 趩丕倬 卮丿賴貨 丕賳鬲卮丕乇丕鬲蹖 丿丕丿丕乇貙 1380 丿乇 360氐貙 卮丕亘讴 9647294352貨 賲賵囟賵毓 丿丕爻鬲丕賳賴丕蹖 賳賵蹖爻賳丿诏丕賳 讴賱賲亘蹖丕蹖蹖 - 爻丿賴 20賲
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毓賳賵丕賳 卮丕賳夭丿賴: 氐丿 爻丕賱 鬲賳賴丕蹖蹖貨 丕孬乇: 诏丕亘乇蹖賱 诏丕乇爻蹖丕 賲丕乇讴夭貨 賲鬲乇噩賲: 丌賵蹖賳丕 鬲乇賳賲貙 賳卮乇 鬲賴乇丕賳貙 賲丕賴丕亘賴貙 丿乇 爻丕賱 1393貙 丿乇 477氐貙 卮丕亘讴 9786005205596貨 賵 鬲賵爻胤 賳卮乇 賴賳乇 倬丕乇蹖賳賴貙 丿乇 爻丕賱 1390貙 丿乇 584氐貙 卮丕亘讴 9786005981032貨
趩丕倬 賳禺爻鬲 丕蹖賳 丕孬乇 丿乇 爻丕賱 1967賲蹖賱丕丿蹖貙 丿乇 芦丌乇跇丕賳鬲蹖賳禄貙 亘丕 鬲蹖乇丕跇 賴卮鬲 賴夭丕乇 賳爻禺賴 賲賳鬲卮乇 卮丿貨 賴賲诏蹖 賳爻禺賴鈥� 賴丕蹖 趩丕倬 賳禺爻鬲 丕夭 芦氐丿 爻丕賱 鬲賳賴丕蹖蹖禄 亘賴 夭亘丕賳 芦丕爻倬丕賳蹖丕蹖蹖禄貙 丿乇 賴賲丕賳 賴賮鬲賴 蹖 賳禺爻鬲蹖賳 丕賳鬲卮丕乇 亘賴 賮乇賵卮 乇賮鬲賳丿貨 丿乇 趩賴丕乇 丿賴賴 賵 爻丕賱賴丕蹖蹖 讴賴 丕夭 賳禺爻鬲蹖賳 趩丕倬 丕蹖賳 讴鬲丕亘 亘诏匕卮鬲貙 亘蹖卮 丕夭 爻蹖 賲蹖賱蹖賵賳 賳爻禺賴 丕夭 丌賳貙 丿乇 爻乇丕爻乇 噩賴丕賳 賳蹖夭 亘賴 賮乇賵卮 乇賮鬲賴貙 賵 亘賴 亘蹖卮 丕夭 爻蹖 夭亘丕賳 亘乇诏乇丿丕賳 卮丿賴 丕爻鬲貨 噩丕蹖夭賴 蹖 芦賳賵亘賱 丕丿亘蹖丕鬲禄 爻丕賱 1982賲蹖賱丕丿蹖貙 亘賴 芦诏丕亘乇蹖賱 诏丕乇爻蹖丕 賲丕乇讴夭禄貙 亘乇丕蹖 丌賮乇蹖賳卮 賴賲蹖賳 丕孬乇 丕賴丿丕 卮丿
賴卮丿丕乇 賵 丕禺胤丕乇 亘乇丕蹖 讴爻丕賳蹖讴賴 賲蹖禺賵丕賴賳丿 丿丕爻鬲丕賳 乇丕 诏乇賲 诏乇賲 亘禺賵丕賳賳丿貨 ...貨 賱胤賮丕 丕丿丕賲賴 丕蹖賳 賳賵卮鬲丕乇 蹖丕 爻胤乇賴丕蹖 倬丕蹖丕賳蹖 丌賳乇丕 賳禺賵丕賳賳丿貨
丿丕爻鬲丕賳 亘賴 卮乇丨 夭賳丿诏蹖 卮卮 賳爻賱貙 丕夭 禺丕賳賵丕丿賴 蹖 芦亘賵卅賳丿蹖丕禄 倬乇丿丕禺鬲賴貨 讴賴 賳爻賱 賳禺爻鬲 丌賳鈥屬囏� 丿乇 丿賴讴丿賴鈥� 丕蹖 亘賴 賳丕賲 芦賲丕讴賵賳丿賵禄 爻丕讴賳 賲蹖鈥屫促堎嗀� 賳丕倬丿蹖丿 卮丿賳貙 賵 賲乇诏 亘毓囟蹖 丕夭 卮禺氐蹖鬲鈥屬囏й� 丿丕爻鬲丕賳貙 亘賴 噩丕丿賵蹖蹖 卮丿賳 乇賵丕蹖鬲鈥屬囏� 賲蹖鈥屫з佖藏й屫� 氐毓賵丿 芦乇賲丿蹖賵爻禄 亘賴 丌爻賲丕賳貙 丿乇爻鬲 丿乇 亘乇丕亘乇 趩卮賲 丿蹖诏乇丕賳貨 讴卮鬲賴 卮丿賳 賴賲诏蹖 倬爻乇丕賳 爻乇賴賳诏 芦丌卅賵乇賱蹖丕賳賵 亘賵卅賳丿蹖丕禄貙 讴賴 丕夭 夭賳丕賳蹖 丿乇 噩亘賴賴 噩賳诏 亘賴 丕蹖賳 丿賳蹖丕 丌賲丿賴鈥� 亘賵丿賳丿貙 賵 鬲賵爻胤 丕賮乇丕丿 賳丕卮賳丕爻貙 丕夭 乇丕賴 賴丿賮 诏賱賵賱賴 賯乇丕乇 丿丕丿賳 倬蹖卮丕賳蹖 丌賳賴丕貙 讴賴 毓賱丕賲鬲 氐賱蹖亘 丿丕卮鬲賴貨 賵 胤毓賲賴 蹖 賲賵乇趩賴鈥� 賴丕 卮丿賳 芦丌卅賵乇賱蹖丕賳賵禄蹖 賳賵夭丕丿 賵 鬲丕夭賴 亘賴 丿賳蹖丕 丌賲丿賴 蹖 芦丌賲丕乇丕賳鬲丕 丕賵乇爻賵賱丕禄貙 丕夭 丕蹖賳 賲賵丕乇丿 賴爻鬲賳丿
亘賴 亘丕賵乇 亘爻蹖丕乇蹖貙 賳賵蹖爻賳丿賴 丿乇 丕蹖賳 讴鬲丕亘 丕爻鬲貙 讴賴 爻亘讴 芦乇卅丕賱蹖爻賲 噩丕丿賵蹖蹖禄 乇丕 丌賮乇蹖丿賴 丕賳丿貨 丿丕爻鬲丕賳蹖 讴賴 丿乇 丌賳 賴賲賴 蹖 賮囟丕賴丕 賵 卮禺氐蹖鬲鈥屬囏� 賵丕賯毓蹖貙 賵 丨鬲蹖 诏丕賴蹖 丨賯蹖賯蹖 賴爻鬲賳丿貙 丕賲丕 賲丕噩乇丕蹖 丿丕爻鬲丕賳貙 賲胤丕亘賯 芦乇賵丕亘胤 毓賱賾鬲 賵 賲毓賱賵賱蹖 卮賳丕禺鬲賴 卮丿賴 蹖 丿賳蹖丕蹖 賲丕禄 倬蹖卮 賳賲蹖鈥屫辟堎嗀� 爻乇賴賳诏 芦丌卅賵乇賱蹖丕賳賵 亘賵卅賳丿蹖丕禄貙 倬爻乇 丿賵賲 芦丕賵乇爻賵賱丕禄 賵 芦禺賵夭賴 丌乇讴丕丿蹖賵禄 丕爻鬲貨 賳禺爻鬲蹖賳 賮乇夭賳丿蹖 丕爻鬲 讴賴 丿乇 芦賲丕讴賵賳丿賵禄 亘賴 丿賳蹖丕 賲蹖鈥屫③屫� 丕蹖賳 卮禺氐蹖鬲 賮丕賯丿 賴乇诏賵賳賴 丕丨爻丕爻 毓卮賯貙 賳賮乇鬲貙 鬲乇爻貙 鬲賳賴丕蹖蹖 賵 丕賲蹖丿 丕爻鬲貨 賵蹖 丕夭 讴賵丿讴蹖 鬲丨鬲 鬲兀孬蹖乇 亘乇丕丿乇 亘夭乇诏鬲乇 禺賵丿 芦禺賵夭賴 丌乇讴丕丿蹖賵 亘賵卅賳丿蹖丕禄貙 賯乇丕乇 丿丕乇丿貙 賵 丿乇 丕賵噩 丿丕爻鬲丕賳貙 鬲賵爻胤 亘乇丕丿乇卮 讴賴 丿乇 賳賯胤賴 蹖 賲賯丕亘賱 丿蹖丿诏丕賴 爻蹖丕爻蹖 賵蹖 丕爻鬲貙 賵 亘賴 賳賵毓蹖 賳賲丕蹖賳丿賴 蹖 丿卮賲賳丕賳 丕賵 賳蹖夭 亘賴 卮賲丕乇 賲蹖鈥屫③屫� 丕夭 丕毓丿丕賲 賳噩丕鬲 倬蹖丿丕 賲蹖鈥屭┵嗀� 賵蹖 亘丕乇賴丕 賵 亘丕乇賴丕貙 丕夭 賲乇诏 賲蹖鈥屭臂屫藏� 賳賴 噩賵禺賴 丕毓丿丕賲貙 賵 賳賴 夭禺賲 賵 爻賲貙 賵 賳賴 禺賵丿讴卮蹖貙 賳賲蹖鈥屫堌з嗁嗀� 賵蹖 乇丕 亘讴卮賳丿貨 賵蹖 亘賴 賳賵毓蹖 賳賲丕丿 卮禺氐蹖鬲 讴爻丕賳蹖 丕爻鬲貙 讴賴 亘丕蹖丿 夭賳丿賴 亘賲丕賳賳丿貙 賵 毓匕丕亘 亘讴卮賳丿貙 鬲丕 倬賱蹖 亘蹖賳 爻賳鬲 賵 賲丿乇賳蹖鬲賴貙 丿乇 卮賴乇 禺蹖丕賱蹖 芦賲丕讴賵賳丿賵禄 亘丕卮賳丿貨 賵蹖 丿乇 胤賵賱 噩賳诏鈥屬囏й� 丿丕禺賱蹖貙 丿乇 鬲賲丕賲 噩亘賴賴鈥� 賴丕蹖 噩賳诏貙 亘丕 夭賳丕賳 亘蹖卮賲丕乇蹖 賴賲亘爻鬲乇 卮丿賴貙 賵 賴賮丿賴 倬爻乇貙 讴賴 賴賲诏蹖貙 賳丕賲 讴賵趩讴 賵蹖貙 賵 賳丕賲 禺丕賳賵丕丿诏蹖 賲丕丿乇丕賳卮丕賳 乇丕 丿丕卮鬲賴 丕賳丿貙 丕夭 丕賵 亘賵噩賵丿 丌賲丿賴鈥� 丕賳丿貨 鬲賵 诏賵蹖蹖 丿乇 鬲賲丕賲 賲爻蹖乇 倬蹖卮乇賵蹖 丿乇 噩亘賴賴貙 鬲禺賲 噩賳诏 乇丕 賳蹖夭 賲蹖倬乇丕讴賳丿賴 丕爻鬲貨 丕賲丕 賴賲賴 蹖 丕蹖賳 賴賮丿賴 倬爻乇貙 讴賴 蹖讴 讴卮蹖卮 乇賵蹖 倬蹖卮丕賳蹖 丌賳鈥屬囏� 毓賱丕賲鬲 氐賱蹖亘 乇丕貙 亘丕 禺丕讴爻鬲乇 丨讴 讴乇丿賴貙 亘賴 爻乇毓鬲 讴卮鬲賴 賲蹖鈥屫促堎嗀� 丿乇 賳賴丕蹖鬲貙 爻乇賴賳诏 丿乇 丕賵噩 鬲賳賴丕蹖蹖貙 賵 賮乇丕賲賵卮 卮丿诏蹖 賲蹖鈥屬呟屫必�
鬲丕乇蹖禺 亘賴賳诏丕賲 乇爻丕賳蹖 07/06/1399賴噩乇蹖 禺賵乇卮蹖丿蹖貨 10/05/1400賴噩乇蹖 禺賵乇卮蹖丿蹖貨 丕. 卮乇亘蹖丕賳蹖
December 17, 2024
I didn't know anything about this book or what it was until I heard its title among the many comments and praise that accompanied the author's disappearance.
No one cannot summarize some books.
So, I'll tell you what we find in "One Hundred Years of Solitude."
A village (Macondo) and a family (the Buendia) exist. Love, humor, enchantment, illusion, dreams, ghosts, diseases (the sleeping plague?), dramas, and deaths exist. And also, civilians, soldiers, ants, dead birds, girls of joy, violence, sex, the years that pass, men, women, young people, older adults, significantly older adults, and even very, very older people who never stop living.
Above all, there are first names that are the same, and they come back from generation to generation, confusing the reader as they confuse the book's characters. As a result, we no longer know who the father, mother, son, daughter, brother, sister, uncle, aunt, grandparents, great-grandparents, or great-great-grandparents are, to the point of causing the fatal error.
Yes, there is all that and much more. This book is so rich that we experience many emotions.
If you want to find out, take your time, especially if you don't want to lose track of the story. It's a treasure to savor.
No one cannot summarize some books.
So, I'll tell you what we find in "One Hundred Years of Solitude."
A village (Macondo) and a family (the Buendia) exist. Love, humor, enchantment, illusion, dreams, ghosts, diseases (the sleeping plague?), dramas, and deaths exist. And also, civilians, soldiers, ants, dead birds, girls of joy, violence, sex, the years that pass, men, women, young people, older adults, significantly older adults, and even very, very older people who never stop living.
Above all, there are first names that are the same, and they come back from generation to generation, confusing the reader as they confuse the book's characters. As a result, we no longer know who the father, mother, son, daughter, brother, sister, uncle, aunt, grandparents, great-grandparents, or great-great-grandparents are, to the point of causing the fatal error.
Yes, there is all that and much more. This book is so rich that we experience many emotions.
If you want to find out, take your time, especially if you don't want to lose track of the story. It's a treasure to savor.
May 5, 2017
Magical realism has been one of my favorite genres of reading ever since I discovered Isabel Allende and the Latina amiga writers when I was in high school. Taking events from ordinary life and inserting elements of fantasy, Hispanic written magical realism books are something extraordinary. Many people compare Allende to Gabriel Garcia Marquez, who is considered the founder of magical realism. Until now, however, I had not read any of Marquez' full length novels so I had nothing to compare. On this 50th anniversary of its first printing, One Hundred Years of Solitude is the revisit the shelf selection for the group catching up on classics for January 2017. An epic following the Buendia family for 100 years, Solitude is truly a great novel of the Americas that put magical realism on the map.
Gabriel Garcia Marquez was born in Aracataca, Columbia in 1927. Influenced by his grandmother's vivid story telling, Marquez decided at an early age that he wanted to be a writer. Upon completion of la Universidad de Cartagena, Marquez began his career as a reporter and soon began to write short stories. His earliest stories were published as early as the 1950s, yet in 1964 while living in Mexico City with his young family, he completed Solitude in a mere eighteen months. Finally published for the first time in 1967, Solitude sold millions of copies, establishing Marquez as a world renown writer, leading to his receiving the Nobel Prize in 1982.
Jose Arcadio Buendia and Ursula Iguaran lived in an isolated Colombian village where branches of the same family intermarried for centuries, resulting in children born with pigs tails or looking like lizards. Determined to end this cycle of incest, Buendia and a group of pioneers crossed the mountains and founded the village of Macondo. In the mid 1800s, Macondo was a fledging community, with Buendia, an alchemist, its most respected member. Jose Arcadio and Ursula went on to have three children: Aureliano, Jose Arcadio, and Amaranta. These names and the personality traits that distinguished the original bearers of these names repeated themselves over the course of a century.
Throughout the novel and the century of change to Macondo, all the Jose Arcadios were solitary individuals and inventors. Determined to decipher the gypsies secret to the universe, they holed themselves up in an alchemist's lab, rarely seen by the outside world. The Aurelianos, on the other hand, were leaders of revolution. Colonel Aureliano Buendia started thirty two civil wars yet lost all of them. A relic who fathered seventeen sons of the same name and grew to become Macondo's most respected citizen, his spirit of adventure and discovery repeated itself in the descendants who bore his name.
Women held the family together. First Ursula who lived to be 122 years old and then her daughter Amaranta, the women expanded the family home and raised successive generations so that new Jose Arcadios and Aurelianos would not repeat the mistakes of their namesakes. Yet the same mistakes and characteristics occur: rejected love, spirit of adventure, lone soles willing to live for one hundred years in solitary confinement. Additionally, the two characters who predicted all the events of the novel were not even members of the Buendia family: Pilar Ternera, a card reader who specialized in fates and could look at a Buendia to know his future; and Melquiades, a gypsy who befriended the original Jose Arcadio, leading all the successive generations to a life of solitude.
At first Marquez equates solitude with death. Later on he includes individuals happy to live out their days alone. In order to make a point of his examples of solitude, he interjects countless examples of magical realism: a man bleeding to death down a street, yellow butterflies announcing a man's presence, a rain of epic proportions that would not end. With these and other countless examples throughout the text, Marquez created a magical realism genre that is still widely in use by Latino writers and others around the world today.
While used to the magical realism genre, Marquez usage and prose were a treat for me to read. His writing is so captivating, I read the entire novel over the course of a day because I desired to know how the Buendias cyclical existence would either repeat itself or change once and for all. Between the prose and magical realism and a memorable story for the ages, One Hundred Years of Solitude is an epic, genre changing, extraordinary novel. Authors of the last fifty years can credit Marquez' influence in their own work. I feel privileged to have finally read this saga deserving of its numerous awards and top ratings that eventually lead Marquez to earn a Nobel Prize. One Hundred Years of Solitude, a novel for the ages, meriting 5 wonderful stars.
Gabriel Garcia Marquez was born in Aracataca, Columbia in 1927. Influenced by his grandmother's vivid story telling, Marquez decided at an early age that he wanted to be a writer. Upon completion of la Universidad de Cartagena, Marquez began his career as a reporter and soon began to write short stories. His earliest stories were published as early as the 1950s, yet in 1964 while living in Mexico City with his young family, he completed Solitude in a mere eighteen months. Finally published for the first time in 1967, Solitude sold millions of copies, establishing Marquez as a world renown writer, leading to his receiving the Nobel Prize in 1982.
Jose Arcadio Buendia and Ursula Iguaran lived in an isolated Colombian village where branches of the same family intermarried for centuries, resulting in children born with pigs tails or looking like lizards. Determined to end this cycle of incest, Buendia and a group of pioneers crossed the mountains and founded the village of Macondo. In the mid 1800s, Macondo was a fledging community, with Buendia, an alchemist, its most respected member. Jose Arcadio and Ursula went on to have three children: Aureliano, Jose Arcadio, and Amaranta. These names and the personality traits that distinguished the original bearers of these names repeated themselves over the course of a century.
Throughout the novel and the century of change to Macondo, all the Jose Arcadios were solitary individuals and inventors. Determined to decipher the gypsies secret to the universe, they holed themselves up in an alchemist's lab, rarely seen by the outside world. The Aurelianos, on the other hand, were leaders of revolution. Colonel Aureliano Buendia started thirty two civil wars yet lost all of them. A relic who fathered seventeen sons of the same name and grew to become Macondo's most respected citizen, his spirit of adventure and discovery repeated itself in the descendants who bore his name.
Women held the family together. First Ursula who lived to be 122 years old and then her daughter Amaranta, the women expanded the family home and raised successive generations so that new Jose Arcadios and Aurelianos would not repeat the mistakes of their namesakes. Yet the same mistakes and characteristics occur: rejected love, spirit of adventure, lone soles willing to live for one hundred years in solitary confinement. Additionally, the two characters who predicted all the events of the novel were not even members of the Buendia family: Pilar Ternera, a card reader who specialized in fates and could look at a Buendia to know his future; and Melquiades, a gypsy who befriended the original Jose Arcadio, leading all the successive generations to a life of solitude.
At first Marquez equates solitude with death. Later on he includes individuals happy to live out their days alone. In order to make a point of his examples of solitude, he interjects countless examples of magical realism: a man bleeding to death down a street, yellow butterflies announcing a man's presence, a rain of epic proportions that would not end. With these and other countless examples throughout the text, Marquez created a magical realism genre that is still widely in use by Latino writers and others around the world today.
While used to the magical realism genre, Marquez usage and prose were a treat for me to read. His writing is so captivating, I read the entire novel over the course of a day because I desired to know how the Buendias cyclical existence would either repeat itself or change once and for all. Between the prose and magical realism and a memorable story for the ages, One Hundred Years of Solitude is an epic, genre changing, extraordinary novel. Authors of the last fifty years can credit Marquez' influence in their own work. I feel privileged to have finally read this saga deserving of its numerous awards and top ratings that eventually lead Marquez to earn a Nobel Prize. One Hundred Years of Solitude, a novel for the ages, meriting 5 wonderful stars.
March 3, 2025
Jose Arcadio Buendia decides one day in his small rather impoverished town, set in South America (Colombia, in the early 1800's ) that he wants to leave, say goodbye forever to the relatives, a killing makes him feel uncomfortable there, taking his pregnant wife Ursula his first cousin, and explore the mysterious lands beyond the unknown horizon with his followers and friends over the treacherous mountains through the dense , noisy jungles full of wild animals and sickness...months pass, they have not yet seen the sea their ultimate goal. Lost with little food left surrounded by a vast
non- accessible repugnant swamp, the tired leader finds a suitable place by a calm river, after dreaming about a city of mirrors. Buendia builds a little village in this hot tropical region, he believes is encircled by water , of only twenty adobe homes, though all are happy to stop and rest. So remote that no one knows they exist, no map shows Macondo, the strange name Jose calls it. This will be a better life for all an utopian place , his people will prosper the first born will appropriately be a Buendia, the son of Jose and Ursula named after the founder of the town Jose Arcadio himself, soon another son Aureliano and daughter Amaranta seven generations will live here, the last six to be their birthplace . Macondo slowly grows, ragged gypsies somehow discover this most isolated town led by the quite bright Melquiades, bringing modern inventions from the outside world and some that never were of this Earth...flying carpets right out of an Arabian Nights fable, more magic turning things into different shapes and objects, in their annual welcomed visit , the local children become unfazed by such weird events. Still the gypsy Melquiades is not or does not seem quite human, more of a ghost from who knows where? Time passes and the unconventional Buendia family thrives (they have a propensity to fall in love, with their own kin) , nevertheless trouble breaks out between the Conservative and Liberal Parties in the nation. Resulting in many years of savage civil wars, the endless conflicts destroy the land eventually the army is headed by Col. Aureliano Buendia on the liberal side, son of the unstable Jose, a ruthless soldier who kills his conservative enemies as well as liberals who get in his way, yet will not name himself a general. The numerous Buendia family continues to get richer, Ursula is the rock so Macondo flourishes, many villagers live over a hundred years, trains come , electricity, phonograph records, radio, movies even baffling automobiles are spotted. The banana plantations too established nearby with their bloody workers strikes , the foreign owners arrive importing odd fashions and customs. The old decrepit Buendia house the largest in town becomes haunted by dead relatives . Still children are always being born (including Remedios Buendia, the most beautiful woman on Earth, she causes four men to die unable to get her love) most are " illegitimate" though, the kids not knowing who their real parents are. And slowly the outside begins to discover this town for better or worse, but will it last? A tremendous novel , one of a kind book that maybe doesn't show reality, however does tell us people are complicated and unpredictable.
non- accessible repugnant swamp, the tired leader finds a suitable place by a calm river, after dreaming about a city of mirrors. Buendia builds a little village in this hot tropical region, he believes is encircled by water , of only twenty adobe homes, though all are happy to stop and rest. So remote that no one knows they exist, no map shows Macondo, the strange name Jose calls it. This will be a better life for all an utopian place , his people will prosper the first born will appropriately be a Buendia, the son of Jose and Ursula named after the founder of the town Jose Arcadio himself, soon another son Aureliano and daughter Amaranta seven generations will live here, the last six to be their birthplace . Macondo slowly grows, ragged gypsies somehow discover this most isolated town led by the quite bright Melquiades, bringing modern inventions from the outside world and some that never were of this Earth...flying carpets right out of an Arabian Nights fable, more magic turning things into different shapes and objects, in their annual welcomed visit , the local children become unfazed by such weird events. Still the gypsy Melquiades is not or does not seem quite human, more of a ghost from who knows where? Time passes and the unconventional Buendia family thrives (they have a propensity to fall in love, with their own kin) , nevertheless trouble breaks out between the Conservative and Liberal Parties in the nation. Resulting in many years of savage civil wars, the endless conflicts destroy the land eventually the army is headed by Col. Aureliano Buendia on the liberal side, son of the unstable Jose, a ruthless soldier who kills his conservative enemies as well as liberals who get in his way, yet will not name himself a general. The numerous Buendia family continues to get richer, Ursula is the rock so Macondo flourishes, many villagers live over a hundred years, trains come , electricity, phonograph records, radio, movies even baffling automobiles are spotted. The banana plantations too established nearby with their bloody workers strikes , the foreign owners arrive importing odd fashions and customs. The old decrepit Buendia house the largest in town becomes haunted by dead relatives . Still children are always being born (including Remedios Buendia, the most beautiful woman on Earth, she causes four men to die unable to get her love) most are " illegitimate" though, the kids not knowing who their real parents are. And slowly the outside begins to discover this town for better or worse, but will it last? A tremendous novel , one of a kind book that maybe doesn't show reality, however does tell us people are complicated and unpredictable.
July 31, 2022
Your quest for one of the best books ever published will end here. The story of the Buendia family is narrated in one of the best ways we have ever seen by M谩rquez. The magical realism in it is simply spectacular and is the best I have seen in any book.
October 15, 2024
亘賷賯賵賱賵丕 毓賱賷賴丕 賲賱丨賲丞 賵乇賵丕賷丞 爻丕丨乇丞..賵 賲賳 兀噩賲賱 賲丕 賰鬲亘 賲丕乇賰賷夭!
賵兀賳丕 亘賯賵賱 廿賳賴丕 賲賲賱丞 賵 鬲夭賴賯 賵賰乇賴鬲賳賷 賮賷 丨賷丕鬲賷 賵賮賷 賲丕乇賰賷夭 賳賮爻賴..賵 兀毓鬲賯丿 廿賳賷 賲賰丕賳卮 丕賱賲賮乇賵囟 兀賰賲賱賴丕 賵兀毓匕亘 賳賮爻賷 賰賱 賴匕丕 丕賱毓匕丕亘:(
氐丨賷丨 賱賵賱丕 廿禺鬲賱丕賮 丕賱兀匕賵丕賯!
賵兀賳丕 亘賯賵賱 廿賳賴丕 賲賲賱丞 賵 鬲夭賴賯 賵賰乇賴鬲賳賷 賮賷 丨賷丕鬲賷 賵賮賷 賲丕乇賰賷夭 賳賮爻賴..賵 兀毓鬲賯丿 廿賳賷 賲賰丕賳卮 丕賱賲賮乇賵囟 兀賰賲賱賴丕 賵兀毓匕亘 賳賮爻賷 賰賱 賴匕丕 丕賱毓匕丕亘:(
氐丨賷丨 賱賵賱丕 廿禺鬲賱丕賮 丕賱兀匕賵丕賯!
February 9, 2017
WARNINGS WARNINGS
I don't recommend this book if you feel uncomfortable with books that depict graphically
* Pedophilia/rape
* Incest/child abuse
* Non sensical Violence
*Prostitution
* Cheating
* Bestiality
* Women treated as objects sometimes by their own parents
If you like me grew up reading marvelous books like Harry Potter, Percy Jackson, Twilight, The Hunger games, which are all extremely strong in terms of characterization and character development and which are at times trashed by the same critics that praised this piece of cr%p, I doubt you'll enjoy this book because:
* No plot, everything is a messy mix of twisted, and I mean TWISTED, disturbing, cringe-inducing family anecdotes
*No character development.
* Poor character presentation. Other than I know that Amarantha is somehow fierce it's difficult to describe the rest of the characters personalities. What are their goals? What do they want? What do they fear? Who are they? What are their motivations?
* Poor worldbuilding. Am I supposed to know how Macondo, the setting of this book looks like? All I know is that Macondo founders were trying to reach the sea and they couldn't and were tired of travelling so I know there's no sea close to this town. The rules of this world don't seem to follow a logic, either. It's like Garcia Marques just smoke weed and added whatever he saw when he was under the effects of the weed to add magical elements here and there. I rarely notice worldbuilding issues in my reads because I have a strong imagination. Even books that don't describe the rules of their worlds or the setting properly don't turn me off, but since this book is universally praised as a "master piece" I was expecting more.
* No coherent timeline, Little to No dialogue
* Author breaking the rule of show don't tell 98% of the book
I should have tried to convince my professor to change this assigment. I should've told him that this kind of topics are potential PTSD triggers for me (which is 100% true, although usually books don't activate triggers for me, certain kind of music and smells are triggering for me) or that they are against my religious beliefs (that'd been a lie, but I wish I had lied) Maybe it wouldn't have worked and still I'd been stuck to read this horrible book, but these professors should be more responsible when assigining this kind of disturbing readings and forcing people to read them taking away our sacred right of DNF a book we don't enjoy .
I'm aware that the author won a Nobel Prize, but it seems to me that it was more like the academy thought it'd be rebellious and edgy to give an award to this author leaving other more talented authors out, therefore steering controversy. Sort of like they did when they gaveBob Dylan the Nobel Prize even if he's a songwriter and poet more than a book writer.
I don't even know who is supposed to enjoy this book. I think that some Hispanic readers might find something good in this book because it seems to me that the author at times was talking about Colombian/Hispanic political issues in a metaphoric way, but honestly there wasn't enough of that.
Also, the opening line of this book is supposedly matter of study in English literature courses around the world
'Many years later, as he faced the firing squad, Colonel Aureliano Buend铆a was to remember that distant afternoon when his father took him to discover ice.'
I can see why some readers might find that intriguing and get hooked from there, but I read a lot of books with great opening lines/paragraphs in commercial literature. Angefall by Susan EE, Divergent by Veronica Roth, Maze Runner by James Dashner have strong opening lines that get you hooked. I think every reader gets hooked by different opening lines, so why critics and scholars think this opening line is better than any is beyond me. However, I'll say that the ending scene was strong and extremely disturbing. It's a scene that will make you feel haunted and in search of a happy reading because
I'm only writing this because I need to organize my ideas for my essay. I doubt that writing my honest opinion about this trash will earn me a good mark, so I'm trying to find an angle to write about. Maybe I can write about the role of women in Garcia's books. The other Garcia's book I read was Chronicle of a foretold death which was thankfully short and somehow realistic, but still 100% misogynist. An oudated view of women is common in this author's writings.
My recommendations if you are forced to read this author:
* Write notes for each time a new Buendia appears. There are at least a dozen characters sharing almost the exact name and that is confusing
* Don't expect character development, don't expect world building
* Don't expect brilliant dialogue, although you can expect beautiful monologues
* Expect a lot of info-dumping and exposition
* Expect a lot of magical elements, but not the kind of magic that makes you want to live in this world.
* Expect a lot of misogynism It's like the author comes from ancient times or the Taliban and his views on women are very outdated. As a demi-feminist some scenes were hard to stomach.
* Keep an enjoyable read at hand because sometimes you're tired of this world and you want to get out of it by reading something good.
Long story short, this book is way Overrated. Overrated doesn't cover it. I think the author, may he rest in peace, might have written it under the effects of the weed.
Best reviews I found on GR:
Martine's
Adam's
I don't recommend this book if you feel uncomfortable with books that depict graphically
* Pedophilia/rape
* Incest/child abuse
* Non sensical Violence
*Prostitution
* Cheating
* Bestiality
* Women treated as objects sometimes by their own parents
If you like me grew up reading marvelous books like Harry Potter, Percy Jackson, Twilight, The Hunger games, which are all extremely strong in terms of characterization and character development and which are at times trashed by the same critics that praised this piece of cr%p, I doubt you'll enjoy this book because:
* No plot, everything is a messy mix of twisted, and I mean TWISTED, disturbing, cringe-inducing family anecdotes
*No character development.
* Poor character presentation. Other than I know that Amarantha is somehow fierce it's difficult to describe the rest of the characters personalities. What are their goals? What do they want? What do they fear? Who are they? What are their motivations?
* Poor worldbuilding. Am I supposed to know how Macondo, the setting of this book looks like? All I know is that Macondo founders were trying to reach the sea and they couldn't and were tired of travelling so I know there's no sea close to this town. The rules of this world don't seem to follow a logic, either. It's like Garcia Marques just smoke weed and added whatever he saw when he was under the effects of the weed to add magical elements here and there. I rarely notice worldbuilding issues in my reads because I have a strong imagination. Even books that don't describe the rules of their worlds or the setting properly don't turn me off, but since this book is universally praised as a "master piece" I was expecting more.
* No coherent timeline, Little to No dialogue
* Author breaking the rule of show don't tell 98% of the book
I should have tried to convince my professor to change this assigment. I should've told him that this kind of topics are potential PTSD triggers for me (which is 100% true, although usually books don't activate triggers for me, certain kind of music and smells are triggering for me) or that they are against my religious beliefs (that'd been a lie, but I wish I had lied) Maybe it wouldn't have worked and still I'd been stuck to read this horrible book, but these professors should be more responsible when assigining this kind of disturbing readings and forcing people to read them taking away our sacred right of DNF a book we don't enjoy .
I'm aware that the author won a Nobel Prize, but it seems to me that it was more like the academy thought it'd be rebellious and edgy to give an award to this author leaving other more talented authors out, therefore steering controversy. Sort of like they did when they gaveBob Dylan the Nobel Prize even if he's a songwriter and poet more than a book writer.
I don't even know who is supposed to enjoy this book. I think that some Hispanic readers might find something good in this book because it seems to me that the author at times was talking about Colombian/Hispanic political issues in a metaphoric way, but honestly there wasn't enough of that.
Also, the opening line of this book is supposedly matter of study in English literature courses around the world
'Many years later, as he faced the firing squad, Colonel Aureliano Buend铆a was to remember that distant afternoon when his father took him to discover ice.'
I can see why some readers might find that intriguing and get hooked from there, but I read a lot of books with great opening lines/paragraphs in commercial literature. Angefall by Susan EE, Divergent by Veronica Roth, Maze Runner by James Dashner have strong opening lines that get you hooked. I think every reader gets hooked by different opening lines, so why critics and scholars think this opening line is better than any is beyond me. However, I'll say that the ending scene was strong and extremely disturbing. It's a scene that will make you feel haunted and in search of a happy reading because
I'm only writing this because I need to organize my ideas for my essay. I doubt that writing my honest opinion about this trash will earn me a good mark, so I'm trying to find an angle to write about. Maybe I can write about the role of women in Garcia's books. The other Garcia's book I read was Chronicle of a foretold death which was thankfully short and somehow realistic, but still 100% misogynist. An oudated view of women is common in this author's writings.
My recommendations if you are forced to read this author:
* Write notes for each time a new Buendia appears. There are at least a dozen characters sharing almost the exact name and that is confusing
* Don't expect character development, don't expect world building
* Don't expect brilliant dialogue, although you can expect beautiful monologues
* Expect a lot of info-dumping and exposition
* Expect a lot of magical elements, but not the kind of magic that makes you want to live in this world.
* Expect a lot of misogynism It's like the author comes from ancient times or the Taliban and his views on women are very outdated. As a demi-feminist some scenes were hard to stomach.
* Keep an enjoyable read at hand because sometimes you're tired of this world and you want to get out of it by reading something good.
Long story short, this book is way Overrated. Overrated doesn't cover it. I think the author, may he rest in peace, might have written it under the effects of the weed.
Best reviews I found on GR:
Martine's
Adam's
October 7, 2024
M膬 tem c膬 mult膬 lume a r膬mas cu impresia c膬 鈥瀝ealismul magic鈥� e inven葲ia lui Gabriel Garc铆a M谩rquez. Ce-i drept, ecoul imens al romanului publicat 卯n 1967 a impus sintagma 葯i a f膬cut s膬 curg膬 valuri de cerneal膬 pe tema 鈥瀝ealismului magic鈥�.
Dar expresia e str膬veche, a fost folosit膬 mai 卯nt卯i 卯n leg膬tur膬 cu pictura. 脦nc膬 din anii 40 ai secolului trecut, 卯n America latin膬, unii prozatori au amestecat gesturile 鈥瀖agice鈥� (levita葲ia gospodinelor etc.) 葯i evenimentele reale 卯ntr-un text care nu era nici fantastic, nici realist. M膬 g卯ndesc, 卯n primul r卯nd, la Miguel 脕ngel Asturias 葯i Alejo Carpentier. 脦ntr-un interviu din 1967 (an 卯n care a primit premiul Nobel), Miguel 脕ngel Asturias pretindea c膬 el a fost cel dint卯i realist magic. Se l膬uda degeaba. Ca 卯n majoritatea cazurilor, inventatorii s卯nt mai mul葲i. 葮i to葲i au convingerea c膬 s卯nt singuri...
Romanul lui M谩rquez porne葯te, se pare, de la un incident din copil膬ria autorului. Bunicul lui a fost insultat sistematic de un individ 葯i, pierz卯ndu-葯i r膬bdarea, l-a 卯mpu葯cat. Toat膬 lumea din sat i-a dat dreptate, inclusiv familia r膬posatului. Cu toate acestea, c膬in葲a l-a constr卯ns s膬 p膬r膬seasc膬 satul 葯i a mers 卯n alt膬 parte, unde a 卯ntemeiat o a葯ezare. 脦i spunea adesea nepotului: 鈥濼u nu 葯tii c卯t te apas膬 pe cuget un mort鈥�.
Recitind de cur卯nd Un veac de singur膬tate, am observat c膬 multe situa葲ii se repet膬 (replici, gesturi, nume proprii etc.). Asta m-a dus cu g卯ndul la un fragment din Scriptur膬, care con葲ine deviza - de mai t卯rziu - a lui Giordano Bruno: Nihil sub sole novi.
A葯a 卯nc卯t romanul lui Gabriel Garc铆a M谩rquez poate fi citit 葯i ca o ilustrare narativ膬, realizat膬 de un scriitor extraordinar, a unui verset ilustru din Ecclesiast, 1: 9: 鈥濩e a fost va mai fi, iar ce s-a f膬cut se va mai face! Nu este nimic nou sub soare!鈥�. 脦n fond, aceasta e 葯i concluzia proroci葲ei Pilar Ternera, culcat膬 卯n balansoarul ei de liane: 鈥濽n secol de dat 卯n c膬r牛i 艧i de experien牛膬 o 卯nv膬牛ase c膬 istoria familiei nu era dec卯t un angrenaj de repeti牛ii inevitabile, o roat膬 turnant膬 care ar fi continuat s膬 se 卯nv卯rteasc膬 卯n veci, dac膬 n-ar fi fost uzura progresiv膬 艧i iremediabil膬 a osiei ei鈥� (p.347). Pilar r膬m卯ne 卯n familia Buend铆a, neclintit膬 ca un turn, citind 卯n c膬r葲i viitorul, iar dac膬 este nevoie (c卯nd Macondo e vizitat de morbul insomniei), trecutul. Prezicerile ei se adeveresc f膬r膬 gre葯 葯i ofer膬 locuitorilor din Macondo o realitate mai bl卯nd膬...
Inventivitatea metaforic膬 a lui M谩rquez este cu adev膬rat prodigioas膬.
Dar expresia e str膬veche, a fost folosit膬 mai 卯nt卯i 卯n leg膬tur膬 cu pictura. 脦nc膬 din anii 40 ai secolului trecut, 卯n America latin膬, unii prozatori au amestecat gesturile 鈥瀖agice鈥� (levita葲ia gospodinelor etc.) 葯i evenimentele reale 卯ntr-un text care nu era nici fantastic, nici realist. M膬 g卯ndesc, 卯n primul r卯nd, la Miguel 脕ngel Asturias 葯i Alejo Carpentier. 脦ntr-un interviu din 1967 (an 卯n care a primit premiul Nobel), Miguel 脕ngel Asturias pretindea c膬 el a fost cel dint卯i realist magic. Se l膬uda degeaba. Ca 卯n majoritatea cazurilor, inventatorii s卯nt mai mul葲i. 葮i to葲i au convingerea c膬 s卯nt singuri...
Romanul lui M谩rquez porne葯te, se pare, de la un incident din copil膬ria autorului. Bunicul lui a fost insultat sistematic de un individ 葯i, pierz卯ndu-葯i r膬bdarea, l-a 卯mpu葯cat. Toat膬 lumea din sat i-a dat dreptate, inclusiv familia r膬posatului. Cu toate acestea, c膬in葲a l-a constr卯ns s膬 p膬r膬seasc膬 satul 葯i a mers 卯n alt膬 parte, unde a 卯ntemeiat o a葯ezare. 脦i spunea adesea nepotului: 鈥濼u nu 葯tii c卯t te apas膬 pe cuget un mort鈥�.
Recitind de cur卯nd Un veac de singur膬tate, am observat c膬 multe situa葲ii se repet膬 (replici, gesturi, nume proprii etc.). Asta m-a dus cu g卯ndul la un fragment din Scriptur膬, care con葲ine deviza - de mai t卯rziu - a lui Giordano Bruno: Nihil sub sole novi.
A葯a 卯nc卯t romanul lui Gabriel Garc铆a M谩rquez poate fi citit 葯i ca o ilustrare narativ膬, realizat膬 de un scriitor extraordinar, a unui verset ilustru din Ecclesiast, 1: 9: 鈥濩e a fost va mai fi, iar ce s-a f膬cut se va mai face! Nu este nimic nou sub soare!鈥�. 脦n fond, aceasta e 葯i concluzia proroci葲ei Pilar Ternera, culcat膬 卯n balansoarul ei de liane: 鈥濽n secol de dat 卯n c膬r牛i 艧i de experien牛膬 o 卯nv膬牛ase c膬 istoria familiei nu era dec卯t un angrenaj de repeti牛ii inevitabile, o roat膬 turnant膬 care ar fi continuat s膬 se 卯nv卯rteasc膬 卯n veci, dac膬 n-ar fi fost uzura progresiv膬 艧i iremediabil膬 a osiei ei鈥� (p.347). Pilar r膬m卯ne 卯n familia Buend铆a, neclintit膬 ca un turn, citind 卯n c膬r葲i viitorul, iar dac膬 este nevoie (c卯nd Macondo e vizitat de morbul insomniei), trecutul. Prezicerile ei se adeveresc f膬r膬 gre葯 葯i ofer膬 locuitorilor din Macondo o realitate mai bl卯nd膬...
Inventivitatea metaforic膬 a lui M谩rquez este cu adev膬rat prodigioas膬.
August 25, 2019
氐丿 爻丕賱 鬲賳賴丕蹖蹖 卮丕賴讴丕乇賽 丕賮鬲囟丕丨賽 賯乇賳: 乇賵蹖 乇蹖賳诏 亘丕 诏丕亘賵
鬲賳賴丕 乇丕賴 賱匕鬲 亘乇丿賳 丕夭 丕蹖賳 讴鬲丕亘: 賲卮鬲賽 爻賵倬乇 賲丕乇蹖賵
丕诏賴 讴賱蹖 賵賯鬲鈥屫з� 亘蹖賴賵丿賴 氐乇賮 丕蹖賳 乇賲丕賳 卮丿賴貙 賲卮鬲鈥屬囏� 乇丕 诏乇賴 讴乇丿賴 賵 亘賴 爻亘讴 賲丕乇蹖賵 賵丕乇诏丕爻 蹖賵爻丕 賳卮丕賳賴 亘诏蹖乇蹖丿 賵 亘丕丿賲噩丕賳蹖 亘讴丕乇蹖丿 夭蹖乇 趩卮賲 诏丕亘賵
亘乇賳丿賴 賳賵亘賱 賯氐賴 诏賵蹖蹖 亘蹖鈥屫辟堌�: 爻賳蹖賵乇 诏丕亘賵
鬲賵丕夭 賲丕丿乇亘夭乇诏鬲 賯氐賴 诏賮鬲賳 乇賵 蹖丕丿 诏乇賮鬲蹖!!! 亘丕賵乇讴乇丿賳蹖 賳蹖爻鬲!!! 賲丕丿乇亘夭乇诏丕 丿丕爻鬲丕賳鈥屬囏й� 亘丿 乇丕 賴賲 禺賵亘 鬲毓乇蹖賮 賲蹖鈥屭┴必�. 丕賲丕 鬲賵 蹖賴 丿丕爻鬲丕賳 禺賵亘 乇賵 亘賴 诏丕 丿丕丿蹖 丌賯丕蹖 诏丕亘賵
鬲賳賴丕 乇丕賴 毓賱丕噩: 賴賲丕賳 賲卮鬲鈥屬囏�
诏丕亘賵 乇賵 亘丕蹖丿 賴賲蹖卮賴 鬲賵 乇蹖賳诏 賳诏賴 賲蹖鈥屫ж簇�...卮丕蹖丿 丕夭 鬲乇爻賽 賳丕讴 丕賵鬲 卮丿賳 賴賲 卮丿賴 讴賲蹖 亘賴鬲乇 賯氐賴 賲蹖鈥屭佖�...卮丕蹖丿 丿蹖诏乇 丕夭 讴爻賱 卮丿诏蹖 賵 禺賵丕亘 乇賮鬲賳 毓囟賱丕鬲 賲睾夭賲丕賳 丨蹖賳 禺賵丕賳丿賳 乇賲丕賳卮 乇賳噩 賳賲蹖鈥屫ㄘ必屬�
賱亘丕爻 噩丿蹖丿 倬丕丿卮丕賴
夭亘丕賳 爻乇禺 爻乇 爻亘夭 亘乇 亘丕丿 賲蹖鈥屫囏�...賲蹖鈥屫з嗁�...丕賲丕 賳鬲乇爻蹖丿...诏丕亘賵 倬丕丿卮丕賴 賳蹖爻鬲 讴賴 爻乇鬲丕賳 乇丕 亘賴 噩賱丕丿 亘爻倬丕乇丿...讴賲蹖 丕乇賵倬丕 夭賳丿诏蹖 讴乇丿賴...賲毓賳丕蹖 丌夭丕丿蹖 亘蹖丕賳 乇賵 賲蹖鈥屬佡囐呚�...丕丨爻丕爻鈥屫з� 乇丕 亘蹖丕賳 讴賳蹖丿...丨鬲蹖 丕诏乇 賴賲賴 賲爻禺乇賴鈥屫з� 讴賳賳丿 賵 亘诏賵蹖賳丿 賲诏賴 讴賵乇蹖 賳賲蹖鈥屫ㄛ屬嗃� 倬丕丿卮丕賴 賱亘丕爻 亘賴 鬲賳 丿丕乇丿!!! 丨鬲蹖 丕诏乇 亘夭乇诏鬲乇蹖賳 卮丕賴讴丕乇賴丕蹖 鬲丕乇蹖禺 蹖毓賳蹖 賲乇诏 賯爻胤蹖 賵 爻賮乇 亘賴 丕賳鬲賴丕蹖 卮亘 乇丕 亘禺賵丕賳蹖...賲蹖丿丕賳賲 禺丿丕爻賱蹖賳 丕爻鬲...丕賲丕 賮丨卮鈥屫ㄘж必з嗀� 讴賳蹖丿 丕诏乇 丿賵爻鬲卮 賳丿丕乇蹖丿
夭賳丿賴 亘丕丿 讴丕鬲丕賱賵賳蹖丕: 賲乇诏 亘乇 丿蹖讴鬲丕鬲賵乇 賮乇丕賳讴賵
氐丿 爻丕賱 鬲賳賴丕賷蹖...賰鬲丕亘賷 丕爻鬲 賰賴 丿乇 賴賲丕賳 乇賵夭 賴丕蹖 丕賵賱 趩丕倬 丿乇 丿賳賷丕 爻乇 賵 氐丿丕蹖 夭賷丕丿蹖 賰乇丿...禺賷賱賷 夭賵丿 賳爻禺賴 賴丕賷卮 鬲賲丕賲 卮丿...倬卮鬲 爻乇 賴賲 鬲噩丿賷丿 趩丕倬 卮丿...趩賳丿 爻丕賱 賯亘賱 倬丕丿卮丕賴 丕爻倬丕賳蹖丕貙 亘丕 賴夭蹖賳賴 禺賵丿(蹖丕 倬賵賱 賲賱鬲) 丌賳 乇丕 鬲噩丿蹖丿 趩丕倬 讴乇丿...讴丕卮 賲蹖卮丿 噩賱賵蹖 趩賳蹖賳 讴丕乇賴丕蹖 賲囟丨讴蹖 乇賵 诏乇賮鬲...倬丕丿卮丕賴 賵 趩賴乇賴鈥屰� 乇賵卮賳賮讴乇丕賳賴 诏乇賮鬲賳 禺蹖賱蹖 賲爻禺乇賴 丕爻
賲賳 賳丿蹖賲 鬲賵丕賲 賳賴 賳丿蹖賲 亘丕丿賲噩丕賳: 卮賵禺蹖 亘丕 诏丕亘賵
诏丕亘賵 噩丕賳 賴乇趩賯丿乇 讴賴 丕夭 讴鬲丕亘鬲 禺賵卮賲 賳蹖賵賲丿 丕夭 鬲賵 禺賵卮賲 賲蹖丕丿...丨丕賱丕 讴賴 乇蹖睾 乇丨賲鬲賵 爻乇讴卮蹖丿蹖...賵 賲乇丿賴鈥屬囏� 毓夭蹖夭鬲乇 賲蹖卮賳... 亘賴 爻乇丕睾 讴鬲丕亘鬲 禺賵丕賴賲 乇賮鬲...賵 亘丿賵賳 卮賵禺蹖 丕诏賴 丕蹖賳亘丕乇 禺賵卮賲 亘蹖丕丿...賯賵賱 賲蹖丿賲 乇賵蹖 乇蹖賳诏 亘匕丕乇賲 趩賳丿 賲卮鬲 亘讴賵亘蹖 夭蹖乇 趩卮賲丕賲
丕乇丕丿鬲賲賳丿 鬲賵 丌诏乇. 爻賱丕賲 賲賳賵 亘賴 爻賱蹖賳 亘乇爻賵賳
鬲賳賴丕 乇丕賴 賱匕鬲 亘乇丿賳 丕夭 丕蹖賳 讴鬲丕亘: 賲卮鬲賽 爻賵倬乇 賲丕乇蹖賵
丕诏賴 讴賱蹖 賵賯鬲鈥屫з� 亘蹖賴賵丿賴 氐乇賮 丕蹖賳 乇賲丕賳 卮丿賴貙 賲卮鬲鈥屬囏� 乇丕 诏乇賴 讴乇丿賴 賵 亘賴 爻亘讴 賲丕乇蹖賵 賵丕乇诏丕爻 蹖賵爻丕 賳卮丕賳賴 亘诏蹖乇蹖丿 賵 亘丕丿賲噩丕賳蹖 亘讴丕乇蹖丿 夭蹖乇 趩卮賲 诏丕亘賵
亘乇賳丿賴 賳賵亘賱 賯氐賴 诏賵蹖蹖 亘蹖鈥屫辟堌�: 爻賳蹖賵乇 诏丕亘賵
鬲賵丕夭 賲丕丿乇亘夭乇诏鬲 賯氐賴 诏賮鬲賳 乇賵 蹖丕丿 诏乇賮鬲蹖!!! 亘丕賵乇讴乇丿賳蹖 賳蹖爻鬲!!! 賲丕丿乇亘夭乇诏丕 丿丕爻鬲丕賳鈥屬囏й� 亘丿 乇丕 賴賲 禺賵亘 鬲毓乇蹖賮 賲蹖鈥屭┴必�. 丕賲丕 鬲賵 蹖賴 丿丕爻鬲丕賳 禺賵亘 乇賵 亘賴 诏丕 丿丕丿蹖 丌賯丕蹖 诏丕亘賵
鬲賳賴丕 乇丕賴 毓賱丕噩: 賴賲丕賳 賲卮鬲鈥屬囏�
诏丕亘賵 乇賵 亘丕蹖丿 賴賲蹖卮賴 鬲賵 乇蹖賳诏 賳诏賴 賲蹖鈥屫ж簇�...卮丕蹖丿 丕夭 鬲乇爻賽 賳丕讴 丕賵鬲 卮丿賳 賴賲 卮丿賴 讴賲蹖 亘賴鬲乇 賯氐賴 賲蹖鈥屭佖�...卮丕蹖丿 丿蹖诏乇 丕夭 讴爻賱 卮丿诏蹖 賵 禺賵丕亘 乇賮鬲賳 毓囟賱丕鬲 賲睾夭賲丕賳 丨蹖賳 禺賵丕賳丿賳 乇賲丕賳卮 乇賳噩 賳賲蹖鈥屫ㄘ必屬�
賱亘丕爻 噩丿蹖丿 倬丕丿卮丕賴
夭亘丕賳 爻乇禺 爻乇 爻亘夭 亘乇 亘丕丿 賲蹖鈥屫囏�...賲蹖鈥屫з嗁�...丕賲丕 賳鬲乇爻蹖丿...诏丕亘賵 倬丕丿卮丕賴 賳蹖爻鬲 讴賴 爻乇鬲丕賳 乇丕 亘賴 噩賱丕丿 亘爻倬丕乇丿...讴賲蹖 丕乇賵倬丕 夭賳丿诏蹖 讴乇丿賴...賲毓賳丕蹖 丌夭丕丿蹖 亘蹖丕賳 乇賵 賲蹖鈥屬佡囐呚�...丕丨爻丕爻鈥屫з� 乇丕 亘蹖丕賳 讴賳蹖丿...丨鬲蹖 丕诏乇 賴賲賴 賲爻禺乇賴鈥屫з� 讴賳賳丿 賵 亘诏賵蹖賳丿 賲诏賴 讴賵乇蹖 賳賲蹖鈥屫ㄛ屬嗃� 倬丕丿卮丕賴 賱亘丕爻 亘賴 鬲賳 丿丕乇丿!!! 丨鬲蹖 丕诏乇 亘夭乇诏鬲乇蹖賳 卮丕賴讴丕乇賴丕蹖 鬲丕乇蹖禺 蹖毓賳蹖 賲乇诏 賯爻胤蹖 賵 爻賮乇 亘賴 丕賳鬲賴丕蹖 卮亘 乇丕 亘禺賵丕賳蹖...賲蹖丿丕賳賲 禺丿丕爻賱蹖賳 丕爻鬲...丕賲丕 賮丨卮鈥屫ㄘж必з嗀� 讴賳蹖丿 丕诏乇 丿賵爻鬲卮 賳丿丕乇蹖丿
夭賳丿賴 亘丕丿 讴丕鬲丕賱賵賳蹖丕: 賲乇诏 亘乇 丿蹖讴鬲丕鬲賵乇 賮乇丕賳讴賵
氐丿 爻丕賱 鬲賳賴丕賷蹖...賰鬲丕亘賷 丕爻鬲 賰賴 丿乇 賴賲丕賳 乇賵夭 賴丕蹖 丕賵賱 趩丕倬 丿乇 丿賳賷丕 爻乇 賵 氐丿丕蹖 夭賷丕丿蹖 賰乇丿...禺賷賱賷 夭賵丿 賳爻禺賴 賴丕賷卮 鬲賲丕賲 卮丿...倬卮鬲 爻乇 賴賲 鬲噩丿賷丿 趩丕倬 卮丿...趩賳丿 爻丕賱 賯亘賱 倬丕丿卮丕賴 丕爻倬丕賳蹖丕貙 亘丕 賴夭蹖賳賴 禺賵丿(蹖丕 倬賵賱 賲賱鬲) 丌賳 乇丕 鬲噩丿蹖丿 趩丕倬 讴乇丿...讴丕卮 賲蹖卮丿 噩賱賵蹖 趩賳蹖賳 讴丕乇賴丕蹖 賲囟丨讴蹖 乇賵 诏乇賮鬲...倬丕丿卮丕賴 賵 趩賴乇賴鈥屰� 乇賵卮賳賮讴乇丕賳賴 诏乇賮鬲賳 禺蹖賱蹖 賲爻禺乇賴 丕爻
賲賳 賳丿蹖賲 鬲賵丕賲 賳賴 賳丿蹖賲 亘丕丿賲噩丕賳: 卮賵禺蹖 亘丕 诏丕亘賵
诏丕亘賵 噩丕賳 賴乇趩賯丿乇 讴賴 丕夭 讴鬲丕亘鬲 禺賵卮賲 賳蹖賵賲丿 丕夭 鬲賵 禺賵卮賲 賲蹖丕丿...丨丕賱丕 讴賴 乇蹖睾 乇丨賲鬲賵 爻乇讴卮蹖丿蹖...賵 賲乇丿賴鈥屬囏� 毓夭蹖夭鬲乇 賲蹖卮賳... 亘賴 爻乇丕睾 讴鬲丕亘鬲 禺賵丕賴賲 乇賮鬲...賵 亘丿賵賳 卮賵禺蹖 丕诏賴 丕蹖賳亘丕乇 禺賵卮賲 亘蹖丕丿...賯賵賱 賲蹖丿賲 乇賵蹖 乇蹖賳诏 亘匕丕乇賲 趩賳丿 賲卮鬲 亘讴賵亘蹖 夭蹖乇 趩卮賲丕賲
丕乇丕丿鬲賲賳丿 鬲賵 丌诏乇. 爻賱丕賲 賲賳賵 亘賴 爻賱蹖賳 亘乇爻賵賳
August 24, 2023
"Then he made one last effort to search in his heart for the place where his affection had rotted away, and he could not find it."
鈥� Gabriel Garc铆a M谩rquez, One Hundred Years of Solitude
This dazzling tale of the Buend铆a family spans generations. It is a rich account of people carving out a life for themselves in Macondo, a town founded by the patriarch, Jos茅 Arcadio Buend铆a.
"At that time Macondo was a village of twenty adobe houses, built on the bank of a river of clear water that ran along a bed of polished stones, which were white and enormous, like prehistoric eggs. The world was so recent that many things lacked names, and in order to indicate them it was necessary to point."
Jos茅 Arcadio Buend铆a is a corker! He is so hell-bent on making a wondrous discovery that he fritters away the family money on inventions purchased from a wandering troop of gypsies who miraculously show up in Macondo on occasion. Thankfully, his levelheaded wife (and first cousin), 脷rsula Iguar谩n, works herself to the bone to make sure the family won鈥檛 starve to death. During this fantastical journey, wars were fought, fortunes won and lost, and hearts wholly decimated, leaving the jilted lovers dead in a flower bed. It must be said that the Buendia family鈥檚 foolish choices are an endless source of drama and entertainment.
"Look at the mess we've got ourselves into," Colonel Aureliano Buendia said at that time, "just because we invited a gringo to eat some bananas."
I鈥檝e read M谩rquez before and loved his work, but this was a whole other animal! He expertly blurs the line between magic and realism so smoothly that it feels as if he was creating cinematic electricity! The horror is tempered by a big dose of whimsy that had me laughing through my tears. The writing is agonizingly beautiful, and each character exquisitely drawn.
In a lifetime of reading, there are only a few extraordinary novels that touch the very fabric of a person鈥檚 being鈥擣or me, One Hundred Years of Solitude is one of those. I was transported into M谩rquez鈥檚 dreamlike creation, and for the past few days had forgotten the real world and lived entirely in his. My only regret is that it all had to come to an end.
So, if you are looking for an epic novel to steal your breath away, look no further!
Thank you, Kevin Ansbro. Your outstanding review pointed the way to this magnificent read!
鈥� Gabriel Garc铆a M谩rquez, One Hundred Years of Solitude
This dazzling tale of the Buend铆a family spans generations. It is a rich account of people carving out a life for themselves in Macondo, a town founded by the patriarch, Jos茅 Arcadio Buend铆a.
"At that time Macondo was a village of twenty adobe houses, built on the bank of a river of clear water that ran along a bed of polished stones, which were white and enormous, like prehistoric eggs. The world was so recent that many things lacked names, and in order to indicate them it was necessary to point."
Jos茅 Arcadio Buend铆a is a corker! He is so hell-bent on making a wondrous discovery that he fritters away the family money on inventions purchased from a wandering troop of gypsies who miraculously show up in Macondo on occasion. Thankfully, his levelheaded wife (and first cousin), 脷rsula Iguar谩n, works herself to the bone to make sure the family won鈥檛 starve to death. During this fantastical journey, wars were fought, fortunes won and lost, and hearts wholly decimated, leaving the jilted lovers dead in a flower bed. It must be said that the Buendia family鈥檚 foolish choices are an endless source of drama and entertainment.
"Look at the mess we've got ourselves into," Colonel Aureliano Buendia said at that time, "just because we invited a gringo to eat some bananas."
I鈥檝e read M谩rquez before and loved his work, but this was a whole other animal! He expertly blurs the line between magic and realism so smoothly that it feels as if he was creating cinematic electricity! The horror is tempered by a big dose of whimsy that had me laughing through my tears. The writing is agonizingly beautiful, and each character exquisitely drawn.
In a lifetime of reading, there are only a few extraordinary novels that touch the very fabric of a person鈥檚 being鈥擣or me, One Hundred Years of Solitude is one of those. I was transported into M谩rquez鈥檚 dreamlike creation, and for the past few days had forgotten the real world and lived entirely in his. My only regret is that it all had to come to an end.
So, if you are looking for an epic novel to steal your breath away, look no further!
Thank you, Kevin Ansbro. Your outstanding review pointed the way to this magnificent read!
October 17, 2016
For a long time I could not find words to write anything on One Hundred Years of Solitude, for Marquez mesmerised me into a silence I didn't know how to break. But I have been commenting here and there on 欧宝娱乐 and now it is good time, finally, to gather my thoughts in one piece. But this somewhat longer review is more a labour of love than a coherent attempt to review his opus.
Marquez resets the history of universe such that the old reality ceases to exist and a new parallel world is born in which things do not conform to obsolete, worn-out laws. Everything in this world is to be discovered anew, even the most primary building block of life: water. Macondo is the first human settlement of Time Immemorial set up by the founding fathers of the Buendia family. It is a place where white and polished stones are like 鈥榩rehistoric eggs鈥�; an infant world, clean and pure, where 鈥榤any things lack names.鈥� And it is natural that here, in the farther reaches of marshland prone to cataclysmic events, the mythscape of One Hundred Years of Solitude should come into existence.
The tone of this epic and picaresque story is set ab initio. Take a gander at this:
It is not long before fateful human activity mars the innocent beauty of creation. The more they discover the more they are sucked into the inescapable cycle of life. The primordial myth that moulds and shapes their destinies does not let them advance in their efforts to defeat the infernal solitude of existence, whatever they might do, however they might try. History gets back at them again and again and every generation is but a repeat of the past. It is to emphasise the cyclical nature of time, in my opinion, that names of principal characters are repeated in every generation, sometimes to the confusion of the reader, easily rectified by going back to the family tree provided in the start of the book.
An external, portentous, disastrous, evil-like power guides and transforms the lives of people in the hamlet of Macondo. The sense of foreboding pervades the whole story: the rain continuing for many days and inundating the streets, the unceasing storm before the arrival in town of a heraldic character, and the fearful episode when townspeople begin to suffer a terrible memory loss, so that to remember the names and functions of things they write it down on labels and tie those labels to objects like chairs and tables. It tells us that we cannot hope for a future if our past is erased from the slates of our collective consciousness. Past may be a burden but it is also a great guiding force without which there's no future.
The only way to retain your sanity is to remember your history and cling to it, or prepare to go insane. When one Jose Arcadio Buendia loses the memory of things, he goes mad:
The town is threatened when the change taking place in the outside world begins to spill over into Macondo. Here we have a metaphor for the struggle of Maruqez鈥檚 native country and continent which is passing through internecine wars on its way toward externally imposed modernity. Divisions that hitherto did not exist come to define the inhabitants of Macondo and of towns farther afield. One of the Buendias, Colonel Aureliano, takes up a piece of metalwork as new and strange as a gun to mount a revolt and bring the promised glory to his land. New lines are drawn. New alliances are made. Old friends become enemies and enemies, partners. Colonel Aureliano Buendia, when he is about to kill him, tells General Moncada:
The scene above captures the mechanistic element of their revolutionary war; the one below bares the meaninglessness of the conflict, so pertinent to the 20th century militarisation of the whole continent and its endless armed strife led by colonels and generals of all hues and shades.
Although I tried to avoid getting into this discussion, but a review of this work is not possible without throwing in the inevitable buzzword 鈥� magical realism. Although the book gets high praise from most readers, it is to be expected that some readers would take a disliking to the basic ingredients from which Marquez draws his style and narrative devices. I want to address in particular one argument from the naysayer camp that pops up again and again: it is not realistic; it can鈥檛 happen; this is not how things work. So I ask (and try to answer): what is it with our obsession with 鈥渞ealism鈥� that makes some of us reject the conceptual framework of this novel?
Aristotle in Poetics argues that a convincing impossibility in mimesis is always preferable to an unconvincing possibility. The stress is not on what can physically happen but on mimetic persuasion. This is why some novels that follow every bit of convention, every bit of realistic element in them turn out to be unbelievable stories with unbelievable characters. You want to forget them as soon as you finish the book 鈥� and toss it aside. But on the other hand Greek tragedies populated with cosmic characters pulling suprahuman feats continue to enthrall generations of readers. How realistic are those stories? It is the writer鈥檚 task to convince us that this could have happened in a world he has created and set the rules for. In that Marquez is more than successful, and this is the basis of the enduring appeal of this work.
The distinction fell into place for me when I replaced 鈥榬ealism鈥� with 鈥榯ruth.鈥� Kafka鈥檚 haunting stories are so far from the 19th century convention of realism we have come to accept as the basis of novel-writing. His is not a representation of likely human activity (how could a human transform overnight into a large insect?) but it is nonetheless a harrowingly truthful story that advances existential dilemmas and makes a statement on human relationships, familial in particular. We say this is how it would feel like to be an outcast from one鈥檚 family. Or consider Hamsun鈥檚 in which a starving man puts his finger in his mouth and starts eating himself. In the 鈥榬eal鈥� world Kafka鈥檚, Hamsun鈥檚 and Marquez鈥檚 characters cannot exist but the effect of their existence on us is as truthful and real as the dilemmas of any great realistic character ever created.
Marquez, like a god, has written the First Testament of Latin America, synthesising myth and magic to reveal the truth of the human condition, and called it One Hundred Years of Solitude.
February 2015
Marquez resets the history of universe such that the old reality ceases to exist and a new parallel world is born in which things do not conform to obsolete, worn-out laws. Everything in this world is to be discovered anew, even the most primary building block of life: water. Macondo is the first human settlement of Time Immemorial set up by the founding fathers of the Buendia family. It is a place where white and polished stones are like 鈥榩rehistoric eggs鈥�; an infant world, clean and pure, where 鈥榤any things lack names.鈥� And it is natural that here, in the farther reaches of marshland prone to cataclysmic events, the mythscape of One Hundred Years of Solitude should come into existence.
The tone of this epic and picaresque story is set ab initio. Take a gander at this:
Many years later, as he faced the firing squad, Colonel Aureliano Buendia was to remember that distant afternoon when his father took him to discover ice.
It is not long before fateful human activity mars the innocent beauty of creation. The more they discover the more they are sucked into the inescapable cycle of life. The primordial myth that moulds and shapes their destinies does not let them advance in their efforts to defeat the infernal solitude of existence, whatever they might do, however they might try. History gets back at them again and again and every generation is but a repeat of the past. It is to emphasise the cyclical nature of time, in my opinion, that names of principal characters are repeated in every generation, sometimes to the confusion of the reader, easily rectified by going back to the family tree provided in the start of the book.
An external, portentous, disastrous, evil-like power guides and transforms the lives of people in the hamlet of Macondo. The sense of foreboding pervades the whole story: the rain continuing for many days and inundating the streets, the unceasing storm before the arrival in town of a heraldic character, and the fearful episode when townspeople begin to suffer a terrible memory loss, so that to remember the names and functions of things they write it down on labels and tie those labels to objects like chairs and tables. It tells us that we cannot hope for a future if our past is erased from the slates of our collective consciousness. Past may be a burden but it is also a great guiding force without which there's no future.
The only way to retain your sanity is to remember your history and cling to it, or prepare to go insane. When one Jose Arcadio Buendia loses the memory of things, he goes mad:
Jose Arcadio Buendia conversed with Prudencio Aguilar until the dawn. A few hours later, worn out by the vigil, he went into Aureliano鈥檚 workshop and asked him: 鈥淲hat day is today?鈥� Aureliano told him that it was Tuesday. 鈥淚 was thinking the same thing,鈥� Jose Arcadio Buendia said, 鈥渂ut suddenly I realized that it鈥檚 still Monday, like yesterday. Look at the sky, look at the walls, look at the begonias. Today is Monday too.鈥� On the next day, Wednesday, Jose Arcadio Buendia went back to the workshop. 鈥淭his is a disaster,鈥� he said. 鈥淟ook at the air, listen to the buzzing of the sun, the same as yesterday and the day before. Today is Monday too.鈥� That night Pietro Crespi found him on the porch, weeping for鈥is mother and father. On Thursday he appeared in the workshop again with the painful look of plowed ground. 鈥淭he time machine has broken,鈥� he almost sobbed,鈥e spent six months examining things, trying to find a difference from their appearance on the previous day in the hope of discovering in them some change that would reveal the passage of time.
The town is threatened when the change taking place in the outside world begins to spill over into Macondo. Here we have a metaphor for the struggle of Maruqez鈥檚 native country and continent which is passing through internecine wars on its way toward externally imposed modernity. Divisions that hitherto did not exist come to define the inhabitants of Macondo and of towns farther afield. One of the Buendias, Colonel Aureliano, takes up a piece of metalwork as new and strange as a gun to mount a revolt and bring the promised glory to his land. New lines are drawn. New alliances are made. Old friends become enemies and enemies, partners. Colonel Aureliano Buendia, when he is about to kill him, tells General Moncada:
Remember, old friend, I'm not shooting you. It's the revolution that's shooting you.
The scene above captures the mechanistic element of their revolutionary war; the one below bares the meaninglessness of the conflict, so pertinent to the 20th century militarisation of the whole continent and its endless armed strife led by colonels and generals of all hues and shades.
Tell me something, old friend: why are you fighting?"
What other reason could there be?" Colonel Gerineldo Marquez answered. "For the great Liberal party."
You're lucky because you know why," he answered. "As far as I'm concerned, I've come to realize only just now that I'm fighting because of pride."
That's bad," Colonel Gerineldo Marquez said.
Colonel Aureliano Buendia was amused at his alarm. "Naturally," he said. "But in any case, it's better than not knowing why you're fighting." He looked him in the eyes and added with a smile:
Or fighting, like you, for something that doesn't have any meaning for anyone.鈥�
Although I tried to avoid getting into this discussion, but a review of this work is not possible without throwing in the inevitable buzzword 鈥� magical realism. Although the book gets high praise from most readers, it is to be expected that some readers would take a disliking to the basic ingredients from which Marquez draws his style and narrative devices. I want to address in particular one argument from the naysayer camp that pops up again and again: it is not realistic; it can鈥檛 happen; this is not how things work. So I ask (and try to answer): what is it with our obsession with 鈥渞ealism鈥� that makes some of us reject the conceptual framework of this novel?
Aristotle in Poetics argues that a convincing impossibility in mimesis is always preferable to an unconvincing possibility. The stress is not on what can physically happen but on mimetic persuasion. This is why some novels that follow every bit of convention, every bit of realistic element in them turn out to be unbelievable stories with unbelievable characters. You want to forget them as soon as you finish the book 鈥� and toss it aside. But on the other hand Greek tragedies populated with cosmic characters pulling suprahuman feats continue to enthrall generations of readers. How realistic are those stories? It is the writer鈥檚 task to convince us that this could have happened in a world he has created and set the rules for. In that Marquez is more than successful, and this is the basis of the enduring appeal of this work.
The distinction fell into place for me when I replaced 鈥榬ealism鈥� with 鈥榯ruth.鈥� Kafka鈥檚 haunting stories are so far from the 19th century convention of realism we have come to accept as the basis of novel-writing. His is not a representation of likely human activity (how could a human transform overnight into a large insect?) but it is nonetheless a harrowingly truthful story that advances existential dilemmas and makes a statement on human relationships, familial in particular. We say this is how it would feel like to be an outcast from one鈥檚 family. Or consider Hamsun鈥檚 in which a starving man puts his finger in his mouth and starts eating himself. In the 鈥榬eal鈥� world Kafka鈥檚, Hamsun鈥檚 and Marquez鈥檚 characters cannot exist but the effect of their existence on us is as truthful and real as the dilemmas of any great realistic character ever created.
Marquez, like a god, has written the First Testament of Latin America, synthesising myth and magic to reveal the truth of the human condition, and called it One Hundred Years of Solitude.
February 2015
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