The works of the late 1982 Columbian literary Nobel Laureate Gabriel Garica Marquez reflect not only the sentiments of postcolonial Columbians, but also the surreal realities lived by Latin Americans in the New World. This surreal reality is what Marquez has become synonymous with — magic realism. The literary genre, magic realism, can be found in Marquez’s books and short stories such as 100 Years of Solitude and “A Very Old Man with Enormous Wings”. Literary critics and audience alike have marveled at how Marquez masterfully connected the ethereal and the mundane with such precision in diction and syntax that the narratives seem more than commonplace but actually feasible and tangible. In Marquez’s Nobel Prize Lecture, he champions the experience of Latin Americans and its influence on his stories. In general, he then theorizes that the experience of Latin America is, in fact, an experience of solitude, in which buds great curiosity and inquiry. In his lecture, Marquez contends that Latin American lives are divinely magical and thus their experience cannot be understood; consequently, leaving them in a state of seclusion. His works are catalysts for social, political and cultural change. His lecture works to embody not only his sentiments but also those of his community. The Latin community is in seclusion because it is not understood by its counterparts.
In the short story “ Artificial Roses” by Gabriel Garcia Marquez, Marquez explores guilt, and its relationship with the church, as well as in the family structure. In the story there are two main characters. Mina, a young woman, who makes a living by creating roses, out of paper and wires, and her blind grandmother. The first thing you learn about the pair is that they share a room. There is an obvious sense from Mina that she feels her personal space is invaded by her blind grandmother. As noted in the film old women are the ones who tell the stories, and have “magical powers.” But Mina is unaware of her grandmothers power of perception, and in the story Mina learns that her grandmother is quite aware of Mina’s actions. The story is essentially a battle of wits, and undeniable guilt, between the two.
In Federico García Lorca’s La Casa de Bernarda Alba, a tyrant woman rules over her five daughters and household with absolute authority. She prevents her daughters from having suitors and gives them little to no freedom, especially with regard to their sexualities and desires. They must conform to the traditional social expectations for women through sewing, cleaning, as well as staying pure and chaste. While, as John Corbin states in The Modern Language Review, “It was entirely proper for a respectable woman in [Bernarda’s] position to manage her household strictly and insist that the servants keep it clean, to defend its reputation, ensure the sexual purity of her daughters, and promote advantageous marriages for them,” Bernarda inordinately
The theme that has been attached to this story is directly relevant to it as depicted by the anonymous letters which the main character is busy writing secretly based on gossip and distributing them to the different houses. Considering that people have an impression of her being a good woman who is quiet and peaceful, it becomes completely unbecoming that she instead engages in very abnormal behavior. What makes it even more terrible is the fact that she uses gossip as the premise for her to propagate her hate messages not only in a single household but across the many different households in the estate where she stays.
Biography of Federico Garcia Lorca
Federico García Lorca was born into an educated bourgeois family in Fuente Vaqueros, in Andalusia, Spain, in 1898. His mother was a teacher and his father a rich farm labourer. He read literature and music at Granada University and in 1919, at the age of 21, he published his first book, Impresiones y Paisaijes, that was inspired by a trip around Spain that he took as part of his degree. That year, Lorca went to Madrid to continue with his studies. He moved into the Residence of Scholars (residencia de estudiantes), a liberal institution that taught according to the social, political and religious philosophies of Krause.
Gabriel Garcia Marquez's Love in the Time of Cholera
Gabriel Garcia Marquez, author of Love in the Time of Cholera, depicts his characters by having them act in certain ways, in ways of love and care towards others. Each character acts certain ways to certain people, either to gain respect, love, friendship or hatred. Marquez’s character Florentino Ariza, is desperately in love with Fermina Daza, a beautiful young lady (early in the novel), who promises him her hand in marriage then breaks that promise by marrying Dr. Juvenal Urbino. Although heartbroken Ariza’s love for Fermina would still continue over many long years, thus showing how much he was in love with her.
Biography of Federico Garcia Lorca
Born in Fuente Vaqueros, Granada, Spain, June 5,1898; died near Granada,
August 19,1936, García Lorca is Spain's most deeply appreciated and highly
revered poet and dramatist. His murder by the Nationalists at the start of the
Spanish civil war brought sudden international fame, accompanied by an excess
of political rhetoric which led a later generation to question his merits; after the
inevitable slump, his reputation has recovered (largely with a shift in interest to
the less obvious works). He must now be bracketed with MACHADO as one of
the two greatest poets Spain has produced this century, and he is certainly
Spain's greatest dramatist since the Golden Age.
As a poet, his early reputation rested on the Romancero gitano (Madrid, 1928; tr.
R. Humphries, The Gypsy Ballads of García Lorca, Bloomington, 1953), the
poems of Poema del Cante Jondo (Madrid, 1931), and Llanto por Ignacio
Sanchez Mejias (Madrid, 1935; tr. A. L. Lloyd, in Lament for the Death of a
Bullfighter, and Other Poems, London, 1937), all profoundly Andalusian, richly
sombre in their mood and imagery, and disquieting in their projection of a
part-primitive, part-private world of myth moved by dark and not precisely
identifiable forces; but, beneath the flamenco trappings, there is a deeper -
perhaps personal - anguish, as well as a superb rhythmical and linguistic sense
(the Llanto is one of the four best elegies in the Spanish language).
García, Márquez Gabriel, and Gregory Rabassa. Chronicle of a Death Foretold: A Novel. New York: Vintage International, 2003. Print
In The House of Bernarda Alba readers get to know Bernarda the mother of five daughters. Bernarda often comes across as a mean woman who just wishes to control her daughters, while in reality she just wants to do what she feels will best protect them. “Until I leave this house feet first, I will make the decisions—my own, and yours!” (Lorca, 223) This makes Bernarda sound like bit of a control freak, as she is basically telling her daughter Angustias that over her dead body will she fight with her sister Magdalena; however, she really is just trying to keep peace and protect them. Then in The Family of Pascual Duarte readers are introduced to Pascual’s mother, whose actions do not show that she cares much about protecting her children. “My father and mother didn’t get along at all. They had been badly brought up, were endowed with no special virtues, and could not resign themselves to their lot.” (Cela, 24) Pascual’s parents, but especially his mother, did not care enough about the safety and well-being of the child in the home to lay aside their differences or find a better way to deal with the problems at hand. Not only that, but it could be a fight over the simplest of things. “So that any circumstance,
The poetical works of Federico García Lorca, C. Maurer (New York: Farrar Straus Giroux, 1991)