Realistic and Magical Elements of A Very Old Man with Enormous Wings
"A Very Old Man with Enormous Wings" is a renowned short story written by Gabriel Garcia Marquez. It was published in 1955. Gabriel Garcia Marquez was born and spent his childhood in Colombia but has lived in Paris and Mexico. As for the work that made him famous, "A Very Old Man with Enormous Wings" is considered by most an archetype of Magical Realism.
When reading "A Very Old Man With Enormous Wings," one comes across many elements of Magical Realism. A good specimen of Magical Realism is the old man with wings. An old man is normal and earthly. However, when wings are applied, what was once mundane becomes stereotype of Magical Realism. What is most important about they old man with wings is not actually the old man himself, but, more importantly, the fact that the characters interacting with the old man view him as just a old man with wings. Unlike the society that most live in, this society would never accept the old man as ordinary. The woman who was turned into a spider as a child for disobeying her parents is also a good model of Magical Realism. Things in Gabriel Garcia Marquez's works are classified as Magical Realism. The woman who knew of all things living and dead is a type of Magical Realism. How many people know everything? For that matter, how many people actually know anything? The point is that no one, no matter whom, is capable of knowing everything.
Realistic elements are tossed into the melting pot of Magical Realism just as fictional elements are so commonly done. Capitalism is a realistic element that is never forgotten. No matter what any writer creates, it will more then likely have at least some kind of capi...
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...hat it is a work of Magical Realism. Over all, "A Very Old Man With Enormous Wings" is a perfect sample of Magical Realism.
Works Cited
Chanady, Amaryll. "Magical Realism in Spanish American Literature." Magical Realism: Theory, History, Community. Ed.Louis Parkinson Zamora and Wendy B. Faris. Durham, N.C: UP, 1995: 125-144.
Garcia Marquez, Gabriel. "A Very Old Man With Enormous Wings." The Norton Introduction Literature. Ed. Jerome Beaty.N.Y. : W.W. Norton and Company, 1996.525-529.
Leal, Luis. "Magical Realism in Spanish American Literature." Magical Realism: Theory, History, Community. Ed. Louis Parkinson Zamora and Wendy B. Faris.Durham, N.C: UP, 1995:119-124.
Roh, Franz. "Magical Realism in Spanish Literature." Magical Realism: Theory, History, Community. Ed. Louis Parkinson Zamora and Wendy B. Faris. Durham, N.C: Duke UP, 1995: 15-31.
In 1949, Dana Gioia reflected on the significance of Gabriel García Márquez’s narrative style when he accurately quoted, “[it] describes the matter-of-fact combination of the fantastic and everyday in Latin American literature” (Gioia). Today, García Márquez’s work is synonymous with magical realism. In “Un Señor Muy Viejo con Alas Enormes,” the tale begins with be dramatically bleak fairytale introduction:
In the South American storytelling tradition it is said that humans are possessed of a hearing that goes beyond the ordinary. This special form is the soul’s way of paying attention and learning. The story makers or cantadoras of old spun tales of mystery and symbolism in order to wake the sleeping soul. They wished to cause it to prick up its ears and listen to the wisdom contained within the telling. These ancient methods evolved naturally into the writings of contemporary Latin American authors. The blending of fantasy with reality to evoke a mood or emphasize elements of importance became known as magical realism, and was employed to great effect by Latin authors such as Gabriel Garcia Marquez in his novel, One Hundred Years of Solitude, and Rudolfo Anaya, in his work, Bless Me Ultima.
Magical realism is a genre in which extraordinary events are incorporated into the ordinary world, usually referred to as realistic fiction. In Latin American culture many authors use this type of literature to describe phenomenal events that occur within our ordinary world. Magical realism can be analyzed through different novels, short stories and movies, for example, Bless me, Ultima, by Rudolfo Anaya, “The Night Face Up,” by Julio Cortazar, “A Very Old Man with Enormous Wings,” by Gabriel Garcia Marquez and the movie Big Fish by Tim Burton. Magical realism is a style of writing used to link the abnormal with the ordinary.
Gabriel García Márquez’s short story “A Very Old Man with Enormous Wings” possesses literary significance due to its characters, tone, and theme. Aside from the title character, this story has other interesting personalities in its cast. Influenced by the way his grandmother told stories when he was a child, the tone of García Márquez’s story is special and plays a crucial part to the magical realism in the story. Tied into the magical realism, the theme of the tale also makes this a classic, asking whether or not the miraculous has a place in the mundane world. With these three elements—characters, tone, and theme—, García Márquez’s “A Very Old Man with Enormous Wings” is a story that has literary significance.
Vonnegut uses setting to convey the terrors of war by juxtaposing the hell-like Dresden with the heavenly Trafalmador. After the firebombing of Dresden, when the soldiers emerge out of a slaughterhouse, they find the entire city desolate and destroyed. As the soldiers wander out of the slaughterhouse, Vonnegut writes, “One thing was clear: Absolutely everybody in the city was supposed to be dead, regardless of what they were, and that anybody that moved represented a flaw in the design. There were to be no moon men at all. 135,000 civilians are killed in the raid, almost twice the number who would later die at Hiroshima” (Vonnegut 180). While in Dresden, the soldiers were surrounded by death, and even rode in a “coffin-shaped green wagon” (Vonnegut 194) through the ruins. The Dresden firebombing also exemplifies the absurdity of war because Dresden was an open city with no military significance, yet the Allies decided to bomb it anyways. In contrast with Dresden, while held captive on the far-off planet of Tralfamador, Billy Pilgrim lives an ideal life, in which he is sleeping with a beautiful movie star. Also, the Tralfamadorian view on free will releases Billy from any guilt he felt about the war. When describing wars, one Tralfamadorian claims, “There isn’t anything we can do about them, so we simply don’t look at them. We ignore them. We spend eternity looking at pleasant moments-like today at the zoo” (Vonnegut 117). While on Tralfamador, Billy lives in a dream world in which he only looks at pleasant moments and forgets about all of the horrible events of his life. Vonnegut uses the blissful Tralfamador in order to contrast and accentuate the ho...
Leal, Luis." Magical Realism in Spanish American Literature." Magical Realism: Theory, History, Community. Ed.Louis Parkinson Zamora and Wendy B. Faris.Durham, N.C: Duke UP, 1995:119-124.
For the purposes of this paper, I would like to adopt the synthesized definition editors Zamora and Faris distill from several key writers and academics featured in the anthology/reader Magical Realism: Theory, History, Community:
Garcia Marqez, Gabriel: "A Very Old Man With Enormous Wings." The Norton Introduction of Literature. Ed. Jerome Beaty. N.Y.: W.W.Norton and Company, 1996. 525-529.
Giants and Angels roam the pages of Gabriel Garcia Marquez’s stories, “A Very Old Man With Enormous Wings”, and “The Handsomest Drowned Man In The World”, creating the perfect scene for magical realism. Many of the elements within these stories coincide with each other; this has everything to do with the overall component of magical realism, which binds together similarities and sets apart differences. The theme of each story can be found within the other and can stand by itself to represent the story it belongs to, the settings are similar in location and the ability to change but different in their downsides and the writing style is so similar it is complicated to find any differences. Marquez is a master story-teller whose works of art can only be compared with each other.
Vonnegut gives a compelling account of the horrors of war using intricate, clever story-telling techniques, bringing together the extremes between truth (historical facts) and science fiction (futuristic imagination). He uses the extraordinary technique of combining the dark humor of Billy's views of World War II with the serious message from the figment of madness of Tralfamadore to show the inexplicable occurrences of war and its repercussions. This ingenious combination leads to a unique tale that is timeless and interesting, that brings the story of Dresden, of Tralfamadore, and of Billy Pilgrim, into the public eye.
Kurt Vonnegut’s novel Slaughterhouse-Five, uses the biblical allusion of Lot’s wife looking back on the destroyed cities of Sodom and Gomorrah to parallel the story of Billy Pilgrim during the war and his experience after, when he returns to the United States. Although the reference is brief, it has profound implications to the portrayal of America during World War II, especially the bombing of Dresden. Although Lot’s wife’s action dooms her to turn into a pillar of salt, the narrator emphasizes her choice to indicate the importance of being compassionate and having hindsight. Ultimately, Slaughterhouse-Five critiques the American social attitude to disregard the unjust nature of its actions in World War II. Furthermore, Vonnegut’s novel explicates this by elucidating the horrors of war—especially in regard to the massacre of innocence, how it leaves the soldiers stagnant when they return home, and leaves them empty with an American Dream that cannot be fulfilled. In order to combat violence, the novel stresses that one must hold human life to a higher value and be compassionate towards others; America must acknowledge its mistakes so that the soldiers who fought and died for her so that the soldiers may move on.
Leal, Luis. "Magical Realism in Spanish American Literature." Magical Realism. Theory, History, Community. Ed. Lois Parkinson Zamora and Wendy B. Faris. Durham, N.C.: Duke UP, 1995. 119-123.
Flores, Angel. "Magical Realism in Spanish American Fiction." Magical Realism. Theory, History, Community. Ed. Lois Parkinson Zamora and Wendy B. Faris. Durham, N.C.: Duke UP, 1995: 109-116.
Magical realism is clearly present throughout Gabriel-Garcia Marquez's novel Chronicle of a Death Foretold. Magical realism is the juxtaposition of realism with fantastic, mythic, and magical elements. A secondary trait was the characteristic attitude of narrators toward the subject matter: they frequently appeared to accept events contrary to the usual operating laws of the universe as natural, even unremarkable. Though the tellers of astonishing tales, they themselves expressed little or no surprise.
Leal, Luis. "Magical Realism in Spanish American Literature." Magical Realism. Theory, History, Community. Ed. Lois Parkinson Zamora and Wendy B. Faris. Durham, N.C.: Duke UP, 1995: 119-123.