early 1965 Gabriel García Márquez was in a bad mood. Had stated several times that he would never write and that apathy, boredom that seemed to crush infertility and uncompromising. But he had not resigned, indeed, literature. Had renounced his previous creations (which critics praised with regular insistence) as a correction, or, to put it more bluntly, as a necessary step for renewal.
Her previous works ( Dog Eyes Blue, Leaf Storm, The Colonel No One Writes, The Big Mama's Funeral, In Evil Hour ) made it an important storyteller in Colombian literature, but García Márquez was dissatisfied with himself, with his stories and the criticism that persistently tortured him with praise. He was dissatisfied with the air testimonial or objectivist prose. The style owed much to the realist tradition and this concentrated almost all traces of their concerns. García Márquez
saw and felt the world at its most contradictory. The realism of intellectuals actually reduced the schematic instances and impoverished. Of what is swallowed, then, was to find a literary form capable of expressing in their smell, their fantasies, their sensuality and richness adversarial most unexpected moments (and capricious, and arbitrary) of reality. Not just simply describe everyday life and dreams and images that it produces, but also to provide them (with words, to novels) of that magical ability to communicate the landscape and life with the same intensity and astonishing that we are assaulted constantly.
But he felt trapped by not only literary work which was to be delivered to survive. Editor's worked in advertising and screenwriter, and, of course, paid his prose to the requirements of the company. But one day he suddenly resolved all their problems (at least in the head). Was driving his car for a Mexican road and imagination found its mark, had before it the entire novel, populated by supernatural characters and anecdotes.
If Franz Kafka had described the most absurd situations of man-factly and detail, he, García Márquez, narrated the natural wonders of the tropics with baroque, sensual, full of vitality and festive contagious. At home
was then a place called "The Cave of the Mafia," which was a kind of interior house with bathroom and even a garden. Before shut for many days and nights to write his novel, agreed with his wife Mercedes, she did not interrupt at all, even for most domestic affairs of the household (including payments for water, light or food). Then he bolted to write.
must have been fun for your kids to see out of hiding, at night, exhausted from the days of work in front of the typewriter and cigarettes entirely intoxicated. And what have lasted six months, as calculated by the author, lasted eighteen months of full commitment and dedicated to the novel. Ernesto Schoó account both García Márquez and his wife Mercedes were found at the end with two separate papers in his hands: he, with "One Hundred Years of Solitude", and she, with unpaid bills amounting to ten thousand dollars.
Without much enthusiasm, but with the satisfaction of having completed the novel that was chasing him since adolescence, García Márquez released excerpts from "One Hundred Years of loneliness "that were published in various journals, while at the same time, prepared to work for years as a galley slave to pay the debt incurred by his wife.
"One Hundred Years of Solitude" was published in June 1967 and its author received with surprise and disbelief, the immediate success that occurs between the audience and critics. Editions follow one another with astonishing rapidity and with them the translations. In just three and a half are sold nearly half a million copies, and the novel is translated, within months of publication, English, French, Italian, German, Swedish, Polish, Romanian, Japanese, Hungarian, etc. And they are reissued and translated, too, his previous productions. García Márquez
suddenly reached celebrity and money. "One Hundred Years of Solitude" is praised in multiple and contradictory meanings, while the attitude becomes famous anecdotal, full of humor and wit, García Márquez in front of reporters. The critical aspects founders celebrated in the novel, and it becomes commonplace to refer to the real-wonderful and magical worlds Americans. It applauds the sensuality of his language, the motley characters and events of the rescue, with literary master, the fantastical worlds of the Colombian tropics, without exception, therefore, the implicit report prepared by the author of the injustices, corruption and crimes against the people authorities.
has been much discussion about what really wonderful, and today there are obvious signs of exhaustion and even perhaps anachronistic. The most serious argument against such literary magic, such as tenure and ideological worldview, it seems that, in recognizing the existence of fantasies, myths, illusions and wonders, states that these are isolated moments and scanty (religious festivals, dates cotumbristas) in popular life, because man is concerned about how realistic activities such as eating, work, childbearing, sweat blood and solve small and everyday problems immediately. Thus presented, this situation is beyond reproach. But García Márquez resolve this issue literary and ideological links to the magical dimensions of everyday life, and all events unreal, fantastic realism instinctive seem more elaborate. The result is a stunning novel in which, although more ambitious rational interpretations, despite the critical intent of 'order' that 'mess', survived almost total communication, where they assaulted our senses and enjoyment is then pleasantly carnal, vibrant and 'real' in the same way 'real' our senses to accept it (as a convention necessary) all the fantasy works of Homer, Cervantes and Grimmelshausen.
At this point, after many years that have elapsed since the first edition of "One Hundred Years of Solitude", we wonder what is left of that fervor by the incredible magic of the novel, with the exception, as noted above, the enjoyment and surprise sensual baroque reading.
Any answer to this question (arbitrary, no doubt) must take into account two essential aspects: the social changes that have occurred in Colombia and around the world (which perhaps affect worldviews, the poetic, the conflicting interests and the very life of the author), and new contributions of the contemporary novel with their successes, progress and definitions, among which, for example, "The great outback: paths" by Joao Guimaraes Rosa (still insufficiently known and studied), "The War of the End of the World" Vargas Llosa, and "the violence of time" by Miguel Gutierrez.
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