Language and Magical Realism - Research Paper Example

Arguably one of the best storytellers of his generation, Gabriel Garcia Marquez envelopes us with the beauty with which he weaves the tapestry of hisgenius through the language that leaves the reader with the indellible impression of the certainty with which good literature is born. Among the most well-known and well-loved of his works, ‘One Hundred Years of Solitude’ establishes Garcia Marquez as an enabler of magical realism and brings it to the forefront of literature for contemporary appreciation. He permits us to be part of the history and the rich story of the Buendia family that encompasses the generations where the reader partakes in the twist and turns of the pedigree while ultimately having been left with the utmost increments of the intelligence that account for the immeasurable impact that is brought together in the novel. Language and Magical Realism The value of fantastic representation and realistic representation is the basis of magical realism. Arva cited as an example the imagery that was presented in the massacre that although it did not include actual words that specify violence, the figures of speech that suggest the horrors of what occurred in relation to the experience of the characters is accordingly vivid. In this case, the author made it possible to stimulate the ‘traumatic imagination’ of the readers to be transformed into ‘narrative memory.’ The translation of the writing of what is real is the primary endowment of the magical realist writer. The depiction of reality with the use of images directs to a ‘dissimulation of reality’ which leads to the readers’ estrangement from it. The oxymoronic real unreality, that this is actually the manifestation of the existing authenticity of the current social realities (pp. 61-62). Language is a vital part of any culture and words are the basic units of language. This is the medium of a writer to convey the message he wants to set across. It is the basic necessity that allows the writer to be able to be part of the lives of the readers which perpetuates his writing. The question of idea, style and emotion that is vital in the realization of good writing is what distinguishes one text from the other. The achievement of all these elements sets off the desired effects that the writer particularly has in mind in reference to his creation. The ability to say so much with so little is the indication of a writer’s talent. All these and more is achieved and very much perceptible in the novel. “Death did not tell her when she was going to die or whether her hour was assigned before that of Rebeca, but ordered her to begin sewing her own shroud on the next sixth of April. She was authorized to make it as complicated and as fine as she wanted, but just as honestly executed as Rebeca’s, and she was told that she would die without pain, fear, or bitterness at dusk on the day that she finished it… It was then that she understood the vicious circle of Colonel Aureliano Buendía’s little gold fishes. The world was reduced to the surface of her skin and her inner self was safe from all bitterness” (Garcia Marquez, p. 119-120). These ephiphanies are what distinguishes the magical realism in the perceptibility of the text. The inevitability of the chronology of the lineage is the distinguishing characteristic which qualifies it for a tragedy in the historical sense for which it is often regarded. The theme of death which is integrated in different forms in the novel contains much of the dialogue and variability that it is consistent upon. “He could not understand why he had needed so many words to explain what he felt in war because one was enough: fear” (Garcia Marquez, 134). This was the power of language present in the entire novel. Much of the representations and depictions of emotion was expressed in so little words of conversation from among the characters but with the subtlety with which the narrator describes the sentiment that shrouds them. In one word, the word fear evokes the generalization of feeling as can only be described by the character. This is the power of language and the ability of the author to confirm his aptitude in storytelling through impeccable style which can only be achieved through sheer talent and dedication towards the craft. And this is definitely something Garcia Marquez is known for. Historical Faithfulness in Literature The treatment of the novel often causes a discussion among literary critics, it is Garcia Marquez himself who encouraged that it should be looked upon as faithful reality. This in essence opens up a bottle of worms so to speak because the categorization of reality within the novel is very much blurred. Quite perceptibly, it contains legends that are regarded as reality because this is how it should be for appreciation and belief. Simultaneously, it contains facts that people do not believe. This is not to be pursued as a persecution to the ways of writing of the author but sheer inquiry to the degree of fiction relative to history in the book. It should be put in mind that accuracy is not the primary purpose of the author and not a matter of authenticity and history but consequently gears toward new perspectives in history. Going back to the matter of the massacre, the ‘bananeras’ with its historical bearings is real with exaggerations (Posada, pp. 397-398). This is not the first of its kind and it is ceratinly not the last. The political and moral asssertions that an author achieves whether subconsciously or not is something that is an inherent factor in writing. It is the social obligation that such a re-assessment or re-thinking be developed by the writer. This is not something that is automatic as with all writings but it is one that is molded upon by the writer. When all else fails, literature has the capacity to direct its influence to the realities of the world. The pathos that exhibits itself through literature is among its best qualities. For the reader to be able to recognize this leads to the achievement of the purpose of the writer. This transcendence of text is what makes for good reading and the recognition of such is perhaps the best appreciation that could be directed towards the writer. A historical reading of ‘One Hundred Years of Solitude’ would yield the interpretation that could not dismiss the historical background of the controversy surrounding masacre de las bananeras. But it is also to be kept in mind that there are many aspects to the craftmanship beyond the creation of the book. This is the paradox of literary criticism. It could entail the diversities and possibilities that could arise from a single text. There are many perspectives wherein a simple reading could lead to. In such case as the novel, its diversity opens up quite a number of possible take from something that came from one author. This extensive quality of literature is what makes it great but at the same time makes it complicated. It allows for many discussion that enriches the mind and our understanding but also creates a vastness that never seems to end in amazement and further discussion. Genres such as creative non-fiction makes trivial the question of faithfulness to historicity. It is no longer a matter exclusive to a historian to examine and present the past in the same way that a writer should only write according to the set rules and guidelines so as not to confuse its readers. It may be that there is already a perceived notion that something is already exemplified and stressed out completely but this never does happen. There is always going to be a new way to look at things and concepts. Multiculturalism and Tradition The multiculturalistic aspect of literature is something that continues to intensify. Jupp argues that ‘One Hundred Years of Solitude’ paves the way for Gabriel Garcia Marquez to be among the Canons. This is agreeable seeing the elements of a classic as represented in many of his novels, not only in the one previously mentioned. The current multiculturalistic influences, though still with the influence of already fortified standards initiates the future place of Garcia Marquez as among the most recognized names in literature. This can be regarded as an achievement as a Colombian who wrote in his native tongue be included within the ranks of Shakespeare, Dante, Tolstoy, Homer and a number of other revered Canons. The newly-formed tradition of multicultural literature should lead to a better instruction of it. We have to accept that perhaps, as much as the globalization in business and other sectors, the literary genre is also evolving along with it. New traditions are continously being considered and included in the area that should lead to better understanding. Parallel to the predestined fate of the Buendia family of Macondo, literature is also undergoing such a rigorous process of change and development. But unlike the family which ultimately suffers its end, literature will continue to linger on because it will be able to adapt to the changes and participate in the accentuation the tradition and persist to enrich it. The beauty of the language that enables the writers to create such masterpieces conjures the enjoyment of reading regardless of the perspective to which upon it should be read. The simple enjoyment of reading is enough to stimulate what Sigmund Freud determines as ‘angst vor et was,’ and good literature does exactly that, it achieves our anxieties. Bibliography Arva, Eugene L. "Writing the Vanishing Real:Hyperreality and Magical Realism." Journal of Narrative Theory (2008): 60-85. Fields, Wayne. "One Hundred Years of Solitude and New World Storytelling." Latin American Literary Review (1987): 73-88. Garcia Marquez, Gabriel. One Hundred Years of Solitude. New York: Perennial Classics, 2001. Jupp, James C. "The Necessity of the Literary Tradition: Gabriel Garcia Marquezs "One-Hundred Years of Solitude." The English Journal (2000): 113-115. Monegal, Emir R. ""One Hundred Years of Solitude": The Last Three Pages." Books Abroad (1973): 485-489. Ollivier, Louis L. ""One Hundred Years of Solitude": Existence Is the Word." Latin American Literary Review (1975): 9-14. Posada-Carbo, Eduardo. "Fiction as History: The Bananeras and Gabriel Garcia Marquezs One Hundred Years of Solitude." Journal of Latin American Studies (1998): 395-414. Read More