1.

Throughout One Hundred Years of Solitude, Garcia Marquez

exaggerates events to gain fantasy. However, the exaggeration is almost
always numerically and gives each occurrence a sense of reality,
notes critic Bell-Villada (109).

2. One Hundred Years of Solitude is an exemplary piece of magical

realism, in which the supernatural is presented as mundane, and the mundane as
supernatural or extraordinary. The novel presents a fictional
story in a fictional setting. He carefully balances realistic elements of life, like poverty and

housecleaning, with outrageous instances, like a levitating priest .

3. Unlike the fancy works, the works of magical realism express the issues that are important in

terms of socially, politically and culturally and because of their importance and their effect on

the life of the people these issues have become the obsession of Latin American authors. These

authors are not unaware of their role in reviewing the historical events that have been forgotten

deliberately and they are constantly burrowing the history in their narratives for thought

awakening and political pluralism. (Biniaz, 2013)

4. The story of One Hundred Years of Solitude is abundant with paragraphs narrated in magic

realism, combining imagination with the real. Garcia Marquez’s ability to encompass all the

fairy tales characters and to create a new story that unites the real and the marvelous in a

real way makes his work intriguing and genuine. He consciously uses fairy tales, mythology

and history in his writings to enchant his readers with the narrative of magic realism.

5. The contents of magical realism (a term coined in the 1920s) were already spreading

in the 1950s throughout Europe, Latin America, the Caribbean and the United

States among writers, publishers, scholars and the intelligentsia. But they only

became a novelty for the cultural industry and mass readers after the release of

OHYS.
 6. Garcia Marquez claims he "was able to write One Hundred Years of Solitude

simply by looking at reality, our reality, without the limitations which

rationalists or Stalinists through the ages have tried to impose on it to

make it easier for them to understand."

7. Garcia Marquez suggests that the magic text is, paradoxically, more realistic than a “realistic”

text. And this realism is conjured up by a series of magical supplements—such as those found in

his One Hundred Years of Solitude. ( P. 143)

8. Garcia sought to destroy “ the lines that separate what seems real from what seems

fantastic.”

9. In many ways Garcia Marquez has fended off his critics and analysts by always doing what is

exactly right, not thinking about what is right. This trait of his writing seems to have a touch of

magic about it and yet it always rings so true, so real, hence magic realism

10. The magic realism in Garcia Marquez's novel forms a broad and diverse spectrum ranging

from the literally extraordinary though Magic Realism in Gabriel Garcia Marquez’s One

Hundred Years of Solitude nonetheless possible, to the farthest extremes of the physically

fabulous and unlikely" (Bell-Villada 108)

11. References:

Bell-Villada, Gabriel Garcia Marquez’s One Hundred Years of Solitude: A Casebook Oxford:

, .
Oxford University 2002

Magic Realism in Gabriel Garcia Marquez’s One

Hundred Years of Solitude published in Rupkatha Journal Vol 2 No 3 by B.J Geetha

Periyar University , India

Biniaz F. 2013. Mythology approach in literary criticism. Golestan J 54: 10-15

The New trends in Latin American bloom “Magical Realism” in the Novel of Gabriel García Márquez’

One Hundred Years of Solitude – a Postcolonial Study. K. Thomas Alwa Edison Volume 02, No.1, Jan

- Feb 2015

How a literary work becomes a classic: The case of One Hundred Years of Solitude by Alvaro Santana-

Acuña published in American Journal of Cultural Sociology (2014) 2, 97–149.

Mendoza and Garcia Marquez, The Fragrance of Guava, pp. 59-60.

Magical Strategies: The Supplement of Realism. Author(s): Scott Simpkins

Source: Twentieth Century Literature, Vol. 34, No. 2 (Summer, 1988), pp. 140-154

“One Hundred Years of Solitude” and “Pedro Paramo”: A Parallel by Suzanne Jill Levine, Books Abroad

Vol. 47, No.3 (Summer, 1973), pp. 490-495

Beyond Magic Realism: Thoughts on the Art of Gabriel García Márquez Author(s): Gregory Rabassa

Source: Books Abroad, Vol. 47, No. 3 (Summer, 1973), pp. 444-450