[Translated by Gregory Rabassa]
[Read by John Lee]
One of the twentieth century’s enduring works, One Hundred Years of Solitude is a widely beloved and acclaimed novel known throughout the world and the ultimate achievement in a Nobel Prize-winning career.
The novel tells the story of the rise and fall of the mythical town of Macondo through the history of the BuendÃa family. Rich and brilliant, it is a chronicle of life, death, and the tragicomedy of humankind. In the beautiful, ridiculous, and tawdry story of the BuendÃa family, one sees all of humanity, just as in the history, myths, growth, and decay of Macondo, one sees all of Latin America.
Love and lust, war and revolution, riches and poverty, youth and senility, the variety of life, the endlessness of death, the search for peace and truth — these universal themes dominate the novel. Alternately reverential and comical, One Hundred Years of Solitude weaves the political, personal, and spiritual to bring a new consciousness to storytelling. Translated into dozens of languages, this stunning work is no less than an account of the history of the human race.”Many years later, as he faced the firing squad, Colonel Aureliano BuendÃa was to remember that distant afternoon when his father took him to discover ice.”
It is typical of Gabriel GarcÃa Márquez that it will be many pages before his narrative circles back to the ice, and many chapters before the hero of One Hundred Years of Solitude, BuendÃa, stands before the firing squad. In between, he recounts such wonders as an entire town struck with insomnia, a woman who ascends to heaven while hanging laundry, and a suicide that defies the laws of physics: A trickle of blood came out under the door, crossed the living room, went out into the street, continued on in a straight line across the uneven terraces, went down steps and climbed over curbs, passed along the Street of the Turks, turned a corner to the right and another to the left, made a right angle at the BuendÃa house, went in under the closed door, crossed through the parlor, hugging the walls so as not to stain the rugs, went on to the other living room, made a wide curve to avoid the dining-room table, went along the porch with the begonias, and passed without being seen under Amaranta’s chair as she gave an arithmetic lesson to Aureliano José, and went through the pantry and came out in the kitchen, where Úrsula was getting ready to crack thirty-six eggs to make bread.
“Holy Mother of God!” Úrsula shouted.
The story follows 100 years in the life of Macondo, a village founded by José Arcadio BuendÃa and occupied by descendants all sporting variations on their progenitor’s name: his sons, José Arcadio and Aureliano, and grandsons, Aureliano José, Aureliano Segundo, and José Arcadio Segundo. Then there are the women–the two Úrsulas, a handful of Remedios, Fernanda, and Pilar–who struggle to remain grounded even as their menfolk build castles in the air. If it is possible for a novel to be highly comic and deeply tragic at the same time, then One Hundred Years of Solitude does the trick. Civil war rages throughout, hearts break, dreams shatter, and lives are lost, yet the effect is literary pentimento, with sorrow’s outlines bleeding through the vibrant colors of GarcÃa Márquez’s magical realism. Consider, for example, the ghost of Prudencio Aguilar, whom José Arcadio BuendÃa has killed in a fight. So lonely is the man’s shade that it haunts BuendÃa’s house, searching anxiously for water with which to clean its wound. BuendÃa’s wife, Úrsula, is so moved that “the next time she saw the dead man uncovering the pots on the stove she understood what he was looking for, and from then on she placed water jugs all about the house.”
With One Hundred Years of Solitude Gabriel GarcÃa Márquez introduced Latin American literature to a world-wide readership. Translated into more than two dozen languages, his brilliant novel of love and loss in Macondo stands at the apex of 20th-century literature. –Alix Wilber
