Historical Roots of Macondo an

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One Hundred Years of Solitude

Historical roots of Macondo and the Buendia family.
One Hundred Years of Solitude is about on imagined mythical town which is named as Macondo. Its foundation, rise, development and death throughout the history of its founders; Buendia family is narrated. It is the evolution and eventual decadence of a small Latin American town and its inhabitants. The novel is dominated by Colombian settings and the Buendia family is a Colombian family of those times that the story takes places. At that point, the reader may question the position of the book. Is the story of the fictional town Macondo and Buendia family simply about the failure of that particular town and family or is there something beyond. Did Gabriel Garcia Marquez, the author of One Hundred Years of Solitude, spend three years to write this book that then became his master piece, only because he wanted to talk about an imagined town, an imagined family and their failure. Or, is the book a metaphor for Latin America’s, specifically Colombia’s and her peoples history. Did Marquez write this book to paste it on history as an example of a history not to be repeated again, to paste it as a warning. As the second part of this assay, I want to focus on gypsies since they construct an other culture other than the inhabitants of Macondo. To find out the importance of this distinct, nomadic gypsy culture will enable the reader to make a comparison between gypsies and their contact with civilization, and Buendia family and their failure within their solitude. In other words, by comparing gypsies and Buendias, the reader will be able to get some important clues about Buendias’ failure. Gabriel Garcia Marquez is the Nobel Prize wining author of "One Hundred Years of Solitude" of 1982. The ambiguity, aesthetic genius and the usage of the technique, ‘magical realism’ that is the connection between the fantasy and reality brought that success. The reader does not have to think too hard to enjoy the book. This is the beauty of Third World writing, that it deals with both specific and international issues. Third World and multi-cultural writers are describing, reproducing and addressing a heterogeneous and international (and this is often what passes for post-colonial) readership. Third world is a useful term which makes it possible to talk about this body of writers who deal with issues which are both specific and international. In third world writing the flow is complex, multi directional and always changing, no model on its own can adequately open up the debate on post-colonial literature. The common thread is that they deal with change and continuity, strangeness and familiarity, in a complex, multi-cultural world. Their literature consciously alludes to the effects of decolonization. The third world writers flee from a fixed national and ideological identity. That is the way how they became able to address heterogeneous and international readership. In addition, the third world has to make its voice to be heard and starts to talk through its own voice as Jean Paul Satre states in the preface of Frantz Fanon’s book, The Wretched of the Earth which is about the harms of colonialism; "In short, Third World finds itself and speaks to itself through his voice. We know that is not a homogenous world." It would not be unfair to close our ears to third world writers’ voices and deny to hear them. Thus, Marquez’s book One Hundred Years of Solitude should be viewed from a historical perspective to prove that his voice is heard and his effort is appreciated. The civil war that takes place between chapter six and chapter ten in One Hundred Years of Solitude is in fact based on the civil war in Colombia after their independence from Spain in 1820. The civil war in Colombia started in 1899 and over 100.000 peoples were killed till the war was ended in 1902. The Civil war was called the...
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